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sunkissedpages · 4 years

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instead of you [part three]

pairing: [best friend’s brother] tom holland x college!reader

summary: you didn’t expect to spend your summer pretending to be your best friend’s girlfriend- then again, you didn’t expect to fall for your best friend’s brother, either.

warnings: swearing, mentions of sex

word count: 2.1k

series masterlist

“No sex?”

“Y/n!” Sam hissed through his teeth. “You think you could lower your fucking voice a little?” His tone was even, but his eyes betrayed the thinly veiled panic you were all too familiar with.

Pushing your best friend’s buttons was something you usually enjoyed, but in that moment you were feeling a similar sense of panic.

“Sorry, how was I supposed to react to you telling me I can’t sleep with anyone this summer?” you snapped in a whisper.

“How were you expecting to pull that off without making it look like you were cheating on me?” he countered.

“I- I don’t know. I guess I wasn’t thinking about it...”

Sam had been typing the list of “rules” for the summer in the notes app of his phone for the better half of an hour as you brainstormed together, and you had been on board with everything that it consisted of so far:

No gross pet names (babe, baby, and darling are acceptable)

No kissing with tongue

No telling embarrassing stories!! (yes that includes that one time i got a condom stuck in my nose and we had to go to the emergency room- that’s literally only funny to you)

4. Share a bed together for the whole trip

ACT LIKE WE’RE IN LOVE (@ y/n)

Spend at least an hour with family per day

Take “coupley” pictures together when my parents as- bc they WILL ask

Wear the matching shirts my mother made

Buy y/n all the alcohol she wants

It was a pretty decent list, all things considered, until he got to rule number ten.

“I mean it’s not like it’s going to be easy for me either,” Sam reasoned.

You rolled your eyes. “Am I supposed to thank you for your service or something? Applaud you for keeping it in your pants for two whole months?”

“You’re literally complaining about the exact same thing.”

“Yeah, but I’m only doing it to save your ass,” you huffed.

“Trust me, I’m well aware,” he said, sighing. “I’m sorry for dragging you into this.”

You gave him a soft smile. “You don’t have to keep apologizing. I wouldn’t be here if I didn’t want to be.”

“You don’t want to be. You’ve mentioned that several times.”

“Well, I wouldn’t be here if I didn’t love you.”

Sam smiled at that. “Thanks, I love you too.”

“Alright that’s enough sincerity between us for a lifetime,” you said and chuckled uneasily. “We can go back to being assholes to each other now.”

“Good, that took a lot out of me.”

You glared at him, but refrained from making a comment. “What’s next on the list then, lover boy?”

“Already breaking the first rule-”

“Fine, what’s next on the list, fuckface?” you asked with a smirk.

Sam clenched his jaw and scrolled on his phone. “Okay, number eleven, no flirting with my brothers.”

“Do you really need to write that one down?” You watched as he typed it out without acknowledging you. “Like isn’t that kind of implied? You know I don’t see Harry like that.”

“He’s not the one I’m worried about,” he muttered.

You raised your eyebrows expectantly, awaiting an explanation, but he offered none. Instead, he moved on to the next rule and left you sitting alone in your confusion.

The majority of the rest of the flight was spent bickering with Sam over the list, undoubtedly annoying the hell out of everyone seated around you. The other passengers finally got some reprieve from the sound of your hushed voices when Sam put his earbuds in to listen to music. You knew he was only doing it to tune you out because whenever he was really listening to something he always shared one of his earbuds with you, but you couldn’t bring yourself to care. If he was going to be like that then... god, this was going to be a long summer.

You shifted in your seat so that you could comfortably rest your head on his shoulder and closed your eyes. Even though he was frustrated with you, you knew he wouldn’t push you away. It was just like that with you guys. He’d get over it by the time you landed.

When you opened your eyes again, Sam had fallen asleep too. He was slumped against you with his head resting on top of yours like something out of a movie. It struck you as ironic. To passers by you already looked like a couple. Game on.

Sam led the way through the busy airport terminal to baggage claim, apparently trusting you were right on his heels. But it was almost like he was trying to lose you with the way he was weaving through the crowd like a wanted fugitive. You could barely keep up. Some fake boyfriend he was.

You’d never seen your best friend like this before. Usually he was so calm and collected, the one who was always talking you off the ledge, but you could tell he was the one climbing stairs right now.

“Fuck, there’s no way this’ll work.”

It had been another one of those late nights in the library when Sam had thrown the stack of index cards onto the table in surrender and buried his face in his hands. You were both teetering on the edge of a caffeine crash. The words on the pages had started to blur together in a way that was almost illegible and neither of you could keep the important dates of your relationship straight.

“Yes it will,” you insisted as you gathered up the cards and handed them back to him. “We’re just burnt out. That’s why we keep getting things wrong.” He knit his eyebrows together in a way that told you he didn’t believe you, but didn’t say anything in return. You sighed and took a sip of your coffee, giving him a measured look over the lenses of your glasses. “It’s four am., Sam. We just need some sleep and then we’ll come back fresh tomorrow, you’ll see.”

He pushed his hair back from his forehead and nodded reluctantly. “Thanks for doing this with me... it’s, uh, really important to me.”

“I know.”

But you didn’t know why. Sam didn’t even study this hard for midterms, but here he was night after night with you mapping out every single detail of your fake relationship. A small part of you wondered if there was something more, something that he was keeping from you, but you pushed the thought down. You told each other everything...

As you watched him wait for your suitcases at the carousel, arms crossed, left foot tapping the tile impatiently, it dawned on you just how nervous he was. You wished there was something you could say to ease his mind, but the right words were escaping you. To be fair, you weren’t having any luck shaking your jitters either. You’d never been in a relationship long enough to meet your significant other’s parents. Somehow the fact that you weren’t even dating made it even more daunting. You desperately needed the Hollands to like you- for both you and Sam’s sakes.

“This one’s yours, right?” Sam asked and pointed to one of the bags he’d rolled over.

“Yeah, thanks for grabbing it.”

“Don’t mention it, babe.” You fought the urge to make a face- “you’re making a face.”

“Sorry, knee-jerk reaction. Still adjusting to hearing that.”

“Well adjust quicker because my brother will be here to pick us up any minute.”

“Wait, what?”

“How else did you think we were going to get home?” he asked.

“I don’t know. I didn’t think about it.”

You followed Sam outside through the automatic doors to the car loop to wait for Harry. It was warm out, but there was a light breeze that lifted some of the heat from the pavement. The sun had set mere minutes ago, and dusk was lazily settling over the horizon. You were too close to the city to see any stars, but the moon glowed dimly behind the clouds, like a performer waiting in the wings.

Sam scrolled through Spotify as you both sat there, carefully balanced on your suitcases, and offered you one of his AirPods. You took it wordlessly and put it in your ear. The gesture was comforting, almost intimate, a reminder that nothing had changed between you. At least not yet.

He was playing something you hadn’t heard before, a classical piece. It sounded old and European which didn’t narrow it down at all. A glance at the title scrolling across his screen suggested that it was French, but he put his phone in his pocket and stood up before you could fully read it.

Before you could ask what was happening a black Audi pulled up to the curb, parked, and a boy who was... not Harry stepped out of it. It was then that you realized Sam had never specified which brother was picking you up.

You knew Sam had an older brother, but he didn’t talk about him much. You had just assumed they weren’t close, but as you watched them hug and laugh together you weren’t sure what to make of it.

“Y/n, this is Tom,” Sam said as he introduced you to his brother. “Tom, this is my girlfriend, y/n.”

“Nice to meet you.” You held out your hand and he shook it tentatively.

“Likewise,” he replied, sounding unconvinced. “Can I help you guys with your bags?”

“Um, sure. That’d be great.”

You handed over your suitcase and backpack to him and joined Sam back over on the sidewalk while Tom lifted the luggage into the trunk with surprising ease.

Tom was about Sam’s height, slender like Sam too, but far more athletically built. Even through his t-shirt you could see the distinct outline of muscles you hadn’t even known existed in the human anatomy- it was ridiculous. His smile was the same as Sam’s too, but what really gave him away as a Holland were the curls peeking out from under his baseball cap. They were impossible to miss.

“Do you want to sit in the front, love?” Sam asked, pulling you back into the moment.

“No thanks, you catch up with your brother. I’ll be fine in the back.”

“Are you sure?”

You nodded. Tom didn’t seem too thrilled to meet you in the first place so sitting in the back seemed like the safer way to play it. Sam just shrugged and climbed into the passenger seat while you slid into the middle seat in the back.

“Did you tell mum we’re running a few minutes late?” Sam asked Tom once he’d merged onto the road.

“Yeah, she said she expects it from Heathrow anyway since they’re always so busy.”

“It was fucking packed, mate.”

“I know. Traffic was awful getting here. Everyone’s going on holiday.” Tom turned to glance at you, then back at his brother. “Are you guys hungry? Dinner should be ready when we get there.”

“When we get where?” you piped up in confusion, wondering who would’ve cooked at the boys’ flat.

“Mum’s and dad’s.”

You grabbed Sam by the shoulder. “Wait, we’re going straight to your parents’ house? Why didn’t you tell me?”

“What do you mean? Why does it matter?”

You stared at him, eyes wide. “I can’t meet your parents like this!”

“Like what?”

“Are you fucking kidding me? I’m wearing sweatpants!”

“And you look fine!” he argued. “Tom, tell her she looks fine.”

“Uh, you look fine.”

Why were men so fucking dense? You rolled your eyes and unbuckled your seatbelt. Your suitcase was just out of reach in the trunk so you hoisted yourself up over the seatback and grabbed one of the straps on the bag to pull it closer to you.

With your limited access it was hard to find what you were looking for, but you managed to randomly pull out a nice pair of jeans and a floral print blouse you’d thrifted last semester to change into.

Before either of the boys up front could register what was happening you pulled your t-shirt off over your head and started shimmying out of your sweats.

“What the fuck are you doing, y/n?” Sam hissed as the car swerved.

To be fair, you were just straight up taking your pants off in his brother’s car, but in your defense he’d really left you no choice.

“What does it look like I’m doing?” You snapped and looked back up at him defiantly, catching Tom’s eye in the rearview mirror as you did.

“Keep your eyes on the fucking road, Tom.” Sam grumbled, shooting daggers back at you.

You blew him a kiss in return followed by the middle finger as you buttoned your jeans with your other hand.

Tom laughed and turned to his brother. “I like her.”

lmk what you think i always appreciate feedback!!

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#instead of you #iou #tom holland #tom holland x reader #tom holland x you #tom holland x y/n #tom holland fanfiction #tom holland fanfic #tom holland fic #tom holland self insert #tom holland best friends brother #tom holland series

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antiloreolympus · 3 years

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11 Anti LO Asks

1. literally every interview, ask, and tweet we get from RS is nothing but a bunch of contradictions and her talking out her butt than actually knowing what she's talking about. i honestly cant take anything she says seriously because she'll just change it the next day.

2. ok but thats also what i dont get? bc as you said her long hair and red eyes are all tied to negative emotions ... but also at the same time is tied to her being hades' wife and the dread queen. isnt that framing her being with him and ruling the underworld as a bad thing then?

3. im all for joking around but assuming rs would put literally any symbols indicating which god or goddess it is is too much. the grapes are unrealistic :-/

4. I personally think that if Persephone really needed a relationship in her life Hermes would be a much better fit as he seems like one of the healthiest relationship she has with a person pronto. I guess that’s what you get if you don’t try to write him off as an emotional manipulators like every other love interests… Not counting Hephaestus cause she doesn’t even know him

5. why are the colors in LO so goddamn bright? is rachel's monitor not calibrated right or something

6. I don't see Hades' obsession over Persephone to be very cute or Persephone throwing everything she has or wants away for him as romantic, it just seems like these are two deeply troubled people who would only have a toxic, codependent relationship that's not healthy for either of them. maybe they could take a serious break from each other, revalue their lives, and get together years or even centuries down the line, but we know that won't happen.

7. i just know RS is gonna make it a "haha, gotcha!" moment when she makes demeter find out what happened to persephone and put all the blame on her like "see? you didnt prepare her!" or w/e instead of the fact rachel purposely made both persephone so comically naive and tbh stupid and the world so evil that even if demeter made sure persephone was battle ready she'd still get in trouble and/or harmed. rachel made all the cruel stuff happen to P and will still blame it on demeter no matter what.

8. is it just me or does it seem like the trial is a thinly veiled attempt of rachel trying to call out "cancel" culture and her critics? shes framing everyone who have legitimate concerns about the threat persephone is and the real crimes she committed as crazy and overreacting for it, and is just making up a bunch of canon breaking ideas to excuse or justify their actions instead of actually having stakes and a real story to tell. If LO ever had a direction RS has certainly lost it by now.

9. im sorry im looking at the panels melancholee-writes submitted and noticed not only is that not how you draw a pomegranate (what are those leaves) but the vines on her head change to three different colors. they go from a foresty green, to a more yellowish olive green, then to blue. im literally begging them to have a basic color sheet or something why is even the minor stuff inconsistent???

10. the wild part is you know if rachel kept the family tree intact zeus could have been the one to defend his daughter and vouch for her and hades but nah, why let her have any good family relationships and show zeus positively and take advantage of how close he is to hades? thats just silly.

11. what i find annoying (esp with lo fans) is they assume because its popular its good. like 50 shades sold over 150 /million/ copies, does that mean its better than actual literary classics that only sell a fraction of that? even its movie series made a billion plus profit, does that mean its the peak of cinema too? profits dont mean whats inside is good, often times it means the exact opposite, especially when something like LO has marketing team behind it while the rest struggle.

#anti lo #anti lore olympus #lore olympus critical #lo critical

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lady-literature · 3 years

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I rewrite Sky High

okay so, disclaimer: sky high was actually pretty damn good for it’s time and a lot of the plot twists/tropes used in it were still just starting out and not as commonplace as they are today. so 10/10 really good movie.

Also as i was writing this, it turned into half analysis of what’s already in the movie and half things I would change about the movie so,,, yeah. enjoy!

***

So the point about Sky High is that and the way the school and hero society as a whole works, is that you, as the audience, are supposed to look at it and know that it’s a flawed system. We’re supposed to see it as an injustice that kids are sorted into hero or sidekick- Sorry, I mean ‘Hero Support,’ on your first day of school based on something you can’t even control.

