#because I've seen a lot of people saying that they're just killing another black guy for plot | Explore Tumblr Posts and Blogs

sansaorgana · 27 days

Note

👀 Gale showing his wife just how much he missed her overseas?

hello, love! 😌 I've already written a smutty fic like that here so this time I went with a scenario of Buck coming back home and the emotional aspect of this situation since they haven't seen each other in almost two years 😳😭🥺

my inbox is open for blurb/short fic requests for major cleven 🤗

When Buck was leaving his wife to go to Europe, he was planning to come back to her quickly after finishing his twenty five missions as fast as possible. Or he would die, which was also a possibility. But he certainly wasn’t planning to get shot down and end up in a German camp for the rest of the war.

Every day, week, month he spent there was filled with one thought only – lost time. All the time he was losing on surviving at all costs instead of living his life at home with his wife who was bravely and patiently waiting.

“Do you think they're still waiting for us? Our girls?” DeMarco asked one evening when they were playing cards and killing time.

“You’re asking as if you were so faithful yourself,” Bucky teased him. “Plenty of men back home hunting for the military wives.”

Buck shot him an angry glance for a second. He had been faithful to his wife. And he was sure she had been faithful to him, too. He wanted to be.

“Don’t look at me like that, Buck,” his friend pushed him playfully. “You guys have seen his wife?” He asked the others and they nodded in response. They all had seen a picture of Mrs. Cleven because Buck always kept it with him and occasionally stared at it with soppy puppy eyes. “What I’m saying is that I’m sure there are lots of men ‘round town who chase her,” Bucky explained.

“Thank you for clarifying,” Gale gritted his teeth.

“And she’s only a woman after all, we’re all humans with needs,” DeMarco joined the teasing.

Buck stood up as the men looked up at him, confused.

“Come on, we are teasing,” Bucky grinned at him.

“I will not participate in this,” his friend sat on his bed instead and opened a book to read.

It was none of his business how his friends treated their wives and relationships but he was serious about his and he respected his wife more than anything. However, their jokes and teasing had planted a seed of insecurity in his mind.

When she held him for the first time after his return, it felt surreal. Her hands were so soft when they cupped his face, yet they squeezed him so tight that he felt like she would crush his organs. Gale couldn’t stop looking at her face, her sparkling eyes, her smile, every tiny wrinkle on her face, every little detail that he had forgotten already; that the black-and-white picture failed to capture.

He was back home but he felt like he was put in a glass jar. People’s voices sounded as if they were coming from another room. His wife’s hand squeezed his and it was the only thing grounding him. Even his own house felt odd and strange – he had remembered it differently. Now it was decorated with Welcome Home signs and filled with the neighbours patting his back and asking him millions of questions per minute.

So when they all left and he closed the door behind the last couple living down the street, Buck sighed with relief and turned around to face reality. The house was dark at this hour but there were dim lights turned on in every room on the ground floor. His wife was taking care of the dishes in the kitchen and he looked at his face in the mirror by the front door.

There were scars scattered all over his cheeks and he looked exhausted. But other than that, he was a lucky bastard who had gotten home safe and sound. Even if it had taken him much longer than expected.

Gale fixed his hair in the mirror and entered the kitchen, awkwardly leaning on the doorframe. It was his home but it didn’t feel like his space anymore. It was hers now – his wife’s. She was humming a song and washing the plates and cups with an apron put loosely over her cocktail dress.

“Where did you get a dress like that?” He asked softly and she turned around with a smile.

“Oh! You startled me for a second,” she gasped. “I’m not used to having someone creeping up on me like that,” she admitted and Buck approached her to start drying the freshly washed dishes with a cloth. He wanted to help in any way. “I bought it last week. Been saving money for something special for your return and since it took you so long to come back to me…” she chuckled nervously, “I saved quite a lot.”

“I’m sorry,” Buck blushed at her joke.

“No, baby, don’t be sorry. It was them Krauts who didn’t want to let you go, am I right?” She pushed his shoulder with hers and went back to washing the remaining cups. “If I was them, I wouldn’t want to let you go either,” she added.

She always tried to joke about almost anything, to turn everything into a situation worth laughing or at least smiling about. It was one of the things Buck adored her for.

They finished washing and drying the dishes and she took her apron off with a sigh.