(This movie was my hero academia-ing it up before it was cool.)

Anyway, the movie calls a lot of attention to it in the beginning, but then doesn't actually give it the resolution it deserves in the end. Which, not cool guys.

The Hero/Sidekick debacle is, on the whole, a very thinly veiled metaphor for the problems minorities face. Specifically, those of the alphabet mafia, or LGBTQ, as we’re more commonly known.

There are a lot of examples for this so I’ll speed through the big ones real quick:

Will’s nerves regarding not having attraction to girls superpowers?

The way he tries to fake having an attraction to girls superpowers to get approval from his dad?

Being literally outed in front of his whole class (by someone named Boomer no less) and then immediately trying to hide it from his parents as long as possible?

The constant references to being a ‘late bloomer’. Doesn’t it remind you of the common phrases: ‘it’s just a phase’ or ‘don’t worry. You’ll start liking [opposite gender] eventually.’ ?

The scene in the kitchen, right after Will introduces the Sidekick Squad (and yes, that is what I’ll be referring to them as for the rest of this essay tumblr post). Will is so obviously trying to gauge how his dad is going to take his friends being sidekicks and also him being a sidekick. I just, this is so blatantly a coming out scene? How does anybody not see it as that?

(also the dad talking so offhandedly about bigotry and the hatred his own father had for sidekicks??? Who else has been there?)

Will telling his dad that he doesn’t care, that he’s proud of being gay to be a sidekick is just,,, *chef’s kiss*

With all of this backing behind Will and him growing into not being ashamed of his lack of powers, My first change would be that Will does not, in fact receive his father’s super strength. It’s just such a cop out! The movie had all this amazing build up, and this brilliant metaphor it could have used and, instead, they threw it all away.

The sudden acquisition of powers and immediate acceptance by his peers, feels too close to someone being ‘fixed’. That Will wasn’t good enough the way he was and had to be better, had to be his father in order to be good enough.

So, no. Will remains powerless.

Instead of the revelation of ‘he’s strong’, we get to let the Sidekick Squad shine.

Lash and Speed still cause a fight between Warren and Will, but when Will is under the table, the sidekicks actually do something.

Will knocks the table over (not, like, lifting Warren up but something closer to pushing him off. I mean, even I could push upwards from underneath a table fast enough that if someone is standing on it, they’d lose their balance and fall to the ground) and that starts things.

The Sidekick Squad all grab forgotten lunch trays or cartons of milk or something and throw it at Warren. It isn’t long then that the whole scene devolves into a food fight (Zach, at least, does not have good aim and probably hits a bystander accidentally, drawing more people in, until the whole cafeteria is involved.) The fight turns into something more playful, but still with that bit of an undertone of trying to actually hurt each other.

Ethan melts at one point and (accidentally) causes Warren to slip and land on his back, Magenta probably punches someone (not Warren) and Zach is just mouthing off to anybody who gets close enough. Near the end, right before Principal Powers shows up, Layla finally gets the right idea and just fire extinguishes the shit out of Warren.

(Side note here: I am very much also nixing the Layla crushes on Will plotline. I love best friends to lovers just as much as the next person but… no. Let kids see boy/girl friendships!

Instead, I will be inserting a Layla/Warren love story and you can consider this the first scene on the road for that.)

Anyway, the whole Sidekick Squad plus Warren ends up in the detention room and all of them are covered in food. Right after Principal Powers leaves, the Sidekick Squad is immediately talking excitedly to each other about how cool they just were and what they did. Basically it’s very wholesome and they’re all hyping each other up and then one of them, Layla or Will, excitedly turns to Warren and goes, ‘and that thing you did with the fireballs? God! I don’t think Lash is going to have any eyebrows for a month’ and the tension between them all but drops.

Warren, of course, tries to push them away and not get involved with their ridiculousness, but the Sidekick Squad is stubborn and by the end of detention, everyone but Warren is in agreement that he’s a part of the Squad now. They will not leave him alone. They also start hanging out at the Paper Lantern all the time just to annoy/make fun of him in that loving way friends do.

(I just want Warren to be a part of the Squad guys. Will calls him his best friend at the end but what did the movie actually do to show they were friends? Nothing, that’s what. I want that fixed.)

So the cafeteria fight boosts the whole Squad’s reputation, right? People think those sidekicks are pretty cool, and they get their fifteen minutes of fame. Only… Will gets a little hooked on the feeling of being popular. He doesn’t want to be a capital-h Hero or anything! But, well… he’d be lying if he didn’t like people thinking he was cool.

The others don’t really care all that much about being cool, but Will does. He hates that he does but what is he supposed to do? He can’t change how he feels. So he starts trying to make himself more popular and sometimes tries dragging his friends into stupid schemes.

And then enter stage right, one Gwen Grayson.

I prefer Gwen being Royal Pain’s daughter, actually. A girl who would’ve had no stock in this fight but her mother, who is sickly and weak and survives mostly because her daughter takes care of her, practically brainwashes Gwen to do her bidding.

Gwen is a minion here, and also, perhaps, a victim.

At first, she follows her mom’s orders and charms Will into dating her. She also feeds into his desire to gain popularity but can’t, in this world, break him from his friends. Actually, Will brings Gwen along to the Sidekick Squad hangouts and, slowly, she becomes a part of the group too.

She starts to doubt her mother. Starts to care for Will and the Squad.

She throws the party, and the Squad is all invited (trying to break them up isn’t conducive to the Plan her mother has anyway and wouldn’t work besides) but she lures Will away to make out and… other things, and he brings her to the Sanctum for privacy just like before. She still steals the pacifier (or whatever death ray equivalent you want idk) but she and Will don’t break up at the end of the night.

It’s not actually until two days later, right before the dance is going to start, does Gwen decide she can’t stand back and let this happen anymore. She spills the whole plot and her betrayal to Will when he comes to pick her up for the dance. She’s crying and apologizing and basically expecting to be hated forever by the only people she thinks ever actually liked her.

And, well. Will is furious at her for lying but there’s more important things to deal with at the moment. They’ll talk more about this and he’ll be angry, but that’s all going to be later. Right now they have a school to save so he grabs her hand and starts running to warn the rest of their friends.

Things happen mostly as canon from that point with minor changes.

It’s Warren who pulls Layla into a kiss before they all split off into groups, telling her to kick ass and stay safe before sprinting off after Speed. There have been scenes throughout the movie where the two are very obviously getting closer and are into each other. And then, before the dance, while Gwen and Will we’re technically going as a couple, the whole Squad was going as a group.

When Warren and Layla saw each other all dolled up, it’s very cliché. Warren says she looks nice and Layla visibly gulps at his outfit of a button down and suit pants, sleeves rolled up to his elbows (because homeboy does not wear a full tux you can fight me on this).

And also, Will doesn’t fight Royal Pain by himself. Instead, Gwen is there with him and they don’t fight with super strength. Gwen’s been helping Will build an arsenal of gadgets a la Batman and the two face off against her mom together, Gwen with her powers, and Will acting as half support and half as a watered-down Batman who still needs some more training before he’s totally polished.

The school falls from the sky, but Gwen buys them time by keeping the anti gravs working through sheer force of will, while Will holds off her mom from attacking her while she’s vulnerable and concentrating. Magenta eventually kills the EMP or whatever it was, and the day is saved.

Gwen passes out, cause ~drama~ but she ends up okay so don’t worry. She’s just exhausted.

The sidekicks get their recognition and then immediately bounce because dances suck and they all agree that they should go to the Paper Lantern instead to celebrate cause they’re tired, alright? Saving the day is hard.

So it’s all of them, a little battered and bruised and exhausted, crowded into this corner booth and laughing and being kids. The camera does it’s fade to comic book page thing, and the narration is something more along the lines of:

“Royal Pain and her cronies got locked away. Gwen and I talked things out, and she’s getting help for all the stuff her mom did to her. We’re taking things slow in the meantime.

The school is undergoing a lot of changes to the curriculum and getting rid of the whole ‘hero/sidekick’ divisions. (Mostly at the urging of my parents… and Layla). Next year is going to look a lot different, I think.

But it’ll be a good different, just like we are. None of us were what we were expected to be, and, I think, we’re going to keep defying expectations. There’s a whole world out there that needs changing.

And I can’t think of a better group of friends to do it with.”

THE END

(just give me found family saves the day by being themselves rather than somebody else, give me them saving the day because they care about each other, give me them fighting for what’s right and fixing things. please i am b e g g i n g.)

***

Additional nitpicks that are small but Very Important to Me

Coach Boomer is still called coach Boomer because there is no way I am missing out on the ‘okay, boomer’ jokes

Layla stays like Layla, but i’d like for the movie to stop trying to make her seem annoying for her beliefs or like she’s wrong to be so vocal about them. Her caring about things that are wrong ends up as the butt of too many jokes and i… do not like that.

Why so many dad/son scenes? Why this janky imbalance parenting dynamic between the Strongholds. Knock that shit off. I want happy functional family thank you very much

Mr Boy and the mad scientist are very obviously in a relationship

Wait, actually: mr boy, mad scientist and Boomer are al in a poly relationship and are ridiculous about it

I’d like to see more of the sidekick classes going over like, ‘the boring’ parts of the job, and teaching the kids how to deal with the aftermath of the heroes heroics, just to hammer in the fact that the system is fucked up and that it’s messed up that the heroes get all the recognition while the sidekicks are left to clean up the mess

Use actual 14 year old actors? These kids look like seniors.

Or, if you want more ‘mature’ characters make it so sky high is like,,, a finishing school or smth. Something kids 16 and over go to.

(What the fuck kind of parent thinks that their freshman child dating a senior is a good idea?? An almost adult coming onto a fourteen year old??? Are you trying to make Will’s parents (particularly the dad) seem like irresponsible assholes??)

Gwen is, at most, a year above Will in this rewrite, kay?

#my typewriter #sky high #disney #warren peace #superheroes #lgbt

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starrybouquet · 3 years

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yo should i watch star trek? i've been thinking about watching it but there are so many shows and movies and it's verrry overwhelming.

star trek and ncis have both been in my list of shows to watch for a long time, but i never got around to actually watching them. watching u post about them makes me wanna binge watch them but it's SO overwhelming and idk where to start

Okay, first off, you should ABSOLUTELY watch Star Trek. It's GLORIOUS and absolutely bonkers and thoughtful at the same time. You should also definitely watch NCIS because for a show about murder, it is surprisingly comforting 😂

This post got VERY VERY long because I learned I have a LOT of thoughts about how to watch large amounts of television. Uh, sorry 😂I split it up into NCIS and Star Trek, and then....the Star Trek section is still really long. I hope it's not too much rambling, and that it is possibly helpful?? I feel really honored you asked me about this <3

NCIS

NCIS is pretty simple to binge - I just finished watching it for the first time. Pretty much, I'd run straight through NCIS (the original, not NCIS:LA or NCIS:NO) from season 1-13. A few caveats: I enjoyed s1-s2, but I have some friends who were bothered by a few episodes that were transphobic. I mean it's kind of expected, since the show started in 2003 and some of the characters weren't written as the most accepting people, at least at the start But that doesn't make it easier to watch. If you think that will bother you, I'd be happy to give you a list of episodes to watch/skip. :)

From season 3 onward, I'd really just watch in order (you can skip some of the more gruesome ones *glares at two specific season 3 episodes*). I wandered off sometime around season 13/14 but you can conceivably continue on to season 18 which just finished like a week ago, I think?

Oh, and then you can try the spin-offs. Neither have really been able to hold my attention but you might have better luck!

Star Trek

Okay this one is a lot less simple. Yes, there is SO much Star Trek and asking yourself to binge all of it is very very confusing because....this timeline is a good explanation.

Yeah.

Sir, what?

So! There's no right way to binge Trek. I'd definitely start with a TV show. Yes, there are a lot of Star Trek movies and some of them are fabulous, but Star Trek was born on TV and the TV shows are still the bread and butter of the franchise.

There are maybe five good entry points for Star Trek. If you don't like the first one you try, try a different one, since they are similar but every entry in the franchise has a very different feel.

I'd say there are maybe five good entry points for Star Trek:

Star Trek: The Original Series (1966-1969) The classic, very first Star Trek. Kirk, Spock, McCoy. Absolutely ICONIC. Has a few fabulous, classic high-concept sci-fi episodes and a few absolutely HILARIOUS episodes. If you choose this one, be prepared for a show that's VERY 60s in color and style, thinly-veiled Vietnam War allegories, and a lot of William Shatner.

Star Trek: The Next Generation (1987-1994) My personal favorite. Episodic, absolutely brilliant acting, and the RANGE! Literally has a cross-dressing Wild West romp one week and a deep, "machines develop a sense of self-preservation" plot the next. Some of the very best television ever made. The only problem with TNG is it starts reallllly slow. Most people don't really enjoy season 1, and it really doesn't get good until halfway thru season 2. So I'd recommend watching the pilot, then maybe skipping through a few s1 episodes as they strike your fancy. There are a few good ones but also many duds. The nice thing is it's entirely episodic so you can skip without worrying about losing the main thread of the story. After the pilot, I think the only season 1 episode that's crucial for plotty reasons is Skin of Evil (1x23)? Then starting with A Measure of a Man (2x09) I'd watch straight through. The rest of the series is EXCELLENT and quality is, on average, fairly high. (Okay, you can skip the last episode of s2 since it's a clip show. A writer's strike happened. XD) If you choose this route, be prepared for the slow start. And the VERY 80s sci-fi costumes. :)

Star Trek: Deep Space Nine (1993-1999) I'm not a huge DS9 fan, but I really, really enjoy their comedic episodes. If season-long arcs and a more gritty, politick-y feel strikes your fancy, this is the show for you. Again, this one has brilliant acting (most Trek does tbh) and a LOT of range. DS9 is set during wartime, so it's definitely got a different feel. I like it but don't love it, but this show has changed the lives of a lot of people, I think, so it's definitely a good option. I think DS9 starts better than TNG, and this is definitely one you want to watch in order. Seasons 1-3 are a little more episodic and then the series-long war arc begins in earnest.

Star Trek: Voyager (1995-2001) I have an outsized love for Voyager entirely because of fandom. (J/C fandom has a very large overlap with Sam/Jack fandom!) The premise of Voyager is that it's a ragtag crew (half military officers, half rebel terrorists) trying to get home after being flung 70,000 light years from Earth (which will take roughly 70 years for them to traverse). This is the only show with a female captain and it is TERRIFIC. I'm just saying, if you watch this one, be prepared to ship the captain and the first officer. Because...you will. :) Overall quality of Voyager is, IMHO, not quite as high as TNG. It's again more episodic with some occasional multi-episode plot threads. But the two shows have equally strong captains, and Voyager is definitely a more scrappy ship than TNG's Enterprise. The characters change a LOT over seven seasons, so definitely watch Voyager in order. I think this show actually has one of the better pilot episodes of Star Trek, in a franchise full of notoriously poor pilot episodes.

Star Trek: Discovery (2017-) If you want a "modern" show - y'know, fancy effects and such - I'd roll with Discovery. But it's definitely a controversial entry in the franchise, and one of the less consistent ones, IMHO. But I really like the pilot, and also enjoyed season 2, so you could definitely start here if you're looking for something that's more recent and less, y'know, of whatever era it was made.

For people who love SG-1, I'd probably start with TNG or Voyager? I'm not sure. Discovery is a lot flashier but I think you'll probably enjoy the other four more, if you like SG-1. Totally a matter of personal taste, though.

I hope you got to the end of this, and honestly, if you want to get into either of these shows and are still confused, just message me? I will happily give advice :)

TL;DR

Just binge NCIS from episode 1 onward. If you are very sensitive to transphobia, message me and I'll tell you which season 1 eps to skip.

For Trek: If you love SG-1, I'd start with The Next Generation or Voyager. But honestly, you could start with The Original Series, The Next Generation, Deep Space Nine, Voyager, or Discovery, depending on what you like in your TV.

#trek #ncis #uhhhh i hope this is sorta helpful #asks and answers #spacey-iris #watch guides #is that what these things are called?#also i have a half-finished sg1 and pjo post #that i need to finish for you #aahhhh #my blogstuffs

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sage-nebula · 3 years

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the pokemon company be like *thinly-veiled misogyny*

To be honest, the sexism isn’t even really thinly-veiled if you think about it. Like off the top of my head:

— Professor Juniper was our first female professor, and it took until Gen V to get her. But whereas all the other professors got to stand on their own without needing anyone else, Professor Juniper had to have her father come in to provide answers to various plot occurrences that she didn’t know. IIRC, she also inherited her practice from him, which was also something that the male professors before and after didn’t have to contend with. It’s a miracle that this was averted with Professors Magnolia and Sonia in Gen VIII, both of whom are women.

— Speaking of female professors being screwed over, in Gen VII we’re introduced to Professor Burnet, whose practice specifically focuses on ultra wormholes and disturbances in space-time (which makes sense since she was previously working on the Dream Radar). Given how much of the plot concerns ultra wormholes, you would think that she would be the main professor of the story, or at least play a big part. But you’re wrong! Instead she’s only in one mandatory scene, and then is basically never heard from again. Meanwhile, Kukui shows up all the goddamn time even though his goal (to create a League) is literally meaningless in the scope of the overall plot. (And even that could have been cool if it had delved into the socio-political ramifications of what overthrowing Alola’s current system of government for another one would mean, but now is not the time to get into the failings of Gen VII’s plot. I’ve gone through that enough times.)

— Back to Gen V for a second, we’re also given two rivals in the first of the Unova games: Bianca and Cheren. While Cheren, the male rival, is taken seriously and has it talked up over and over how great of a battler he is, Bianca has her Munna stolen from her halfway through the story and spends the rest of the game talking down on herself and ultimately deciding that her father was right and she really is not cut out to be a Pokémon Trainer. Keep in mind that Bianca was the first mandatory female rival in the games, because while May could be a rival in Gen III if you played as Brendan, if you chose to play as her, both rivals (Brendan and Wally) were male. So on that note, our rivals so far look like:

Gen I: Blue Oak (male)

Gen II: Silver (male)

Gen III: Wally (male), optional May (female), optional Brendan (male)

Gen IV: Barry (male)

Gen V: Cheren (male), Bianca (female), Hugh (male)

Gen VI: Shauna (female), Tierno (male), Trevor (male), optional Serena (female), optional Calem (male)

Gen VII: Hau (male), Gladion (male)

Gen: Hop (male), Bede (male), Marnie (female)

So, let’s see. We only have two mandatory female rivals (Bianca and Marnie), as well as two optional female rivals (May and Serena). Meanwhile, we have twelve mandatory male rivals, as well as two optional male rivals (Brendan and Calem). To cap this off, while the mandatory male rivals (outside of the useless Kalos ones) are always treated as strong, competent battlers who have important roles in the story, our two mandatory female rivals, well . . .

Bianca: See above

Marnie: Gets battled a whole grand total of two times and has basically zero impact on the plot despite the fact that her brother is the only Gym Leader who didn’t give into Rose’s vision for how Galar should operate and use Dynamax evolution

And even when it comes to the optional ones, since Brendan is treated as the default MC by TPCi, that means May is the one who gives up training to go be a professor like her dad. (Which is the exact thing they basically did to Bianca in Gen V, except she studies under Juniper instead.) Serena at least keeps battling if she’s the rival, but jeez.

So to say there’s definite gender inequality where the rivals are concerned is a bit of an understatement.

— Moving away from the rivals, let’s talk about villains! We didn’t get a female villain until Gen VII with Lusamine, and even then she wasn’t allowed to stay a villain because I guess Game Freak doesn’t want to accept the fact that women can be evil, too. Moreover, all of Lusamine’s achievements come from the men in her life, and all of her motivations revolve around her husband. To spell it out:

- She inherited the Aether Foundation from her grandfather / father, without having founded it herself like we’re at first led to believe.

- Her husband Mohn was the one who discovered how the ultra wormholes work, not her. IIRC, he was also the primary researcher behind Type: Null’s creation.

- The reason why she does what she does is because she’s looking for her missing husband Mohn, with an added dash of “women just go crazy (and abuse their children) without their husbands!!1!!!” thrown in for flavor.

Compare this to Giovanni, Maxie, Archie, Cyrus, Ghetsis, Colress, Lysandre, and now Chairman Rose, all of whom formed their own organizations (Giovanni inheriting his from his mother is anime only and does not pertain to the games at all) and had their own goals and desires, versus relying on someone else for those goals and desires. And as if Lusamine not being allowed to form her own organization and have her own goals for her own sake wasn’t bad enough, they then had to go and make it even worse in USUM by turning her into a damsel in distress in the Rainbow Rocket plot, depicting her as not only less capable as the male villains, but also less capable than her male subordinate. Gag me.

— On that note, Oleana is sorely underappreciated by basically everyone except the Twilight Wings writers considering she’s the only reason anything Rose did got done, yet got none of the credit for herself. Damn shame.

— Stepping away from the games for a moment, Generations was a hot mess in terms of sexism. First of all, they only ever used the male MCs, pretending that the female ones didn’t exist at all, even in cases where the female MCs are vastly more popular (e.g. May, Dawn, Hilda). Second, most of the episodes focused on male characters from the series, and the ones that didn’t were either there so they could disrespect the best character in the series by not giving her the episode she deserved (Zinnia), or were told from the point of view of a male character despite that it was supposed to be a female character’s story (Emma). And lastly, there was whatever the fuck that mess with Cheryl was. It was animated in a way that made it look like an anime not suitable for anyone under the age of eighteen. Like honestly, what the hell.

— Leaf has been consistently and constantly disrespected all over the franchise. Despite there allegedly being four trainers who left from Pallet Town (counting Ash) in the anime, Leaf has never been seen or mentioned even once throughout the two decades that anime has been running. They had an opportunity to show her in at least a cameo form in the 20th anniversary movie, but they chose not to do that either, adding yet another disappointment from that movie to the list. She had no appearances in Origins, no appearances in Generations, they didn’t do what they should have done in HGSS by making her the rival atop Mt Silver if you chose to play as Lyra, she wasn’t a skin for Pokémon Trainer in Super Smash Bros. until Ultimate, I’m pretty sure they never made an Amiibo for her either, they replaced her with her Special counterpart in LGPE and her characterization absolutely bonkers to boot, and back to Masters, SS Leaf doesn’t have the Main Character designation for the theme skills that SS Red has, and is also routinely left out of any story bits that feature Red or Blue. It’s a miracle she was even included in the Battling Legends event or whatever it was. As far as TPCi seems to be considered, Kanto only has one main character and that’s Red.

— Oh and speaking of Iris, they gave her the Gym Leader theme designation instead of the Champion designation, instead choosing to act like Alder is Unova’s only Champion when he, no offense, didn’t really fucking do anything in Gen V. :’) We hate to see it.

— In the current run of the anime, the two boys (Ash and Gou) have gotten to go around and have adventures for ~50 episodes while the girl (Koharu) has had to stay home and go to school. You can argue, “She wanted that!” all you want, but you have to remember that she only wants what the writers tell her to want, and the writers said the boys get to have adventures while the girls stay home. She finally has an Eevee and will presumably go on adventures now, but we’ll have to wait and see. And don’t get me wrong, I like Journeys and I love Gou as a character, but it is absolutely a Choice to not have a female lead present in the adventures at all and it’s one that the writers deliberately made for whatever reason.

— On that note, let’s look at Ash’s female companions, shall we?

Misty: A Gym Leader who has a vague goal (water pokémon master) and is largely out of focus during her run as a primary companion. She had no rivals or in-series (as in, concrete ones she could accomplish before leaving the main cast) goals of her own.

May: A coordinator. Does have rivals and has a story, which is nice, but battling isn’t her focus.

Dawn: Another coordinator. Even more focus than May (she was written as a deuteragonist), but also not primarily focused on battling.

Iris: A battler (her Gym Leader / Champion Status is written out) who actually does get decent focus and a cool arc surrounding her connection to dragons.

Serena: A performer, which is a girls-only career path that doesn’t have battling in it at all, unlike contests. Does have a goal, but much of her character is written around her crush for Ash and at the end of the series she says that he is her goal.

Lillie, Lana, Mallow: Honestly I didn’t watch enough of SM to have an opinion on how these three were handled outside of hating how Lusamine didn’t get to be a villain in the anime either.

Koharu: See above, she’s only just now getting to be involved with things.

Now, don’t get me wrong: There’s nothing wrong with being a coordinator (and we do see male coordinators too, such as Drew and Harley), and I think that both May and Dawn are wonderful characters. But it does make me feel some kind of way that the female characters were often given the “girly” sidequest while the male main character got to go for the Gym badges, especially since AG and DP went on for a good chunk of years. None of the ladies so far have been treated as badly as Serena was (that performer stuff is just nasty, I’m not sorry), but again, it’s a deliberate choice and something to think about, especially since I feel the only reason they didn’t go that route with Iris is because of her Gym Leader / Champion status in the games.

I could probably think of more examples of the casual sexism in the series if I thought about it, but this is just from the top of my head. As you can see, there is a lot. All of this being said, and I’m putting major emphasis on this since I don’t want anyone to get it twisted—

I love Pokémon with my entire heart, flaws and all. It has been my hyperfixation for 22 years and that is not going to change any time soon. So DO NOT even dare suggest that I hate Pokémon, or shouldn’t play it, or anything like that. I will be playing Pokémon on my deathbed and nothing and no one will stop me.

But that being said, I criticize because I care. Because I wish it would do better. Pokémon is for everyone. It’s for boys, girls, nonbinary folks, and people all over the gender spectrum. But the treatment of its female characters and the abundance of favoritism shown toward the male characters leaves a lot to be desired (though at least girls are at the table, whereas trans folk are relegated to background NPCs and nonbinary folk are nowhere to be seen :/). I think Pokémon can get better—Magnolia and Sonia felt like a proper apology for how Juniper in particular was shafted, not to mention Burnet—but it’s got a long way to go.

(And also, yes, you’ve understood this right. Twilight Wings is the only anime series to not fuck up at all when it comes to sexism. You go, Twilight Wings. Four for you, Twilight Wings.)

#pokemon critical #pokemon criticism #pokemon negative #let me know if I should use any other tags #long post for ts #stabbymattress #the treatment of Ash's female companions from best to worst has been:#Dawn - May - Iris - Misty - Koharu - Serena #and the Alola girls somewhere in the middle ig I honestly didn't watch enough of that series to know

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anextraordinarymuse · 3 years

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I need your thoughts about why you read Shane and Oliver being intimate in To The Alter. The longer the better.

Well, I am happy to oblige!

As I mentioned in that original post, I have no doubt that this isn't a popular take on Shane and Oliver's relationship, and I know that SSD is a faith based show, but I think that Shane and Oliver's interactions in To The Altar were purposely written to be ambiguous. So, let's break it down, shall we?

To start, I personally don't believe that Oliver and Shane sharing that last intimacy would diminish either their faith or their connection in any way. Oliver is old fashioned, but only to an extent, and while this is a faith-based show it also doesn't exist in a vacuum. Hence why I think there is ambiguity in the way their interactions are presented: so you can interpret them in whatever way you like.

So. In To The Altar, we see Shane and Oliver interact in ways that we have never seen before. It's not out of the ordinary for Oliver and Shane's wardrobes to match, but right at the beginning of the movie they don't just match: they're dressed almost identically. Both are wearing their dark green plaid outfits; Shane's coat is blue, and Oliver's tie is almost the same color blue. This is pretty innocuous except that it immediately made me wonder how they pulled that off, because the match is too exact to be accidental (IMO). My first thought was "how cute, they must have done that on purpose", and then the next thought was "well, how would they have done that?" Now, this isn't really important except that it's what kind of set me on this track in the first place.