“I’ll finish cleaning tomorrow,” she told him.

“I will do it. Tomorrow,” Buck told her and she smiled faintly at him.

“Come, sit on the porch with me,” she held his hand as if he was made of glass and led him outside. There was a wooden bench on the porch and a small light turned on, flowers in the pots and an ashtray.

“You smoke now?” Buck raised an eyebrow at his wife as he sat down.

“No, only sometimes. You see, I had women coming here in the evenings,” she explained and sat down next to him, “and we would sit here for hours just like that. And talk,” she added and laid her head on his shoulder.

He nearly flinched at that gesture. It was such a long time that he wasn’t used to affection anymore. Yet he craved more of it.

“I’m glad you weren’t lonely,” he whispered and put his arm around her.

“Oh, but I was… So awfully lonely,” she looked up at him and he looked down to meet her gaze. Her eyes filled with tears.

“My friends were teasing me that…” Buck swallowed thickly, “...that a woman like you… Well, that she’d be chased ‘round town by all the men here.”

He felt stupid admitting that and he knew that this sort of accusation would hurt her. But she didn’t look angry nor sad. She only chuckled.

“No men left, no,” she shook her head. “All the best ones were away or dead,” she hugged his chest and he sighed with relief. “And what about you, Major Cleven? Am I supposed to believe you’ve been faithful?”

“Not many women in a camp for the captive pilots, you know?” Buck rubbed her back.

“But I mean before that,” her finger played with one of the buttons of his shirt.

“You can ask Bucky if you don’t believe me.”

“Oh, I believe you,” she laughed. “You know, my friends teased me, too. They were saying there ain’t no way my man’s no cheater. But I knew you would never do that. I said, my Buck would rather die than look at another woman. And they all thought I was crazy,” she told him.

“You aren’t crazy,” Buck shook his head and leaned in to kiss the top of her head. “And you smell so nice. Is that a new perfume?”

“I didn’t use perfume,” she answered.

“Then it’s just you. You smell so nice,” he hummed to himself and buried his face in her hair.

She curled herself up in his arms and bit on her lip before asking in a shaky voice:

“Do you still love me?”

Gale’s heart skipped a beat as he looked down and raised her chin to make her look up.

“What do you mean?”

“Do you still love me?” She repeated the question and he took a deep breath in but she didn’t let him answer. “I know you think you do. And you had my picture but I am not that picture, Buck. I know you loved the picture and your little scenarios you were creating inside your head to keep yourself alive and I am not angry at you, not at all. But now when you’re back and when you see me, do you still love me or are you disappointed? Perhaps some part of you wishes I was that picture instead?” Her lower lip trembled as tears streamed down her cheeks.

“I don’t know what to say, darling,” he admitted and wiped her cheeks with his thumbs. “But I can show you. Come,” he stood up gently and raised her up with him to lead her back inside and pick her up bridal style to carry her upstairs to their bedroom. Her bedroom. He hadn’t slept there for almost two years.

Buck switched the light on and laid his wife on the bed gently as she kicked her shoes off of her feet. He hovered over her on bed and joined their lips together in a sweet and gentle kiss as his fingertips caressed her jaw and neck.

“I missed you,” he whispered after breaking the kiss and looking deep into her eyes. “I missed the real you. That picture was never enough,” he assured her and she smiled at him before throwing her hands around his neck to pull him down for another kiss. Hers was more eager, though; it was hungry and sloppy and it encouraged him to roam his hands more freely all around her body.

“I’m scared,” she breathed out. “I’m scared that I’ve grown too used to being alone.”

“You’ll grow used to having me around again the same way. I’m not letting you go, sweetheart,” he bopped on her nose and she rolled her eyes with a chuckle.

“Buck Cleven, my hero,” her delicate hands cupped his cheeks and caressed the scars with her fingertips.

“I’m no hero,” he protested.

“To me you are,” she insisted and furrowed her brows. “You had to be in so much pain and I wish I could take at least some of it.”

“I would never want you to,” Buck kissed her wrist softly. “It would spoil all your sweetness.”

“Oh, it’s already spoiled. You haven’t seen me at my worst,” she confessed and he looked at her face, worryingly. “When I was going crazy without you here all alone. You’d send me to asylum if you saw.”