The first interaction that really set me off was the teasing between Oliver and Shane on the post office floor. Oliver tells Shane that he can't bend the rules just because "You and I are ... especially because you and I are ...". But Oliver can't finish the sentence, and his inability to articulate what exactly they are triggers something playful in Shane. She gets right into his personal space, goes up on her tiptoes and whispers in his ear, "I love it when you get all 'Ms. McInerney on me.'" Now, we've seen Shane being playful before, and Oliver as well to some extent, but this is ... well, this is new. The way Shane whispers in his ear can be interpreted as being at least lightly seductive; the fact that Oliver can't seem to stand still while Shane is in his personal space seems to indicate that this moment makes him feel some sort of way as well. He literally bounces on his feet - more than once - but there's no discomfort in his expression. He's smiling, but it's a playful, secretive sort of smile. Honestly, there's so much playful intimacy in this moment that it should be illegal. No matter how you read it, it's clear that these are two people who are very comfortable with and in love with one another. It was all of these things together that struck me: here they are in identical outfits as if they got dressed that morning together, sharing a playful and perhaps thinly-veiled seductive moment, and Oliver can't finish his sentence with "just because you and I are dating?" There are two alternatives here: one is that Oliver doesn't say dating because he's already started thinking about the future and what ends up being his proposal ... and one is that the end of his statement would have referenced their new intimacy, which he could not find a way to do appropriately so did not finish the sentence at all. This interpretation would also tie in nicely to Shane's sudden teasing, because she knows what he's trying not to say and decides to tease him about it.

The very next scene that Oliver and Shane share is the infamous wedding dress scene. The intimacy of their previous moment is directly carried into this one. The way that Oliver steps forward to fasten the buttons and then he and Shane watch each other in the mirror is just ... my brain immediately went "oh, they've done this before." I don't know how else to explain it, except that this moment felt new to us as the audience, but not new to Shane and Oliver. Shane has been caught with the wedding dress, yes, but that's where the surprise of the moment seems to end. This moment is reminiscent of countless romance movies where the leading man zips the leading woman into (or out of) her dress. Oliver is the playful one in this moment, and all of Shane's shyness stems from the fact that he's seeing her in a moment that she didn't intend on him seeing; again, aside from the wedding dress, this moment seems so familiar to them that Oliver is comfortable teasing Shane. That's a huge thing in my mind, because Oliver is not playful in moments of discomfort or uncertainty. Also! We don't see Oliver approach Shane at all - one moment he's staring at her from a few feet behind her, and the next moment he's reaching out to do up her buttons. How did he know that the buttons were undone? There's no way he could have seen that detail from where he was first standing - so did he know that they were undone because he knows that Shane has a hard time reaching that spot? It just felt so .... deliberate that we were shown Oliver's hands buttoning the dress.

The next scene that stood out to me was actually the moment between Norman and Oliver at the tuxedo fitting. Norman has just admitted that he and Rita are both virgins, and that he's nervous about "going to the movies" as he's termed it, because he's afraid he won't be good at it. Oliver's advice is both sweet and confident: "Norman, you aren't going to the movies, you and Rita are the movie. You are the stars of your own love story. And when the time comes you will know your lines, and it will be beautiful." Now, nowhere in this moment does Oliver seem to overtly draw on anything personal, and we know that he's just good with words and giving advice overall. This moment could be nothing - just some beautifully worded advice - but in many ways, Rita and Norman are foils for Shane and Oliver. If Norman and Rita are both virginal, then the foil would be for Shane and Oliver not to be. That tracks with their characters, since we know that Oliver was married before and Shane is not as old fashioned as Oliver (so theoretically might not have the same 'wait for marriage' attitude that many people assume Oliver has). Again, this moment might be nothing, but given that it comes after those moments with Shane and not before it makes me think that Oliver is actually drawing on how he feels about his relationship and intimacy with Shane to set Norman's mind at ease. Also, since we've moved past Holly so completely at this point it wouldn't really make sense for Oliver to be drawing on those experiences (especially at what is, in many ways, the height of his relationship with Shane). Thus, if Oliver is drawing on anything personal in this moment it must be with Shane.

Now, at the beginning of the movie Shane and Oliver's wardrobes are either very in sync/complementary or downright identical, as mentioned before. But as we get to the middle of the movie and later, their wardrobes are no longer as in sync (or are in the same color palette, but not really similar). This coincides with Oliver's preoccupation - but it also made me wonder if it doesn't signal the nights that Oliver and Shane spend together vs. the ones they don't. Since Oliver is old fashioned, and Shane isn't, there could be a compromise there: maybe they spend one or two nights a week together, but not all of them.

So. I think these things were meant to be ambiguous so that the audience could interpret them how they chose. It could be that these interactions are clues hinting at the evolution of Shane and Oliver's relationship ... or not. There's not a lot of them, but the fact that they exist at all - and that these interactions really aren't present in any other movie, or with any other couple - is what caught my attention. Obviously I fall into the "their relationship has evolved" camp. Given what we know of the characters I think this the most realistic interpretation. Oliver and Shane are at least in their mid-thirties; one has been married and the other has had at least one serious relationship previously; this isn't a first serious relationship between young people (like with Norman and Rita). By the time we get to To The Altar, Shane and Oliver have been dating for a year (based on when the movies aired, since we don't have a concrete timeline in the show), and I think based on the giddiness of their interactions that any intimacy they've shared is still new, so we can safely assume that they probably took their relationship progress slowly. A year is a long time for two adults in a seriously committed relationship to wait to have sex. Like I said, I know that this is a faith-based show, but it doesn't exist in a vacuum and it aired in 2018. Also, I wish I had gifs of all of these moments to include here!

The best thing about this is that it can be interpreted in any way that you want it to be. I have interpreted it the way I have based on the things I've laid out above, but that doesn't invalidate any other interpretation.

So, what do you think?

#ShOliver #Shane x Oliver #SSD #ssd: to the altar

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yellowocaballero · 3 years

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ugh what you said about jon just helplessly missing deisha and despite being able to connect, still ultimately grieves alone forced me to think about this one book that said something like “grief is a room you enter alone” and I just ;_; something I love about your metas so much is that you rlly pick apart how it can be true that multiple things can be happening at once - he’s being understood, but he can’t be understood, he’s monstrous, but he’s human etc. basically I adore these essays and just reading how you build and present flaws in characters I think is genuinely making me a better writer

THANK YOU...I think we all grieve alone, just a little bit. With people, and maybe especially with more intangible things - when we move to another city or country, when we live alienated from our home cultures, when our bodies fail us, or when relationships fail. It’s inherently such a solitary thing.

And yeah, so often in life we’re feeling so many contradictory things!! Maybe even ALL THE TIME! I’ve loved and hated simultaneously, I’ve never wanted to see someone again and found myself constantly seeking out contact. You ever never want someone to text you, but you’re sad that they don’t text? I want to go back to my workplace but also I want to keep working from home forever. So it’s a real, legitimate feeling, I think.

But that’s also not why I write it that way. Stories inherently kind of have to work on both a literal and symbolic/metaphorical level. You said that you were interested in the writing bits, so I’ll get specific - I determine what happens in layers. Some things are the most essential aspects of the story, and everything else has to warp around that. Hope Etc is a very weird and bad example because a) I put no thought in this story and b) the nature of daemons is that they literalize the metaphorical. So basically every physical thing that Jon does is metaphorical for something.

So what a story is ‘about’ is the most important thing, and this can change and shift throughout the story as you realize what keeps cropping up time again and again (which is kind of oxymoronic). I use monster vs human a lot for this specific fandom, because monsters can have whatever metaphorical significance you fucking want them to, but other stories such as hope vs desolation, optimism vs pessimism, wanting to die vs choosing to live, etc, work too. The second thing is tone - which determines the message of the story dramatically. What a story is ‘about’ can’t be pessimism when you have a light-hearted and comedic tone. Unless you’re getting REALLY creative. You can add a lot of additional themes to that, but a bunch of themes together make is what something is about. Also very important is that for me what something is ‘about’ includes genre.

Then what’s kind of wrapped around that is the metaphor. Literal things happen, which have metaphorical meaning, which advance what a story is ‘about’. Not everything that happens is metaphorical - sometimes things have to happen to advance the plot - but things that happen need to advance something. Either plot, or a character arc, or they need to have metaphorical significance. In my opinion the most deft writing is when everything that happens has all three.

I think over metaphor is character arc and character. When something happens in a story it has to advance the plot and advance the character’s arc. The character’s arc forms a trajectory that spells out the theme. A character arc for me frequently means the relationship between two characters, which often really really work to highlight theme. I think people push each other to change and grow a lot. If it’s a romantic relationship I push that ‘growth instigated by the other’ hard. Also, foils. I think the best romantic relationships are foils. I love foils. I always write foils. Just adore them, they’re so easy to write. Just make someone the opposite of someone else but give them the same theme. It’s great. This is also why I’m always saying that I don’t really sit down and ‘make characters’, characters just happen based on what needs to happen. I don’t decide anything about a character when I start out besides “haha exact opposite of canon character” or “haha amnesiac PI” or “haha roleswap”. And that’s coming from someone who rarely uses canon characterizations and who writes everybody as a thinly veiled OC...and maybe that’s why everybody kind of ends up a thinly veiled OC...

Over that is plot. Plot is what has to happen to make all of these other things happen. I can’t plot. I think I can’t plot because I’m too worried about these other things and I forget ‘oh yeah, Things Have To Happen’. Maybe there’s other people who plot first and then figure out these other things based on what happens in the plot? ....why...

So I kind of made that a gumball, layered thing, because that’s how I build the story. And I shouldn’t have, because these things all feed each other. What a story is ‘about’ is highly dictated by what you’ve decided the character arc to be - highly - and it creates a feedback loop as both of these things get changed and twisted and tangled during writing. A story never ends how I intended, because different things crop up. But there is a ‘priority list’ for me, and that’s kind of the layers - these characters have to act in X way because that’s one of the cornerstones I need to hit for the genre, so I have to have their character arcs match this. Characters can’t act in a certain way just because the plot makes them - granted, sometimes they do, but that means that you have to go back and tweak their character arc to match. You cannot have something metaphorically happen that goes completely against the theme, unless that has repercussions. Plot isn’t the story for me, the about is the story. None of this is hard and fast, and there is nothing that you can’t do, you just really have to view all of these things in a complex interplay that constantly affect each other.

I think of it like gears? They all work together and churn together to make the story work. But if you twist one gear, the others move too. You first imagine it this one way, but then you keep on tweaking and tweaking and tweaking, and then everything else has to change too, so then you’re like why did I even bother to outline, outlining is stupid, and also I have this funny joke so I have to go back and change everything, and...

Wow, maybe that’s why I’m so bad at planning shit..

My...goal? Is to make it so that Everything works on every level. You should be able to read a story completely literally and completely miss the metaphorical meaning and still vibe. But unfortunately the way it turns out for me sometimes is that the symbolism outweighs the literal. When I write absurdist/surrealist stuff it’s just me being lazy and not having to have things be literal, lol. What you get when something only works on a symbolic level and not on a literal level at all is Utena. And I’m writing trashy fanfic so I can’t do that. What normally happens in practice is that things happen literally for a bit, and then I’m like ‘oh I’m Sensing a Theme’ and then I start playing into the theme, and then things happen because it’s thematic. Plot is...plot should be more important to me...

And then of course there’s grounding all of this in human emotion and making sure there’s a climax (me, shaking hope etc: THERE’S NO FUCKING CLIMAX), and dealing with all of that stuff that makes it actually emotional and impactful instead of just abstract and dumb.

I chose not to use examples for all of that because I wanted it to just be broad writing advice? I can kind of point out there examples of that line of thinking in my writing, and I probably can for Hope, Etc, but it would be a bad example - both because the NATURE of that story is that the literal is INHERENTLY a metaphor so you really cannot view anything in that story as literal, nothing in it is literal - also because I put no thought into it.

Of course that’s not my process. That’s not my process at all. I don’t sit down and figure this shit out. I didn’t read any of that anywhere, it’s just me bullshitting, that entire thing was just me bullshitting relentlessly I am so fucking sorry. My process is that I joke about ideas with friends, I sit down at a computer and I kind of thump a keyboard for a few hours, I live my life and daydream stuff and kinda make little movies in my heads, I go home and slam the keyboard some more, halfway through I walk up to my beta and go “hey what’s the plot of this?” she helps me figure it out by giving me very bad ideas, I kind of slam my keyboard some more, and then it’s done. And then I kinda edit it a little maybe whatever and then I post it.

There’s not a lot of thought involved. I really can’t stress enough how I don’t think about all of this when I write. I’m really brain empty. When I do these analyses what I’m doing is that I’m looking back over my story and then I’m like...Oh That’s What I Was Doing! Huh! Neat!

Haha that got long. I’m not a good writer. Thanks for the ask!

#NOW THAT'S WHAT I LIKE TO CALL A LONG POST #i didn't evoke my writing specifically because halfway thru I decided to make this a broad writing advice post #since...idk u said that its valuable so i wanted to help?#my writing #writing advice #writing #on writing #oh god why am I tagging it that then people will think its writing advice #im crying i can't emphasize enough how much im bullshitting here

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doing-an-okay-job-miranda · 4 years

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Lost loves - Kingceit pt2

AO3 / Masterpost

Part one: AO3 / Tumblr

Warnings: some crying, some mourning, mentions of fusion, i dunno. tell me if i should tag anything

It’s soft Logan giving some comfort

----

Deceit thought he was handling things well enough. He'd accepted Patton's apologies and dealt with the other's gazes watching his every move until finally, things started to move on. Patton and Virgil both seem content to move on since Deceit was so thoroughly repressing all that nonsense. It helped that any sympathy they may have given him he throws back with mockery and thinly veiled insults.

He could almost forget it even happened, write it off as a bad dream if it weren't for a certain pair of twins that had a harder time letting things go.

Remus went silent around him more often, enough that sometimes Deceit wouldn't even notice his presence until the liar turned around to find the other dark side standing right behind him. Deceit wouldn't have cared if Remus was planning something or following some horror skit but as soon as Deceit acknowledged his presence he was right back to acting 'normal.'

Roman was easier to deal with, at least. The light side didn't live with him so Deceit only had to deal with his subdued heartbroken looks on occasion. Only sometimes have to pretend he didn't hear Roman try and grab his attention on the very rare times they were alone.

It was very tiring and he had much better things to do than to walk on eggshells around two halves of his ex.

Deceit hates repression as much as the next side, he knows he really should just talk to the twins and try to work something out, do anything to explain why he reacted the way he did and that it really doesn't affect his relationship with them but there's that one little thing that stops him from heading over to one of the creativity's bedrooms every single time.

Deceit is a coward.

He's been blaming the twins like he hasn't been trying to ignore it every time Remus walks into the same room as him like he's been engaging with Remus and entertaining the chaotic side like normal and not just letting conversations fall flat. He blames them like he doesn't scurry out of a room every time he sees Roman enter like he doesn't ignore the prince's greetings when they pass in the hall.

So maybe Deceit himself was adding to the uncomfortableness of the situation and he was self-aware enough to know he isn't going to do anything about it.

Or at least that's what he planned until Logic decided to stop minding his own business.

Logan raises into the liar's room which that fact that he could even find it to sink into would be impressive if he had said literally anything instead of "Tell me about the king."

Deceit had been shocked that he even had the nerve to mention it, even before the twin's fusion it was a bit of a taboo topic. "You knew the king too, isss your memory failing you?" The snake hisses through a smile with far too much teeth to be anything friendly.

Still, Logan doesn't budge. "I didn't know him as you did." He says and steps further into Deceit's room despite having absolutely no invitation. "Tell me about how you knew him."

"I don't have to tell you anything." Deceit has never wanted to throw hands so much in his existence but of course, he doesn't move from his spot because he's a coward. "Why don't you go ask um, I don't know, literally anyone else."

The logical side is quiet for a moment, staring into Deceit's eyes. The snake keeps eye contact, challenging him, not backing down, he's not about to just take this- "You don't have to say only good things." What. "Tell me about his bad habits, what did he do to annoy you? Tell me about his mistakes, just talk about him. I don't care if you say anything good or not."

Deceit hesitates this time, shifting uncomfortably from one foot to the other and finally breaking his gaze with logic as the floor seemed a much better target. "He..." What is he doing? "He moved a lot in his sleep." Deceit speaks slowly as he picks at his gloves. "It was funny sometimes but a lot of the time he would just turn and smack me in the face in the middle of the night."

The dark side looks up for a moment to see Logan's lips quirk into an almost smile.

"He would put anything in his mouth. I mean, Remus will too because he's curious or likes the feel of things but R- but the King would do it out of spite just to wrestle with him to take whatever he had away because he's an overgrown child."

Deceit moves to sit on his bed, patting the spot next to him and glaring off to the side when Logan sat beside him and spoke about everything that came to mind. He told Logan about how the king always had to choose the movies, how he constantly tried to drag Deceit into whatever idea he had, the time he shoved the liar into a lake of red gelatin that stained his skin and clothes, how he would poke at Deceit's sides to force him to laugh(that story was followed up by a threat to the logical sides corporal form if he told anyone.) He's aware that Logan played him as soon as he's talking about the more fonder memories too, he knows this is what he wanted to avoid but it came a lot easier under the guise of annoyance and Deceit finds that he's not entirely against talking about them.

Eventually, though, the weight gets too much. Deceit falls quiet as his throat tightens and eyes burn. Logan remains calm and quiet next to him, giving him enough time to compose himself before speaking again.

"Roman has admitted to me that he doesn't have many memories of being the king, is this the same for Remus?" Deceit gives a small nod, part of the pain was having someone so much like the king but have no memories of their love. "I see. I have spoken to Roman about their fusion, he said that while he was fused he could remember everything but the moment he unfused, it escaped him again." Logan pauses. "I would assume that means-"

"That means Remus got hit by that too." Deceit sighs tiredly, rubbing his human eye.

"I believe they are left with all the feelings the king experienced but none of the memories." Logan puts a hand on the scaled sides back, the warm pressure making him finally look at the logical side again.

Deceit doesn't know what he looks like at the moment but all he feels is tiredness and that familiar apathy drowning him. "You want me to talk with them." His voice comes out flat, monotone and more uncaring then he intends. Deceit does care, he really does but just the thought of confronting this issue made him just want to curl up and hide away from the world.

He wants to shy away from Logan's eyes but once more the light side surprises him. "No, you don't need to." There's something soft behind the other's eyes, something that Deceit doesn't know if he should trust or not. "You shouldn't avoid them when they're so emotionally compromised-" Deceit gives an amused huff. "But if you're not ready to talk about it then I do believe there is no force on Earth that could figuratively move you. They can wait for you but don't push them away."

Deceit gives a sharp nod and buries his face in his hands. He hates feeling like this, hates being seen like this by another side but still clings onto the small comfort of Logan's presence like the desperate creature he is. "I truly miss him, Logan. I know it may have not seemed like it but-" His words choke off and he bites his lip, willing himself not to cry, he will not cry in front of anyone.

"I know." Logan's hand on his bad rubs small circles, both soothing him and making it incredibly more difficult to resist crying. "I have one question, I will not judge you for your answer so if you could please be honest."

Deceit let's out a watery laugh before taking a deep breath. "Sure."

"If, somehow, the king could back permanently, would you want that?" Isn't that the million-dollar question that Logan just throws out right there.

"No." Deceit doesn't hesitate on this one, this is something he's thought about for a long time, something he wondered when his bed felt too empty or when Remus said something he's heard before. "No." He repeats again, saying it out loud really feels like he's sealing some sort of deal. "He made his choice a long time ago, it hurts and I miss him but it would never be the same." Deceit lowers his hands, letting Logan see him despite his likely disheveled appearance. "And I would never trade my Duke or even Prince for anything, not even my king."

It startles Deceit slightly when arms wrap around him, Logan pulling him into a hug and warms him to his very bones. It takes everything not to break down right there, to not fall apart or collapse in on himself with the logical sides embrace. He does though, maybe, crack a little, just the smallest amount when he leans his head against the other side's chest.

#sanders sides #sanders sides fic #deceit sanders #logan sanders #roman sanders #remus sanders #king creativity #kingceit #platonic loceit #Fusion sides

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sincerelyreidburke · 3 years

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A fic for day 2!

The 25 days of Kiersey continue! This is Thanksgiving-focused, but I wanted to get this one early in the countdown before Thanksgiving was too distant of an event. I’m counting this as a winter holiday.

For context, if you want or need it, here is a ficlet that will function as a faraway prequel to the events of the following fic.

In the summer between his sophomore and junior year, Quinn tours with a fictional production of a real Broadway show, Deaf West's Spring Awakening. I recently watched the Macy's Thanksgiving Day parade and decided that Quinn Cooper needed to be in on that action. Here's what happened as a result.

Heaven forgive me, for it is LONG under that cut! I saw the opportunity for Quindo fluff in New York City, and I ran with it, my friends. Featuring Quinn’s tour friend Kyra (in person, finally!), some stereotypical NYC tourism shit, and, of course, the actual Thanksgiving festivities.

///

Playbill.com

November 1st

Summer Cast of Deaf West’s Spring Awakening To Perform At Macy’s Thanksgiving Day Parade

Tuesday

Kiersey, NH

Technically, the official start of Quinn’s Thanksgiving break occurs at 1:15 on Tuesday, when his last class lets out. Walking across campus after he leaves the sciences building is, to be sure, a very freeing experience. But it’s not until he’s by the door at the house on Beech Street, with a packed bag over his shoulder and a train ticket in his pocket, that it truly feels like his break is beginning.

“I can’t believe you two are ditching out on Shaley Thanksgiving,” Ben tells him, shaking his head and mock-scowling, as he takes the keys to his Prius off a hook by the door. “After all I’ve done for you?”

Quinn smiles brightly, and offers Ben nothing but a shrug. “I’m sorry, Ben,” he hums, “but I’ll be thinking of you in spirit.”

“Wow, that’s so nice of you, Mini.” Ben puts a hand to his heart, with all the snark in the world still in his eyes. “It’s almost for a moment like you’re not ditching to go to the big city.”

Quinn hums contemplatively, then glances at the time on his phone. “Sebastián,” he calls, and hopes his voice travels up the stairs. “We’ve got to go! The train’s in twenty minutes!”

“Twenty-four,” corrects Remy, as he walks to the door to join them with his own bag in tow. “You’ve got time, Q.”

Quinn knows he does have time, but as they say in the theater, on time is ten minutes early. He smiles at Remy anyway, and sighs. “I suppose we do, don’t we?”

Remy shrugs. “The train station is, like, two seconds away.”

This is also true.

“You’ll have to forgive me, Ben,” he adds, while they’re waiting. “Goodness knows I’m grateful for your mother’s hospitality.”

“It’s okay.” Ben smirks. “On the bright side, this year you won’t have to deal with her being weird.”

Mrs. Shaley does say odd things, most of them thinly veiled discomfort about his existence as an openly gay man (Quinn, you are just so stylish! It must just be natural for you people), but Quinn is still grateful that she had him to her house last year all the same.

Remy, who is going home with Ben again this year for the brief break, looks to him now, and asks, “Will we see you on TV?”

Quinn smiles— he can’t help it— and dusts off his knit scarf where it’s wound around his neck. “I certainly hope you will,” he replies. “So long as the parade is on, I don’t see why you wouldn’t.”

“That’s awesome,” Remy says, with a smile of his own, and Ben adds, “I can’t wait to live-Tweet it and say I know you.”

He sighs into his hand. “Oh, Benjamin.” He’s about to call for Sebastián again— he did have the class that released the latest of all of them, so it makes sense he’s the last to be ready, but then again, he should have just packed last night— but before he can call him, the floor shakes with the unmistakable rhythm of him bounding down the stairs, and in another second, he’s joined them by the door.

“Sorry, baby.” With his backpack over his shoulder, Sebastián looks handsome enough that Quinn is willing to forget his previous punctuality stress. “I’m ready now.” He’s in his nice winter jacket, with the red scarf and matching hat, and he looks every bit prepared for the November streets of New York.

“Good,” Quinn says, simply, and fixes the way his scarf tucks into his jacket before he turns to nod at Ben. “We’re ready when you are, mister taxi service.”

“You’re an asshole,” Ben replies, “and let’s get outta here.”

The train station is only a three-minute drive from campus, and Ben and Remy drop them off there, with their own long drive to Providence awaiting them as they pull out of sight. Quinn feels as if he’s buzzing with adrenaline, with the excitement of the five days that lie ahead of them. Thanksgiving break may not be long, and in past years, it hasn’t been very eventful for him— freshman year, he stayed on campus, and last year at Ben’s house was nice but not particularly crazy— but this year is a whole new story.

This year, he gets a Thanksgiving break straight out of his wildest, most wonderful daydreams.

“Are you excited, cariño?” Sebastián asks him, as they’re waiting on the platform for the train, bundled up with their bags in the cold. Quinn feels like they’re at the start of a wonderful holiday movie.

“Of course I am.” He winds his arm up in his and remarks, “In fact, I can’t remember the last time I was quite this excited.”

Sebastián smiles. Under his knit cap, his curls are just a little windblown. Quinn has never seen a more handsome sight. “I’m excited for you,” he says, and kisses his forehead, and this is going to be the greatest school break ever.

Wednesday

New York, NY

On their first full day in New York, Quinn has rehearsals. This makes sense, because the whole reason they’re in New York in the first place is so that Quinn can perform. Nando doesn’t even have enough words for how proud he is of him, and the performance hasn’t even happened yet.

Quinn is up bright and early Wednesday morning. He’s headed to the hotel convention center downstairs, where he’s meeting up with his castmates from over the summer for the first time since he left tour in August. Nando rolls over in bed— it’s still dark out— and smiles when he feels him a kiss to his cheek on his way out. He reaches out of the covers and feels around until he can grab Quinn’s hand in the dark.

He squeezes it, three times— their wordless way to say I love you. Quinn returns the three squeezes, kisses the back of his hand, and then turns to go, a silhouette in rehearsal clothes as he leaves.

The bed feels empty without him afterwards, but it’s still dark outside the windows of the room, so Nando falls asleep for another little while and dreams of

When he wakes again, he has an interesting situation on his hands: time to himself, in the middle of New York City. He’s never been here before, but he’s fully prepared to become a huge tourist so he can visit some of the food spots he follows on Instagram.

At a respectable hour, he gets up, gets dressed, and does just that in Quinn’s absence. A few very successful dessert-for-breakfast experiences later, he heads back to the hotel to FaceTime Mama and his sisters.

“Can we watch him on TV?” Gabi asks.

“Is he gonna be on one of the floats?” adds Rosa.

“Well, not exactly on a float,” Nando tells them, “but yeah, you can watch him on TV! I don’t know when he’s on, but he’ll know, so I’ll text you guys later.”

“Wish him luck for us,” Mama says, with a warm smile, and Nando smiles, too. It’s not that often you spend Thanksgiving in New York, when your family is thousands of miles away and your friends hundreds, but it’s also not often that your boyfriend, the love of your life, your favorite person in the entire world, is performing at the Thanksgiving Day Parade, so. Y’know.

Nando didn’t know it was possible to be this cheeky with pride.

At noon, he goes downstairs to pick Quinn up from rehearsal. He’ll have a busy Thursday, what with the parade and everything, but for the rest of the day, their time is entirely theirs.

It’s kind of easy to tell where the cast people are coming from, because one of Nando’s various acquired skills from the course the two years so far of this relationship is being able to spot Deaf people in public. It’s really not hard. Just watch for flying hands!

That’s how he spots Quinn— leaving the convention area, among his fellow Deaf West people, or— Kyra, actually, to be more specific. Nando hasn’t seen Kyra in months, since July, actually, when he met her on their Phoenix Spring Awakening tour stop. Her hair is different— in space buns instead of her afro— and she’s wearing a bright orange sweater, which, if her Instagram is accurate, is right in line with her sunshine aesthetic. She was amazing on tour; she’s such a talented person.

She walks side by side with Quinn, and they’re moving kind of slowly because they’re turned halfway toward each other to talk. Their hands move a mile a minute, and Nando knows a good amount of sign, but can’t keep up with this rapid conversation.

Lucky for him, he doesn’t have to. Quinn and Kyra seem to see him at the same time— and Kyra signs something he does understand, with this huge, bright smile. Literally, her sign means cactus and S, but Nando knows that’s just his sign name.

He waves across the lobby, then signs back to her— sunshine and K, for Kyra, and she lights up even more. She runs the rest of the way over, and Quinn goes after her.

How are you? he asks, and Kyra looks so excited that she almost jumps up and down.