“I would not,” he assured her, seriously. “You haven’t seen me at my worst either. I don’t think you would like me like that,” he swallowed thickly as the horrific memories flashed in front of his eyes. “The things I did to come back to you…”

“Shh, I don’t have to know,” she pulled his face down and placed soft kisses upon his cheeks, nose and chin. “Unless you want to share it with me one day. But you don’t have to tell me anything, Buck.”

“I’m just so happy to be home,” he whispered almost inaudibly, their faces so close that their lips were touching.

“And I’m happy to have you back, baby,” she smiled and fixed his hair.

“Every breath was for you, every step, every bomb I dropped, every bullet I avoided, every day and every night. Just to come back to you,” he kept looking deep into her eyes. “I’m sorry it took so long.”

“Major Cleven,” she shook her head and rubbed her nose with his, “your wife would wait a million years for you, don’t you know…?”

MASTERLIST || BUCK MASTERLIST

#sansaorgana: Answered #lovely anons #*buck #lilysfiction #gale cleven x reader #austin butler x reader

239 notes · View notes

jdmainman123 · 2 years

Text

Many people who knew because of the antecedent I can choose if I want to score to be my baby mama BUT YOU ARE DUMB F****** MEN STILL HAVEN'T FIGURED OUT OR YOU GUYS ARE JUST YOU KNOW THE PROBLEM IS I'VE SEEN BETTER MAN AND THEN I'M REALLY TODAY I'M REALLY SORRY ABOUT THAT LIKE CHICAGO I MISS THE MEN OF CHICAGO

No Dallas wouldn't let me go into Chicago and now it's already too late 2 months 60 days later what's the point of going there again BUT WHAT I DID SEE THEY DO HAVE A DISPENSARY AND IT'S RIGHT IT'S IN BUS DRIVING DISTANCE SO MAYBE AFTER VIRGINIA WE WILL FORCE CHICAGO TO KILL ME as long as they got I mean I'm just I'm looking at my career and me buying a bag of weed with the last $20 instead of food the training happened over 15 years ago and it was intended for today remember the car fight the car argument those battles happened over 15 years ago intended for today IT ALMOST SEEMS LIKE SUNLIGHT CITY HAS HAS HELD OFF THESE INCIDENCES FOR NOW WHERE I'LL BE KIDNAPPED BY THIS STUPID AND IN THESE CITIES ARE A LOT UGLIER REAL UGLY WE SEEM TO NOTICE WHAT HAPPENED LIKE THE CITY WERE IN RIGHT NOW BECAUSE A NEW CITY OF MISSISSIPPI WAS BUILT IT'S A PRETTY OBVIOUS and then again who continues to build cities in his leadership left over and and did you see how quick he slapped some concrete up and made hills in the city the sidewalks aren't even even

Right we believe we are here for the integration word accident he loves calling the people an accident you think but the good thing for me he thinks he's my best friend and if you guys need anything I need you to just run past the message and I'll ask him for you Guy can't get off my dick if he tried

BUT AGAIN FOR THE ANTECEDENT I SAID LISTEN I DON'T HAVE TO LET THIS GIRL BE MY BABY MAMA AND THEY KNEW IT WITH ALL THE BLACK MEN STILL CONSIDERED CONTINUED TO SAY NO HE'S MINE HE'S MINE IT'S MY BUSINESS IT'S THE ONLY SERVICE I OFFERED TO WHITE HAIR WHITE SKIN MEN IN SNOW and again I continue to tell him two men at the end of this are going to be fighting in the road winner takes all a white skin man and a black skin man AND THEN FROM THE LOOKS OF THESE CITIES IN THE EXTORTION THE ANTICIPATION OF THIS EVENT THE WHITE SKIN MAN WON HANDS DOWN

But but I think they realize that for her to be a no-show and and continue to be hidden and then just all black men outside what he did was was very wrong try to set me up for building 3/4 called me a child molester and a baby killer the problem is it didn't work so he went and took it another step forward and filled it up a little black skin boys ALMOST LIKE A DREAM TURNING INTO A NIGHTMARE

And any kidnapped me to these cities full of black skin boys to throw their dominance around against any white skin boy who comes remember them in statement they're going to remember this for 15 years and all these blacks are going to be thrown into sunlight city after sunlight City that one great day where we killed all those white skin boys and white skin men AND IN THEIR CODEPENDENCY FOR SATELLITE MAKE IT TO HAVE ALLOWED TWO MEN TO BE SEPARATED AT ALL TIMES STILL COMMUNICATE yeah salad bakers just go back to the I'm sorry blacks get people and kill all the white hair white skin girls in front of them remember Kansas the show my dick is still hard for me I can't get over it I'm so excited I just want to go back to Chicago and start feeling a little white hair girls in front of black men to show them how really sorry I am for their entire enslavement of their own people in 3/4 it worked I saw it work I WON

But of course the black skins are we called what it wasn't we want those girls and blah blah yada yada

BUT IT WOULD AGAIN I WAS USED FOR FAVORS FOR OTHER CITIES TO EXERCISE THEIR UNIONS AND SINCE WE'RE NOT ALLOWED TO SEE PRETTY MERCEDES ANYMORE IT WOULD BE MY UNDERLINING UNDERSTANDING WHY I'M HERE BECAUSE YOU ARE YOU PEOPLE GOT MAD AT SATELLITE MAKERS WOULDN'T PLAY NICE AND DRESS DOWN THEIR CITIES AND THEY STARTED USE THIS FAVOR FOR A LITTLE BLACK SKIN BOYS NOW I HAD HIM HERE. IF I HAD A DOLLAR FOR EVERY TIME A LITTLE BLACK SKIN BOY COMES UP TO ME SO I KNOW HIM BECAUSE HE WAS HERE you know puke 🤢 you know your white skin sound like your father said the same thing to me and then puke 🤢 again

So this has become about favors at this point it was across my career where everything was for a favor I'll let him leave this city and into your City to exercise your union for a favor and then you just tell the people you fed your own people and it would have said what has happened. No fair he did it no fair he did it no fair he did it not a black skin people want to do a favor for the little black skin boys and we can't help acknowledge and and have witnessed the incidences of blind side after blind side after blind side after blind side SO THIS LOSER BLACK SKIN MAN CAN HAVE OUR KIDS A BLINDSIDED BEFORE THEY BEFORE THEY WAKE UP AND REALIZE THEY THEY KNOW HE WAS THE REASON WHY THEY'RE IN PRISON. YOU DON'T DO THAT TO PEOPLE it wasn't a white skin man it was indeed a black skin man who has me here in prison

So this our favor for a friend of my father seems to be the results of what's happening here and what's happened here AND AGAIN FOR YOU CITIES TO BE BASED OUT OF NORTH CAROLINA'S AIRPORT LAYOVER AND THIS BRANCH OFF NORTH AND EAST in a timeline it's very obvious of who these men are why they were kicked out of their cities remember they were playing a game with me is it a white skin boy or a satellite maker white skin boy AND THEN IS IT A SLEEPING WHITE SKIN BOY OR A WOKE WHITE SKIN BOY

And after a while I realized those were those certain cities who in the amount of time had the ability to to transfer that story to perform those statements outside AND AND NOW I'M I'M REALIZING THAT THESE MEN AND AND WHO THEY ARE AND I COULDN'T LAUGH ANY HARDER TO FIND OUT THAT THEY'RE PROBABLY THE BIGGEST AND THE BIGGER LOSER THAN THAN THE BLACKSKIN MEN HERE IN THESE CITIES and then for this statement to fly around she won't let me die for her if you for it to end up like this with this little nursery rhyme and then this fallacy of us men never needed her permission to die for her she's going to get whatever we give her but for you guys to let it play on your conscience is embarrassing and shameful and just because you guys stated it and believe in it I don't think you should die for her either s*** I know a fish were here on this Earth walking around they wouldn't let you die for them either because you guys are so embarrassing

Thank you for letting me share

0 notes

basil-the-hopeful · 3 years

Text

EVEN THOUGHT IT’S A SHORT STATEMENT, SPOILERS FOR TFATWS EPISODE 4

Probably an unpopular opinion: I don’t think Lemar’s death was a bad idea, or just a way to kill the sideline black person to move the plot along.

I feel like killing (however temp. it is) Lemar was basically removing the last string of control John Walker had. Throughout this episode, we see him slowly losing it but being pulled back or even reconsidering going off only because of Lemar’s reasoning.

With Lemar’s death, gone was John Walker’s last sense of control. And the serum in his veins certainly didn’t help.