They get to hold a small conversation in sign, and Nando loves catching up with Kyra but sort of loves even more how Quinn smiles as he watches them talk, like he’s glad they’re interacting, and it’s just— it’s wholesome. It’s great. Kyra is great, and he’s just so happy for Quinn that he gets to see her and all his tour friends again. He was sad to part with them at the end of the summer.

Kyra’s mom is in the city with her, so they part ways when she arrives; Quinn has another brief and very fast sign conversation with her as she’s leaving. Nando figures it’s probably just ‘see you tomorrow,’ but you never know.

“Baby,” he whispers, leaning down to him as they start side-by-side toward the elevator, “you have to hear about the churro I found this morning.”

Quinn laughs, and looks up to him, winding his arm in his elbow. Nando thinks they were meant to fit together this way. It’s so natural, and so easy. “I would love to hear about that.”

“I took pictures and everything,” he says, then pauses to press the button and hail the elevator. He looks to him again to add, “But also, how was rehearsal? Can I take you out to lunch?”

“Out to lunch?” Quinn swoons. “You must be trying to get in my good graces.”

He pretends to pout. “Am I not already in your good graces?”

Quinn swats at his chest. “Oh, don’t be a drama queen.”

He kind of wants to point out that Quinn, rather than he, is the one who just got out of several hours of pro theatre rehearsal— but he guesses that would be telling him what he already knows. Instead, he grins and shrugs, then kisses his forehead. The elevator dings upon arrival. “I’ll take that as a yes,” he says, and they have a very good afternoon.

Thursday

It’s absolutely frigid outside, and it’s six in the morning, and Quinn is having the time of his life.

He’s huddled on a couch with his castmates, in a trailer, waiting for the day to begin— though he supposes it’s already started, given his five o’clock wake-up call. He thought the tour was exciting, and truly, it was, but this is a whole other excitement entirely— being in New York, with so many performers all in one small place, knowing what lies in store for his day.

Life, he thinks, is maybe a dream come true right now. From coming here with Sebastián to getting to perform, there are so many things he’s grateful for, so many experiences he feels so lucky to have. This is no exception, as he sits in the trailer, with space heaters warming his feet and cast friends on either side. It’s like being back on tour, except this time, it’s one time only. He has to make it count.

And… yes. Quinn is decided. He is going to be completely obnoxious on Instagram today. To start it out, he nudges Kyra, who sits directly next to him, and opens the front camera on his phone.

Kyra lights up for the camera— she truly is the human embodiment of the sun, and Quinn is honestly a little jealous of how good and put-together she already looks at six in the morning. She’s wearing yellow earmuffs that sort of match the gold rims on her glasses, and she hooks an arm around his neck to lean into the picture. Her cheek is warm against his, and he laughs. On his other side, their friend Minji pushes into the camera, too, and flashes a heart at the camera with her thumb and pointer picture together.

Are you posting that? Minji asks, once he’s snapped the selfie.

He puts his phone down and grins. Obviously, I’m posting it.

He’s hunting for stickers to put it on his story when it becomes something of a ‘thing’— the various other friends and castmates around him realize he’s taking pictures, and then, right as he gets the selfie up on his story with a little turkey sticker, everyone is clustering for another.

Group shot!

Let us be on your Instagram!

Yeah, we need a reunion picture.

Hang on, he tells them, and laughs, then climbs up onto the edge of the couch. He faces them to add, I’m not tall enough for that, and while they laugh at his height’s expense, he rolls his eyes and opens his camera again.

Smile! he signs into the camera, and then clicks the button a few times so he’ll have options to choose from. This one should be a post, not a story, he decides. He thinks there are enough cast members in it to maybe send it to production staff. Not to pat himself on the back or anything. Really, he just wants to document these moments with his friends, while they’re all still in one place again.

Oh, you know what we should do? he says to Kyra, as he’s sitting down on the arm of the couch. A before and after picture, with costumes.

Kyra grins, and she nods. They did posts like that several times, over tour— a picture before you get costumed, and then the same picture but after you’re ready to go onstage. We should make a TikTok, Kyra says.

He laughs. Oh, goodness, he says, but he knows he’ll probably wind up doing just that. He has a feeling his social media will be quite alive and well by the end of the day today.

He wants to hold every part of this day in his memory, so he’ll never forget what this feels like.

It’s been three months since Quinn got to be Moritz Stiefel.

Though it took a lot out of him this summer, it’s a role he’s missed sorely, and he doesn’t usually get to go back to playing characters whose shows have come to a close for him. He supposes today is a bit of an exception, and, to be sure, he’s been excited for today since the very moment he learned this performance would be happening— but it’s not real, exactly, until he sees himself in a mirror, in costume.

He knows this version of himself, though he hasn’t seen it in awhile. His hair is mussed up, and the school uniform costume fits just as it’s supposed to, with a crooked tie and a tall pair of socks. He isn’t mic’d yet— that’s a step they’ll reach later this morning, with the sound technicians at the parade, and his hearing aids have been out for several hours; they’re tucked into his jacket pocket right now.

The mirror in the trailer is small, and he smiles at himself in it. He always likes this part, performing— when he gets to see himself as the character he’s going to be. Today, it’ll only be for five minutes— but five minutes of glory, on television, with his friends from the summer, and so they’re bound to be some of the most exhilarating five minutes of his life.

He doesn’t want to get a big head, but the fact that so many people will be watching… that’s a lot to take in. On the street, in person, Sebastián will be watching, too, and that’s something he’s very mindful of.

Kyra is putting flowers into her hair, at the small mirror next to him. He grabs his phone to wave it at her, and she grins, then signs for him to wait one second, so he does.

Just like old times, she says, when she’s done, and then lets him take their picture in the mirror. He sends it off to Sebastián first, then puts it on his steadily growing Instagram story.

It is just like old times. Quinn doesn’t want the day to be over, and it’s barely begun.

Of all the places he’s performed, Quinn has to say that the streets of New York City rank high.

The morning is a blur— move from place to place, let people tell you where to be, get briefed by tech people who know a lot more about what’s going on than he does. Comply, because that’s what you do. Warm up your voice. Take so many pictures that your phone starts to yell at you that it’s running out of storage.

From a distance, spot someone who looks an awful lot like your boyfriend on the side of the street. You can tell it’s him, because you knit that red scarf for him two Christmases ago. It’s his color, undoubtedly. Kyra signs his name at him from afar, but he doesn’t see either of you. Until you go on.

You get a little nervous, but you don’t have time to be nervous, because you’re on the move and you’re waiting to perform, and then— you blink, a rush of adrenaline, and it’s over.

And you just did what actors all over the country dream of doing.

There aren’t words for that in English or in sign.

Friday

On Friday morning, when Quinn wakes up, it’s snowing.

He doesn’t realize it at first. He’s tucked beneath Sebastián in their hotel bed, waking from a sleep so deep and welcome it felt truly heavenly, buried between covers and warm weight. He opens his eyes to gentle, natural light in the room, a sure sign they slept in, and he blinks a few times before he realizes what he’s seeing in the nearby window.

Snow. So much snow, and falling fast. Goodness, it’s beautiful. The view isn’t bad, either; Manhattan is a sea of buildings, and this snapshot of glass is only a glance. The snow is so peaceful, coupled with the thought that they have nowhere to go, nowhere to be. After the dream come true that was yesterday— the parade, the performance, getting dinner with Sebastián and Kyra at some diner with no other patrons in the middle of the Thanksgiving afternoon— he could use to rest and reflect.

Quinn knows it’s cliché, but he truly does love this city.

He threads his fingers into Sebastián’s curls, and pulls his head close to his chest, and rests in bed while he watches the snow come down.

Some time later, when Sebastián has woken, he gets to spend a lazy, snowy morning in bed, and between gentle kisses, he tells him there’s nowhere else he would rather be.

Saturday

“Can you keep up, baby?”

Nando knows a retort is coming before it even does, but he still grins when Quinn pipes up, from a few feet behind him, “Oh, you just mind your business, Sebastián; I am fine.”

As if to prove it, he closes the small space between them and skates up by his side. Nando knows that getting out on the ice and immediately taunting him was not practical, but it was entertaining, and he likes that Quinn’s cheeks are flushing now. He holds out his elbow, like a peace offering, and Quinn wraps his gloved hand up in it.

“You wanna take a winter stroll?” Nando asks him, with a wink down in his direction.

“This is hardly a stroll,” Quinn replies, in that know-it-all voice that drives Nando crazy in the best way possible. “It’s more of a glide,” he adds, and with that, they start skating along.

“That’s fair,” Nando replies, and tips his head up to take in the view.

He couldn’t spend any weekend even slightly related to the holiday season in New York City without going ice skating under the huge tree. Because first of all, it’s in every New York Christmas movie ever, and second, one of his and Quinn’s first dates was skating, and third, he fricking loves to skate, and fourth, this is his life, so there.

“This is breathtaking,” Quinn remarks, and that’s an understatement. There are enough lights on the tree to probably show up from space, and Nando has learned over the past few days how huge this city actually is, but being right here in the middle of everything just reinforces that truth. They skate along in the throngs of other people, which is part of the tourist experience, and honestly just makes it even better. Nando has seen this on TV so many times. He can’t believe he’s actually here. Pretty much everything about this weekend has been like some kind of dream situation where crazy things you imagine actually come true.

And speaking of dreams. He looks down to Quinn, and it’s, like, okay— cheesy, but the lights are all reflecting in his eyes, and he’s bundled in his scarf and peacoat, and he’s the prettiest thing Nando has ever seen. Including the giant tree. Including everything.

Quinn catches him looking. Of course he does. He smiles, rosy-cheeked and windblown, and hums, “What?”

“I love you,” Nando replies, and kisses him right in the middle of everything.

Quinn laughs out of the kiss. He stays tight on his arm, and somehow, they keep skating without falling. Nando thanks his hockey side for that.

“I love you, too,” Quinn replies, and his voice could block out all the noise of the whole city.

They’re the center of the world.

Sunday

Kiersey, NH

The whole way home to Kiersey, Quinn sleeps on Sebastián’s shoulder.

It’s unintentional, but peaceful all the same, dreams full of memories of the weekend. He gets into his seat at Grand Central Station, slumps against him, and wakes to his gentle nudging hours later, so they can change trains in Boston. The next ride is shorter, but he rests again anyways, and the gray November day is dimming outside the train windows when he opens his eyes at the Kiersey station.

They walk back to campus— it isn’t far. Sebastián is holding both of their bags, and Quinn is holding nothing but his arm. It’s chilly, but bundled up, it isn’t so bad. With this boy, Quinn is so very warm. By the time they round the corner onto Beech Street, lines of student houses with warm windows stretching down either side of the familiar road, the sun has gone down.

On the front steps, Quinn pulls his hands out and looks up to him. He hasn’t had his hearing aids on in over twenty-four hours, and it’s been the most liberating and lovely experience. Before they re-enter the chaos of the hockey house and he’ll have to put them in again, he wants to sign him one last thing.

Thank you for joining me, he says, once he has his gaze. I love you so much.

Sebastián smiles. He puts the bags down by the door, rests both hands on his shoulders, and kisses him gently. No wintry breeze could stop the warmth in Quinn’s chest.

When he’s pulled back, Sebastián replies, I’d join you anywhere. I love you, too.

Quinn beams at him, and with one more shared, quiet moment, Sebastián picks up the bags, and Quinn leans into the front door and pushes it open. Hey, people! he reads on Sebastián’s lips, no doubt a loud exclamation, as they cross the threshold together. We’re home!

Home, indeed. Quinn closes the door behind them, and the warm, familiar, slightly chaotic embrace of Beech Street welcomes them back.

#25 days of kiersey #quinn theatre hours #mini quinny #nandoooooooo #quindo #quinn and dwsa #that should be a tag on this blog #my writing #ficlet #nah this is a straight up fic #whatever #uhhh #what else #kiersey college #crickets #mel writes

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andcurioser · 5 years

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So. Let’s talk about Veronica Mars. *deeeeeeeep sigh*

Ok, friends. It’s been a goddamn whirlwind for me. I actually went to the Veronica Mars panel at Comic Con, which I thought was a highlight at the time. They screened the first episode before the panel, and I was all ready to report back to you all that it was real good and to get excited for the new season, but then Hulu had to go and drop the whole damn series during the CC panel, which was a STUPID thing to do (or, at the very least, an extremely stupid thing to announce to the panel at Comic Con - the exact people who would not be able to watch it until after Comic Con, putting them at risk for some really big fucking spoilers. It’s genuinely surprising to me how little the people who are in charge think about these things. If you want to do a surprise drop (which, why, but whatever), sure, go and do it, but definitely don’t announce it to a room full of people who can’t enjoy it and expect them to be excited??). But regardless. That was just a wtf moment. I was still filled with enthusiasm and excitement and happiness that this show was back and seemed to be in good form.

Oy.

Cut to Tuesday morning. I got back from Comic Con on Sunday night, and life goes on, so of course I hadn’t watched 8 hours of TV by Tuesday at 7AM. Which is precisely when my dear friend, whom I adore, but who is apparently an idiot, texted me about how terrible that VM ending was and how upset she was. Now, because I’m a good friend and I know what she likes and we’ve discussed VM at length, it took me all of four seconds to know the gist of what happens in the end. I didn’t know the how or why, but I certainly knew the what. Cue fun spikes of anxiety and random bursts of rage, because what the fuck. Truly, what the fuck. But I placed my certainty at 99% and hopelessly clung to the 1% chance that I was wrong, knowing full well that I wasn’t. This obviously completely stymied any excitement I had for the show, and I dragged my heels for a full month before finally finishing the goddamn show just to get it over with. And now we’re here.

I’ve had a month to ready myself for what I knew was coming. It was both a blessing and a curse, since while it pretty thoroughly ruined my good time, it also meant that I wasn’t totally blindsided by that ending. And man, I would have been blindsided, because there was Z E R O reason for that. None. And now I’ve read all the articles in which Rob Thomas tries to explain his reasons, and they’re all nonsense. Absolute idiocy. All I see is a guy who always, always resented the fans for loving a character he didn’t want us to, who tried and tried to redirect us to one of his preferred creations without success, and just when I thought he’d finally accepted defeat, he pulls the most nonsensical of fuckery just to finally win the battle. Fuck you, RT, forever and always. I can’t fucking believe that I allowed myself to think you’d finally seen the light. What a ridiculous fool I was for giving him the benefit of the doubt.