#That just my thoughts #because I've seen a lot of people saying that they're just killing another black guy for plot #and #..#hey #unpopular opinion #tfatws spoilers #tfatws #tfatws episode 4

7 notes · View notes

innuendostudios · 3 years

Text

Thoughts on: Criterion's Neo-Noir Collection

I have written up all 26 films* in the Criterion Channel's Neo-Noir Collection.

Legend: rw - rewatch; a movie I had seen before going through the collection dnrw - did not rewatch; if a movie met two criteria (a. I had seen it within the last 18 months, b. I actively dislike it) I wrote it up from memory.

* in September, Brick leaves the Criterion Channel and is replaced in the collection with Michael Mann's Thief. May add it to the list when that happens.

Note: These are very "what was on my mind after watching." No effort has been made to avoid spoilers, nor to make the plot clear for anyone who hasn't seen the movies in question. Decide for yourself if that's interesting to you.

Cotton Comes to Harlem I feel utterly unequipped to asses this movie. This and Sweet Sweetback's Baadasssss Song the following year are regularly cited as the progenitors of the blaxploitation genre. (This is arguably unfair, since both were made by Black men and dealt much more substantively with race than the white-directed films that followed them.) Its heroes are a couple of Black cops who are treated with suspicion both by their white colleagues and by the Black community they're meant to police. I'm not 100% clear on whether they're the good guys? I mean, I think they are. But the community's suspicion of them seems, I dunno... well-founded? They are working for The Man. And there's interesting discussion to the had there - is the the problem that the law is carried out by racists, or is the law itself racist? Can Black cops make anything better? But it feels like the film stacks the deck in Gravedigger and Coffin Ed's favor; the local Black church is run by a conman, the Back-to-Africa movement is, itself, a con, and the local Black Power movement is treated as an obstacle. Black cops really are the only force for justice here. Movie portrays Harlem itself as a warm, thriving, cultured community, but the people that make up that community are disloyal and easily fooled. Felt, to me, like the message was "just because they're cops doesn't mean they don't have Black soul," which, nowadays, we would call copaganda. But, then, do I know what I'm talking about? Do I know how much this played into or off of or against stereotypes from 1970? Was this a radical departure I don't have the context to appreciate? Is there substance I'm too white and too many decades removed to pick up on? Am I wildly overthinking this? I dunno. Seems like everyone involved was having a lot of fun, at least. That bit is contagious.

Across 110th Street And here's the other side of the "race film" equation. Another movie set in Harlem with a Black cop pulled between the police, the criminals, and the public, but this time the film is made by white people. I like it both more and less. Pro: this time the difficult position of Black cop who's treated with suspicion by both white cops and Black Harlemites is interrogated. Con: the Black cop has basically no personality other than "honest cop." Pro: the racism of the police force is explicit and systemic, as opposed to comically ineffectual. Con: the movie is shaped around a racist white cop who beats the shit out of Black people but slowly forms a bond with his Black partner. Pro: the Black criminal at the heart of the movie talks openly about how the white world has stacked the deck against him, and he's soulful and relateable. Con: so of course he dies in the end, because the only way privileged people know to sympathetize with minorities is to make them tragic (see also: The Boys in the Band, Philadelphia, and Brokeback Mountain for gay men). Additional con: this time Harlem is portrayed as a hellhole. Barely any of the community is even seen. At least the shot at the end, where the criminal realizes he's going to die and throws the bag of money off a roof and into a playground so the Black kids can pick it up before the cops reclaim it was powerful. But overall... yech. Cotton Comes to Harlem felt like it wasn't for me; this feels like it was 100% for me and I respect it less for that.

The Long Goodbye (rw) The shaggiest dog. Like much Altman, more compelling than good, but very compelling. Raymond Chandler's story is now set in the 1970's, but Philip Marlowe is the same Philip Marlowe of the 1930's. I get the sense there was always something inherently sad about Marlowe. Classic noir always portrayed its detectives as strong-willed men living on the border between the straightlaced world and its seedy underbelly, crossing back and forth freely but belonging to neither. But Chandler stresses the loneliness of it - or, at least, the people who've adapted Chandler do. Marlowe is a decent man in an indecent world, sorting things out, refusing to profit from misery, but unable to set anything truly right. Being a man out of step is here literalized by putting him forty years from the era where he belongs. His hardboiled internal monologue is now the incessant mutterings of the weird guy across the street who never stops smoking. Like I said: compelling! Kael's observation was spot on: everyone in the movie knows more about the mystery than he does, but he's the only one who cares. The mystery is pretty threadbare - Marlowe doesn't detect so much as end up in places and have people explain things to him. But I've seen it two or three times now, and it does linger.

Chinatown (rw) I confess I've always been impressed by Chinatown more than I've liked it. Its story structure is impeccable, its atmosphere is gorgeous, its noirish fatalism is raw and real, its deconstruction of the noir hero is well-observed, and it's full of clever detective tricks (the pocket watches, the tail light, the ruler). I've just never connected with it. Maybe it's a little too perfectly crafted. (I feel similar about Miller's Crossing.) And I've always been ambivalent about the ending. In Towne's original ending, Evelyn shoots Noah Cross dead and get arrested, and neither she nor Jake can tell the truth of why she did it, so she goes to jail for murder and her daughter is in the wind. Polansky proposed the ending that exists now, where Evelyn just dies, Cross wins, and Jake walks away devastated. It communicates the same thing: Jake's attempt to get smart and play all the sides off each other instead of just helping Evelyn escape blows up in his face at the expense of the woman he cares about and any sense of real justice. And it does this more dramatically and efficiently than Towne's original ending. But it also treats Evelyn as narratively disposable, and hands the daughter over to the man who raped Evelyn and murdered her husband. It makes the women suffer more to punch up the ending. But can I honestly say that Towne's ending is the better one? It is thematically equal, dramatically inferior, but would distract me less. Not sure what the calculus comes out to there. Maybe there should be a third option. Anyway! A perfect little contraption. Belongs under a glass dome.

Night Moves (rw) Ah yeah, the good shit. This is my quintessential 70's noir. This is three movies in a row about detectives. Thing is, the classic era wasn't as chockablock with hardboiled detectives as we think; most of those movies starred criminals, cops, and boring dudes seduced to the darkness by a pair of legs. Gumshoes just left the strongest impressions. (The genre is said to begin with Maltese Falcon and end with Touch of Evil, after all.) So when the post-Code 70's decided to pick the genre back up while picking it apart, it makes sense that they went for the 'tecs first. The Long Goodbye dragged the 30's detective into the 70's, and Chinatown went back to the 30's with a 70's sensibility. But Night Moves was about detecting in the Watergate era, and how that changed the archetype. Harry Moseby is the detective so obsessed with finding the truth that he might just ruin his life looking for it, like the straight story will somehow fix everything that's broken, like it'll bring back a murdered teenager and repair his marriage and give him a reason to forgive the woman who fucked him just to distract him from some smuggling. When he's got time to kill, he takes out a little, magnetic chess set and recreates a famous old game, where three knight moves (get it?) would have led to a beautiful checkmate had the player just seen it. He keeps going, self-destructing, because he can't stand the idea that the perfect move is there if he can just find it. And, no matter how much we see it destroy him, we, the audience, want him to keep going; we expect a satisfying resolution to the mystery. That's what we need from a detective picture; one character flat-out compares Harry to Sam Spade. But what if the truth is just... Watergate? Just some prick ruining things for selfish reasons? Nothing grand, nothing satisfying. Nothing could be more noir, or more neo-, than that.

Farewell, My Lovely Sometimes the only thing that makes a noir neo- is that it's in color and all the blood, tits, and racism from the books they're based on get put back in. This second stab at Chandler is competant but not much more than that. Mitchum works as Philip Marlowe, but Chandler's dialogue feels off here, like lines that worked on the page don't work aloud, even though they did when Bogie said them. I'll chalk it up to workmanlike but uninspired direction. (Dang this looks bland so soon after Chinatown.) Moose Malloy is a great character, and perfectly cast. (Wasn't sure at first, but it's true.) Some other interesting cats show up and vanish - the tough brothel madam based on Brenda Allen comes to mind, though she's treated with oddly more disdain than most of the other hoods and is dispatched quicker. In general, the more overt racism and misogyny doesn't seem to do anything except make the movie "edgier" than earlier attempts at the same material, and it reads kinda try-hard. But it mostly holds together. *shrug*