Since I knew what was coming, I could look for the signs all throughout the season. So I searched for foreshadowing, or at least a narrative through-line. And let me tell you: there isn’t one. The season finally, rightfully seems to address Veronica’s deep-set trauma and trust issues but treats them like a problem and not a secret superpower, and it seemed like the show might expect Veronica to grow up along with the viewers who’ve aged 15 years since the first season? I was excited to finally have Veronica be the problem in a relationship, frankly. It was hinted at with Piz, but glossed over because there was only so much time in the movie, but it was realistic for her to have some trouble adjusting to a long-term, committed relationship, and I was excited to see that journey! I thought it was such an interesting path to go down, watching Veronica grapple with what she wants (or maybe just thinks she wants) vs. what she’s always known, or thought she knows. Lots of stuff there! Good stuff! And you get all the way to the end, when she’s finally decided to try. It isn’t fixed, it isn’t perfectly, she’s definitely got a long way to go, but she’s taken a few tentative steps into an uncertain future. And all of a sudden, quite literally, boom. It’s all gone.

Listen. I was never going to be a fan of getting rid of Logan. However they chose to do it, it would always feel wrong. I have never trusted Rob Thomas to handle Logan well, because he’s always had this undercurrent of anger in every interview I’ve read, this frustration that people love and respond to Logan when he wanted them to love Duncan! Then Piz! Then anyone else! His creations took on a life of their own, and RT hated it. RT was one of the ultimate examples of writers/show runners who were simply watching a completely different show than the rest of us. I could never understand how he wrote such interesting stuff for Logan but didn’t want us to root for him. It never made any sense. But I didn’t think he would sabotage his own show this thoroughly.

Because here’s the thing: I was never going to like him getting rid of Logan, but I could have understood it. I could have gone along with it if it had been done right. Frankly, the way it was building, it wouldn’t have been a surprise, nor would it even have been a bad choice, to have Logan break up with Veronica at the end of the season. And if RT couldn’t handle Veronica not being the aggressor, fine, make Veronica do it. She decides she isn’t willing to put in the work to change that Logan needs from her, and she ends it. Fine. Could work, at least for a few seasons. Let her deal with the loss, knowing it was something she chose, and see how it affects her priorities as she continues on. Certainly could be interesting!

You know what isn’t interesting? This. This is the only - the ONLY - plotline that’s a watered down repeat of a previous story. Veronica Mars, traumatized and hardened by the shocking loss of someone close to her? Quite literally, been there, done that. I know RT has been trying to recapture the magic of season one for every season and iteration since, but just repeating the storyline? Really, really missing the mark. There isn’t anything new that can be added to this. We’ve done this. This will only ever be a pale imitation, a tacked-on sequel hitting the same beats with less force. Lilly was a fantastic inciting incident that yielded a tight, well-thought-out season arc. But why would we want to start over 15 years later? What’s to be gained from this? Literally ANY other ending would have yielded multiple storytelling options, branching out with so many possibilities on where the characters could go. This is the only one that simply slams doors shut.

The few supporters of this ending I’ve seen around the interwebs keep saying things like “this show wouldn’t work if Veronica was happy!” Hell, Rob Thomas is saying the same thing. And to that idiocy, I can only say 1. of course it would, if you write it well, dumbass, and 2. if you think Veronica getting married immediately = happiness, well, what the hell show were you watching? The marriage, much as it could represent a step forward, was still VERY CLEARLY a huge, impulsive jump that was more a reaction than a measured decision. And that was something I was looking forward to seeing. Fresh off of a near-death experience and a renewed assurance of her love for Logan, Veronica marries him thinking that’s the end of their troubles, only to realize that it’s just another complication. Now Veronica has to deal with the new experience of having no quick exit strategy. All the problems they had throughout the season still exist, thinly covered by the veil of newlywed bliss, and she has to reconcile her happiness with her frustration and uncertainty. Logan still disappears at the drop of a hat because of his job. She still puts herself in danger for the case and uses loved ones and acquaintances alike to her full advantage. They hide things from each other. They love fiercely, they trust the other with their own lives but can’t trust each other to take care of themselves. Doesn’t this sound like a complicated, tumultuous relationship full of narrative possibilities?

Well, forget it, because why break new ground when you could retread old storylines? Yeah, that’s what we all want. Great job, RT. So smart.

Something that keeps bothering me is that if RT didn’t want Logan around as the happy husband at home but didn’t want to write more relationship drama between them? He already had the perfect excuse to ship Logan off for entire seasons at a time. Look, Logan’s deployed, oh no, he can’t even skype, he’s undercover! Cool, problem solved. No more Logan, but in a way that still maintains possibilities for the future should we want them. Ideal. Again, options. All you want are places for your narrative to go. Multiple roads it could take so it doesn’t become predictable.

This is predictable. This is boring. This is trite. Our heroes, struck down in their highest moment of happiness. Holy fuck, it’s dull. It doesn’t feel edgy. It feels derivative, a tired rehash of a narrative structure that should have gone out of vogue ten years ago. The whole thing just exhausts me at this point.

And I’ve read Rob Thomas’s justification for why he did it. They’re all flimsy, but if he wants to go do a Sherlock-style, Ms. Marple mystery series, flitting in and out as he pleases, fine. It won’t be the worst show in the world. Veronica’s still a fun and interesting character, and I’ll always enjoy watching her. But removing her from Neptune, and more importantly, removing her from all of her meaningful relationships, takes away what made this show special. The new version RT is pitching could be fun enough. But it’ll still be just one in a long, long line of mystery shows that don’t have much claim to my emotional investment. I might watch, but I’ll forget about it the second it’s over. It certainly won’t be the kind of show with a fanbase that will still be interested in watching more 15 years from now. Rob Thomas won’t be getting one of those again.

So yeah, that’s that. I have much more to say, but really I just wanted to get this rant out so I can put it all behind me. I learned long ago that I can’t trust shows and showrunners, and it’s a lesson I learned partly, if significantly, from Rob Thomas. I suppose it’s on me for letting my guard down, but I guess my hope got grandfathered in from an age when I didn’t immediately mistrust the things that were supposed to make me happy. I’ll know better next time.

#veronica mars #veronica mars spoilers #just in case #so i'll just be here selectively ignoring canon because frankly i know better #the ending was so stupid and tacked on that it's honestly pretty easy to ignore #mostly i'm just fired up about a showrunner mistreating his fanbase so badly after they've stuck with him through so much #just a baffling misuse of the support he was so lucky to still have #so i'll be cherry-picking the parts of s4 i liked with one hand and flipping rob thomas off forever with the other

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dahliaexurrana-blog · 4 years

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Grand Theft Auto V and IV

I played both of these games extensively as a child. And one thing I've noticed when it comes to discussing them both in a more critical context is that many deem GTAV as having a lackluster story. Claims of it being a "cheap parody of movie cliches" with almost surreal, wacky scenarios. A lot compared it to GTAIV and point to it saying it's a gritty, dark, and very real if embellished story.

What I feel a lot of that criticism is missing is... that that's the point. I don't think it's any secret that the GTA series, excepting it's initial titles, is an American satire. But there's a lot more to it than just that. Personally, I've only ever played IV and V so I can't speak for the other entries, but looking back it's not so hard to see that while they are very different games, they're different on purpose.

IV is gritty, dark, grounded, and very "real" so to speak. At the very least, Niko's story is. It's about a foreigner looking to achieve the American dream of wealth and fame and the high life, but ultimately being smacked in the face by the reality of it all. That the dream is just that. A dream. It ain't real. Just a fantasy for most, or even worse, a scam if you're unlucky enough. He's met with a world that doesn't care, and his only 'ally' is his impoverished cousin who spent years lying to him about his life. He's a drunk and kind of pathetic... and ultimately he gets in trouble and has to claw his way out and to the top with mountains of violence, theft, and backstabbing.

It's a satire, yes, and while a parody it's still meant as a dark reflection of reality. Because in reality, there really is no American dream. Often times it's fantasy that many fervently believe in only to be crushed by the weight of everything in place that blocks that from ever really being a reality. In reality hard work doesn't actually get you anywhere, as common as people say it does. It's how much people like you, and the people that you know. Your merit has nothing to do with it as long as you have good friends in high places, many of which are more than happy to scoff and insult you rather than actually lend you a hand.

V is actually a parody on movies, but more so it's a parody on Hollywood, on the actual high life, on the big cities that never sleep and have flashy signs and questionable clubs on every corner. A satire on the modern day, on modern people, on modern lifestyles, and the absurdity we've come to accept as normal. Franklin is a young black man who grew up in poverty, in the less developed areas of LS. Raised around gangs and drugs and violence all he wants to escape it and to contribute to something he thinks actually matters. Michael is a well off overweight middle-aged white man who lives in a mansion bought with his stashed millions of stolen wealth, with his family he both loves and hates. And Trevor is well... Trevor. Like before, each of them is chasing something. Franklin wants purpose, a better lifestyle, and a way out of the insanity he's been surrounded by his whole life. Michael wants to be left alone, to have peace and quiet, a good relationship with his family, and a better state of mental health. Trevor wants money, power, control, and answers. Like before they all end up getting in trouble and have to claw their way out, this time in much more over the top fashions, with some strangely familiar stages, set pieces, actors, and scenarios all of them seemingly ripped from film. Throughout the game we're met with thinly veiled analogs of cults, overzealous SJ movement groups, gangs, corporations, and celebrities. There's an overbearing air of lavishness with a dark, almost ugly underbelly. Over the top advertisements over the radio and TV with absurd almost surreal reality shows as well as reoccurring cartoons. It's all kind of... insane.

But that's exactly the point. It's a satire. If you look at real life, while a lot of it is very over embellished, it's still a dark reflection. We live in an age where TV gets weirder and weirder, where celebrities are being called out as sex offenders or bigots left and right, where adverts plague every corner of our lives, and where legal deception is the name of the game. Where overwhelmingly, consumerism is so bloated and extreme that people will literally pay for a YouTuber's bath water, where extraordinarily dangerous scams veiled as cults further veiled as religions are left to exist and ruin the lives of others. Where the reality is that everyone really is becoming more and more miserable as depression consistently climbs, and in turn, so do suicide rates which are already alarmingly high. Where bog standard workers all hate their jobs, and are never treated as people both by their employers and their customers.

While both of them are entertaining in their own ways, with incredibly well written stories and characters, it's unfair to compare them. They really do succeed at what their initial goal is, however for each that goal is simply different. Very different, in fact, and while I think game criticism is important, GTA, as a game, is still a satire. And satires exist to give us an uncomfortable mirror to laugh at, but also to re-evaluate the current state of things, and whether we should let them persist. And to this end, both of them do a wonderful job at least in my eyes.

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taiblogcomics · 5 years

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Shot Through the Head, And Jason’s To Blame

Hey there, the axe at the end of the bridge. Well, we finished that Suicide Squad arc. Now we'll finish off this Red Hood arc like I promised. It shan't be long. And trust me, you'll know we're there when we're there~

Here's a cover:

"Heroes don't kill... But they're NOT heroes!" And that's what makes it hard to like them. I don't enjoy stories where the protagonist kills people. Anyways, what am I looking at here? A broken mirror? Why? And, like, explain the angle the characters are at to be reflected in this mirror. It's on the floor, right? Where are these characters in relation to that? I don't get it~

So the comic opens with a splash page of the Outlaws team, with some extra bonus additions: Starfire, Roy Harper, and the Creeper are also here. And so is Bizarro's plush doll Pup-Pup, who is talking. From that context clue, I'm gonna guess this is a dream sequence of some kind. It also offers a potential team catchphrase for them: "Outlaws, onward!" Yeah, might want to keep workshopping that. Anyways, if it wasn't obvious enough a dream before, the team then takes out Sinestro, Bane, Metallo, Solomon Grundy, Grodd, and Joker in what's probably supposed to be an awesome fight. And then Bizarro stops Jason from shooting Joker in the head, because "we can afford to temper victory with justice". Yeah.

Anyways, yes, it was a dream sequence. Or, more accurately, a movie Bizarro was watching? I don't know how real to take that. Regardless, we're now over at the grand opening of the Penguin's Coney Island ripoff, "the Ice Patch". Yes, I'm sure your ice-themed beach-side boardwalk theme park is sure to sell gangbusters. Naturally, Penguin's speech is full of thinly-veiled insults to the crowd. Then something explodes, and Jason walks out of the smoke. He tasers both of the Penguin's guards, and reflects that he once promised Batman to never kill in Gotham. Suddenly "never" seems too short for him, and he starts kicking Penguin in the face. What's got him so riled up suddenly? Why, revelations about his father, Willis Todd. Whatchu talkin' 'bout, Jason?

Meanwhile, at the Outlaws' invisible flying base--and yes, that's still a silly phrase to contemplate--Artemis is fighting off the base's automated defenses. These mostly consist of lasers. A giant hologram of Bizarro appears, declaring that the base is now in auto-defense mode and is unsafe, and therefore is going to self-destruct right over the city. This is all because Bizarro's mental state has regressed, and therefore he can't run the base anymore. And if he can't run it, it's time to blow it all up! Artemis refuses to let this happen, and smashes her way inside with her axe.

So if you don't think Jason's serious, he actually unmasks in front of Penguin, declaring Willis Todd to be his father. Penguin's amused, because Jason has just thrown away his secret identity--and Batman's, by association--for a loser. Jason pulls out his gun, and declares he's sick of the whole "catch and release" villain program. Penguin taunts him, saying that no Bat-brat would ever have the stones to shoot him. Jason says that he's not like them: he's his father's child. He puts the gun right against Penguin's monocle (I guess that's what's on the cover, not a mirror. The angles still don't make sense, though, and now the size of the bullet hole doesn't either) and his finger tightens. The Penguin congratulates him, and the gun goes off.