The Killing of a Chinese Bookie (dnrw) Didn't care for this at all. Can't tell if the script was treated as a jumping-off point or if the dialogue is 100% improvised, but it just drags on forever and is never that interesting. Keeps treating us to scenes from the strip club like they're the opera scenes in Amadeus, and, whatever, I don't expect burlesque to be Mozart, but Cosmo keeps saying they're an artful, classy joint, and I keep waiting for the show to be more than cheap, lazy camp. How do you make gratuitious nudity boring? Mind you, none of this is bad as a rule - I love digressions and can enjoy good sleaze, and it's clear the filmmakers care about what they're making. They just did not sell it in a way I wanted to buy. Can't remember what edit I watched; I hope it was the 135 minute one, because I cannot imagine there being a longer edit out there.

The American Friend (dnrw) It's weird that this is Patricia Highsmith, right? That Dennis Hopper is playing Tom Ripley? In a cowboy hat? I gather that Minghella's version wasn't true to the source, but I do love that movie, and this is a long, long way from that. This Mr. Ripley isn't even particularly talented! Anyway, this has one really great sequence, where a regular guy has been coerced by crooks into murdering someone on a train platform, and, when the moment comes to shoot, he doesn't. And what follows is a prolonged sequence of an amateur trying to surreptitiously tail a guy across a train station and onto another train, and all the while you're not sure... is he going to do it? is he going to chicken out? is he going to do it so badly he gets caught? It's hard not to put yourself in the protagonist's shoes, wondering how you would handle the situation, whether you could do it, whether you could act on impulse before your conscience could catch up with you. It drags on a long while and this time it's a good thing. Didn't much like the rest of the movie, it's shapeless and often kind of corny, and the central plot hook is contrived. (It's also very weird that this is the only Wim Wenders I've seen.) But, hey, I got one excellent sequence, not gonna complain.

The Big Sleep Unlike the 1946 film, I can follow the plot of this Big Sleep. But, also unlike the 1946 version, this one isn't any damn fun. Mitchum is back as Marlowe (this is three Marlowes in five years, btw), and this time it's set in the 70's and in England, for some reason. I don't find this offensive, but neither do I see what it accomplishes? Most of the cast is still American. (Hi Jimmy!) Still holds together, but even less well than Farewell, My Lovely. But I do find it interesting that the neo-noir era keeps returning to Chandler while it's pretty much left Hammet behind (inasmuch as someone whose genes are spread wide through the whole genre can be left behind). Spade and the Continental Op, straightshooting tough guys who come out on top in the end, seem antiquated in the (post-)modern era. But Marlowe's goodness being out of sync with the world around him only seems more poignant the further you take him from his own time. Nowadays you can really only do Hammett as pastiche, but I sense that you could still play Chandler straight.

Eyes of Laura Mars The most De Palma movie I've seen not made by De Palma, complete with POV shots, paranormal hoodoo, and fixation with sex, death, and whether images of such are art or exploitation (or both). Laura Mars takes photographs of naked women in violent tableux, and has gotten quite famous doing so, but is it damaging to women? The movie has more than a superficial engagement with this topic, but only slightly more than superficial. Kept imagining a movie that is about 30% less serial killer story and 30% more art conversations. (But, then, I have an art degree and have never murdered anyone, so.) Like, museums are full of Biblical paintings full of nude women and slaughter, sometimes both at once, and they're called masterpieces. Most all of them were painted by men on commission from other men. Now Laura Mars makes similar images in modern trappings, and has models made of flesh and blood rather than paint, and it's scandalous? Why is it only controversial once women are getting paid for it? On the other hand, is this just the master's tools? Is she subverting or challenging the male gaze, or just profiting off of it? Or is a woman profiting off of it, itself, a subversion? Is it subversive enough to account for how it commodifies female bodies? These questions are pretty clearly relevant to the movie itself, and the movies in general, especially after the fall of the Hays Code when people were really unrestrained with the blood and boobies. And, heck, the lead is played by the star of Bonnie and Clyde! All this is to say: I wish the movie were as interested in these questions as I am. What's there is a mildly diverting B-picture. There's one great bit where Laura's seeing through the killer's eyes (that's the hook, she gets visions from the murderer's POV; no, this is never explained) and he's RIGHT BEHIND HER, so there's a chase where she charges across an empty room only able to see her own fleeing self from ten feet behind. That was pretty great! And her first kiss with the detective (because you could see a mile away that the detective and the woman he's supposed to protect are gonna fall in love) is immediately followed by the two freaking out about how nonsensical it is for them to fall in love with each other, because she's literally mourning multiple deaths and he's being wildly unprofessional, and then they go back to making out. That bit was great, too. The rest... enh.