Back over with Bizarro, his film has suddenly burned and disappeared. You know, those filmstrip burns that you see in things but probably haven't seen happen in real life. Bizarro is upset, because he wants to know what happens to Bizarro's story. He wants to know how it ends. Pup-Pup appears from his bucket of popcorn (Pupcorn?) and tells him that it'll end "the same as everyone's". Bizarro insists he tried his best, and he's sad now. Pup-Pup says that trying is never sad, and the pair of them hug. Artemis busts through the wall, and Bizarro identifies her by his old name for her, "Red Her". She recognises that he's fully regressed now and offers her hand, gently leading him out of the facility.

While that's going down (somewhat literally), Jason is now on the run from the police. That's kind of the thing that happens when you shoot a man in the face. He tries radio-ing in to the headquarters, saying he messed up bad. I do love a good understatement. His call is not answered, however, as he looks up and sees the invisble base explode. Okay, now it's literally going down. And meanwhile, in case you forgot, Jason did his thing at a public event. There is camera footage of him shooting the Penguin. It's on the news now. Thousands of people in Gotham have seen it. And one of those people... is the Batman. Batman pulls on his mask and declares that he'll bring Jason in himself.

So, yeah. Jason’s thrown it all away and become a murderer, all for a father he didn’t even like in the first place. The previous issue was very good, and made Jason sympathetic and likeable about his grief. And honestly, he’s thrown all that away here. His sudden jump to “well, let’s murder a guy” seems very jarring and unexplored, and has taken away all my sympathy for the character with it. If we’d gotten to see his reasoning to get to that point, maybe it’d’ve been better, but it comes across here as just a rage-driven revenge kill, and like I said at the beginning of the review, I don’t care for characters who just go around killing. It also sours the rest of the issue, which could have been really good as Bizarro finally reaches the expected end of his “Flowers for Algernon” plot. Bizarro’s terror at confronting his own mortality and simplemindedness and Artemis’ tender care for him could’ve been a really good issue, but it focused too much on Jason’s unfounded revenge boner, and completely killed any good will I might’ve had for this issue along with the Penguin~

#comics #reviews #Red Hood and the Outlaws #Taiblog

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thesydneyfeminists · 6 years

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The Crimes of JK Rowling

CW: racism, homophobia, mentions of abuse and drugs.

The cool thing about growing up and expanding your world view is that you eventually see your childhood heroes for what they are. Flawed humans (and maybe, just plain assholes). First Joss Whedon and now JK Rowling. Nothing is sacred and no one is safe.

I loved the Harry Potter series (the original seven books, I refuse to accept any of the latest garbage she’s put out/had her name attached to – within the HP universe) and I still count Prisoner of Azkaban as one of my favourite books, but even fondness and nostalgia can’t shield JK Rowling from some of the problems with the world she has created, the way she explains/defends it, and her quarter assed (not even half) and damaging attempts to rectify that now in 2018.

Note: Simply for length reasons, these are all related to the Harry Potter/Fantastic Beasts franchises.

Crime One: Racism

It’s no great secret that there are very few characters of colour in the Harry Potter universe. Apparently, while it’s plausible that there’s a whole (not so) secret world of magic, it’s just too unbelievable for there to be many witches or wizards of colour. Before you come at me with “but Vee, mudbloods and Voldemort only wanting pureblood wizards is a metaphor for racism!” you can stop that right now. Because you know what’s also a great metaphor for racism? Actual racism. How about how people of colour are literally discriminated against every single day. They get passed over for jobs, they’re spat at in the streets, they’re being killed by police. Metaphors for racism? Not good enough.

I’m in the camp that think white writers shouldn’t write their main character as anything other than white, for a whole host of reasons, but if I had to summarize it, I think stories of colour should be told by authors of colour, we should be opening the doors for more authors of colour, we should listen to their voices, their stories, their experiences. I think white authors can’t know the exact nuances of what it’s like to be a person of colour, how the world treats us, the experience of living in diaspora, the disconnect between first gen, second gen and third gen family members, and so much more. It’s something that sure, you can read about it, you can do your research, but you’ll never quite understand it unless you’ve lived it. All of that being said, I do believe that white authors can include characters of colour in a meaningful way, that is, not for decoration, not as a handy plot device to move your story along, and not as a harmful, disgusting stereotype. But let’s stop for a second and count the number of background characters of colour that have been more or less confirmed (note that Hermione could easily be coded black, the only hint we get is in PoA, she’s described as “very brown”, but it’s not until the older Hermione was cast with a black actress in The Cursed Child did JK pop up and say “of course she could be black!”). So, we have Lee Jordan (maybe unfairly assumed, as he’s only described as having dreadlocks but he was cast with a POC), Dean Thomas (who was very good at drawing – also maybe unfairly listed, was cast with a POC), Parvati and Padma Patil (possibly unfairly listed, described as having long black hair, and cast with POC), Cho Chang (quickly, can I point out that a character of Asian descent being sorted into Ravenclaw the “smart house” plays into so many racist stereotypes that I can barely breathe), Kingsley Shacklebolt, Blaise Zambini. And then, well, there’s Nagini.

Tweet reads: “The Naga are snake-like mythical creatures of Indonesian mythology, hence the name ‘Nagini.’ They are sometimes depicted as winged, sometimes as half-human, half-snake. Indonesia comprises a few hundred ethnic groups, including Javanese, Chinese and Betawi. Have a lovely day.”

About a week ago, the trailer for Fantastic Beasts 2: The Crimes of Grindelwald was dropped to mixed reactions. The trailer revealed a snippet that reveals that Voldemort’s pet snake was once a shapeshifting woman, cursed to become trapped in a snake’s body. An Asian shapeshifting woman. Reduced to becoming (a white supremacist but metaphorically) a white man’s pet. Cool. Naturally, there was some backlash about this turn of events, and so JK tried to tweet out the reasoning and explanation (while also saying she’d been keeping this racist secret for 20 years) that obviously Nagini had to be an Asian woman because it was based on a creature from Indonesian mythology, and that Indonesia comprised a “few hundred ethnic groups, including Javanese, Chinese and Betawi”. Cool, JK, but the actress cast is Korean, and you saying all of this kind of reinforces the idea that all Asian ethnicities are interchangeable. Let’s not even get into a white woman explaining Indonesian mythology or ethnicity, or the fact that it’s also an Indian mythology, the Naga. I don’t want to split hairs here, there are other examples of mythology that are similar but have key differences across other cultures (the kitsune/kumiho/huli jing fox spirit, for one). So it’s possible she only read up on the Indonesian myth and took her inspiration from there. But the way she “explained” the debacle sits uneasily with me. She brushes over any concerns that come from people of colour – valid concerns and questions, and instead chooses to ignore the real issue, which is that by playing into the harmful stereotype that Asian women are subservient, and that all of the different Asian ethnicities are interchangeable, she does more harm than good for inclusivity and that she is doing it for show. She doesn’t give a shit if her work includes characters of colour, and if it does, she doesn’t give a shit that they’re shitty stereotypes, 2D characters that are nothing more than the colour of their skin, just there to boost the POC count in her works.

Thinly veiled racism? Guilty.

Crime Two: Poor Handling of LGBT+ Issues/People

Back in 2007, speaking to a crowd of fans at an event at Carnegie Hall, JK Rowling revealed that she “always thought of Dumbledore as gay” to wild applause. Finally, a canon character was more or less confirmed as LGBT+ (sorry to the Dracarry shippers, that still just lives in our hearts). Great, right? Except, why did she wait until the book series was completed to come out with this revelation? Why didn’t she include it in the books? Sure, you might say “well, Vee, it’s a kids book, you’re expecting far too much” except it’s not a “kids book”, it’s always very clearly been in the young adult category (certainly after the third book, at least) and readership has always been split between adults and younger people. The series came out when I was a teenager, finishing when I was 21, and I definitely would have appreciated some LGBT+ representation in a book that meant so much to so many people. I’m not saying she needed to include a sex scene in there (she could’ve faded to black, like Stephenie Meyer did in Breaking Dawn) but to go back and retcon that Dumbledore was gay and that she’d always thought that, for it to ring true, she needed to leave us hints in the original series. She “always thought of Dumbledore as gay” but “didn’t feel the need to spell it out”. Maybe she didn’t see the point of it, maybe she didn’t want to spoil her “big reveal” (note that some fans had always suspected that Dumbledore had been in love with Grindelwald), but by not mentioning it until after the fact? It comes off as lazy, or as wanting to appeal to the LGBT+ community, by trying to earn an ally card by doing very little at all.

Tweet reads: “I was asked whether Lupin’s treatment by others could be seen as a metaphor for (then) stigmatised conditions. I agreed that it could. 2/4” J.K. Rowling (@jk_rowling)

Then there’s the Lupin issue. Supposedly, at some point in 1999, JK was asked whether or not Lupin’s “condition could be seen as a metaphor for (then) stigmatised conditions” and she said it could. Basically, lycanthropy is meant to be a metaphor for HIV/AIDS in the HP universe. In Short Stories From Hogwarts of Heroism, Hardship, and Dangerous Hobbies (released 2016, mind you), JK writes “Lupin’s condition of lycanthropy was a metaphor for those illnesses that carry a stigma, like HIV and AIDS. All kinds of superstitions seem to surround blood-borne conditions, probably due to taboos surrounding blood itself. The wizarding community is as prone to hysteria and prejudice as the Muggle one, and the character of Lupin gave me a chance to examine those attitudes”. Maybe she had the best intentions in mind when she came up with that idea, and true enough, blood and blood purity does matter to an extent in the wizarding world, but something about it feels hollow and gross. I’d like to note here that we only meet three werewolves in the series (Lupin, Greyback and an unnamed man who was bitten) and none of them were female. Take that how you will, but a few fans came to the conclusion that her “metaphor for HIV/AIDS” also includes the harmful stereotype that gay men were going out and maliciously infecting over men with HIV.

Retconning the source material to make herself seem LGBT+ inclusive but handling it terribly? Guilty.

Crime Three: White Feminism

Maybe this crime really explains the others. It explains her support of the decision to cast Johnny Depp in the Fantastic Beasts film series. Yep, Johnny Depp, you know, the guy who physically abused (then-wife) Amber Heard. Sure, he’d been cast before we knew about that. He’d appeared, for five whole minutes in the end of the first Fantastic Beasts film, so he’d already signed on. Surely, he couldn’t be fired when his contract was signed. Except, we’ve seen examples of men accused of abuse being let go from their jobs (not often, but it happens sometimes). Kevin Spacey, for one. So, why couldn’t Grindelwald be recast? Especially after a five minute cameo at the end of a movie? JK Rowling released a statement where she acknowledges that around the time of filming the first movie in the new franchise, stories involving Depp’s abuse of Heard started to appear in the press, and “based on our understanding of the circumstances, the filmmakers and I are not only comfortable sticking with our original casting, but genuinely happy to have Johnny playing a major character in the movies.” Comfortable and genuinely happy to have a known abuser affiliated with your work, based on our understanding of the circumstances, the circumstances being that Depp physically abused Amber Heard, who provided photo and video evidence. Even Daniel Radcliffe has spoken out about the decision to let Depp remain on cast, given the decision to fire a lesser known actor (Jamie Waylett) from HP: Deathly Hallows pt 2 after his arrest for growing 10 marijuana plants (he was later arrested for a more serious crime, but that was well after his firing from Harry Potter). DanRad mentioned how he was, of course, thankful for the opportunities provided to him from being cast as Harry Potter, but that “I suppose the thing I was struck by was, we did have a guy who was reprimanded for weed on the (original Potter) film, essentially, so obviously what Johnny has been accused of is much greater than that.”

Tweet reads: “Just unfollowed a man whom I thought was smart and funny, because he called Theresa May a whore. 1/14” J.K. Rowling (@jk_rowling)

Of course, supporting the casting of an abusive man doesn’t make her a white feminist, nor does tweeting about unfollowing a man for calling Theresa May a whore. What does, in my honest opinion, is her handling of any criticism she receives, and the bullshit way in which she tries to earn her ally card, but only when it suits her. If all of this mattered so much, she would’ve included it the first time around. Retconning her source material in an effort to appear more diverse isn’t true diversity. It’s literally a made up world, she could’ve made it more diverse from the start. She needed to explicitly state things, because marginalised groups need to see representation. Good, strong, representation. Not weak and harmful versions. By being properly inclusive in her material, as a middle class white woman, she could’ve set an example of how things should be. If she’d spoken to any marginalised group, heard their stories, about their lives, gained an insight in how to write about them, her POC, LGBTQIA+, lower class, etc audiences would’ve come away with the message that she cared and wanted them included in her stories. In her world.

The bottom line is, JK Rowling does not care enough to follow through, and well, when you’ve made as much money as she has, why should she? She bangs on about how truly diverse the wizarding world was and gives examples to back it up, but she does so way too late, and without any real proof, just her word. Sure, she created this universe, maybe she did believe Dumbledore was gay, or Hermione could be black, but she needed to say it back then, not ten years later when people are critical of the cis-het white world she’d created. She rants about men immediately calling women names when they disagree with them, prides herself on blocking and unfollowing these men, but when called out about supporting the casting of a known abuser? She suddenly no longer cares about supporting another woman. One who was arguably, treated a little worse than just name calling. Her idea of feminism is clouded by her life experience, which would be fine if she took the time to listen to the people around her, from different backgrounds, and try to understand why they feel what she says and does is offensive, clumsy, and lazy. But when her opinion and her views challenged, she comes out swinging, blocking people, throwing around statements like “Dumbledore is gay!” or “Hermione is black!” as a clumsy attempt to appease the very people she does not give a shit about. The solution is laughably simple, all she would have to do is just listen to marginalised voices. Hear their stories and educate herself. And if she truly wanted to be a true intersectional feminist, she would do it. Understanding her privilege would cost her nothing. In fact, it would garner her more respect, something she’s lost a lot of in the last few years.

Just say you don’t care, JK, it’s more honest. Guilty, guilty, guilty.

By: Vee H

Sources:

Twitter

https://www.pinknews.co.uk/2016/09/08/jk-rowling-reveals-remus-lupins-werewolf-condition-metaphor-for-hiv/

https://www.jkrowling.com/opinions/grindelwald-casting/

https://ew.com/movies/2018/01/12/daniel-radcliffe-johnny-depp-fantastic-beasts/

#jk rowling #Harry Potter #Fantastic beasts #feminist review #feminist #Nagini #racism #white feminism #JK rowling's racism

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