The Onion Field What starts off as a seemingly not-that-noirish cops-vs-crooks procedural turns into an agonizingly protracted look at the legal system, with the ultimate argument that the very idea of the law ever resulting in justice is a lie. Hoo! I have to say, I'm impressed. There's a scene where a lawyer - whom I'm not sure is even named, he's like the seventh of thirteen we've met - literally quits the law over how long this court case about two guys shooting a cop has taken. He says the cop who was murdered has been forgotten, his partner has never gotten to move on because the case has lasted eight years, nothing has been accomplished, and they should let the two criminals walk and jail all the judges and lawyers instead. It's awesome! The script is loaded with digressions and unnecessary details, just the way I like it. Can't say I'm impressed with the execution. Nothing is wrong, exactly, but the performances all seem a tad melodramatic or a tad uninspired. Camerawork is, again, purely functional. It's no masterpiece. But that second half worked for me. (And it's Ted Danson's first movie! He did great.)

Body Heat (rw) Let's say up front that this is a handsomely-made movie. Probably the best looking thing on the list since Night Moves. Nothing I've seen better captures the swelter of an East Coast heatwave, or the lusty feeling of being too hot to bang and going at it regardless. Kathleen Turner sells the hell out of a femme fatale. There are a lot of good lines and good performances (Ted Danson is back and having the time of his life). I want to get all that out of the way, because this is a movie heavily modeled after Double Indemnity, and I wanted to discuss its merits before I get into why inviting that comparison doesn't help the movie out. In a lot of ways, it's the same rules as the Robert Mitchum Marlowe movies - do Double Indemnity but amp up the sex and violence. And, to a degree it works. (At least, the sex does, dunno that Double Indemnity was crying out for explosions.) But the plot is amped as well, and gets downright silly. Yeah, Mrs. Dietrichson seduces Walter Neff so he'll off her husband, but Neff clocks that pretty early and goes along with it anyway. Everything beyond that is two people keeping too big a secret and slowly turning on each other. But here? For the twists to work Matty has to be, from frame one, playing four-dimensional chess on the order of Senator Palpatine, and its about as plausible. (Exactly how did she know, after she rebuffed Ned, he would figure out her local bar and go looking for her at the exact hour she was there?) It's already kind of weird to be using the spider woman trope in 1981, but to make her MORE sexually conniving and mercenary than she was in the 40's is... not great. As lurid trash, it's pretty fun for a while, but some noir stuff can't just be updated, it needs to be subverted or it doesn't justify its existence.

Blow Out Brian De Palma has two categories of movie: he's got his mainstream, director-for-hire fare, where his voice is either reigned in or indulged in isolated sequences that don't always jive with the rest fo the film, and then there's his Brian De Palma movies. My mistake, it seems, is having seen several for-hires from throughout his career - The Untouchables (fine enough), Carlito's Way (ditto, but less), Mission: Impossible (enh) - but had only seen De Palma-ass movies from his late period (Femme Fatale and The Black Dahlia, both of which I think are garbage). All this to say: Blow Out was my first classic-era De Palma, and holy fucking shit dudes. This was (with caveats) my absolute and entire jam. I said I could enjoy good sleaze, and this is good friggin' sleaze. (Though far short of De Palma at his sleaziest, mercifully.) The splitscreens, the diopter shots, the canted angles, how does he make so many shlocky things work?! John Travolta's sound tech goes out to get fresh wind fx for the movie he's working on, and we get this wonderful sequence of visuals following sounds as he turns his attention and his microphone to various noises - a couple on a walk, a frog, an owl, a buzzing street lamp. Later, as he listens back to the footage, the same sequence plays again, but this time from his POV; we're seeing his memory as guided by the same sequence of sounds, now recreated with different shots, as he moves his pencil in the air mimicking the microphone. When he mixes and edits sounds, we hear the literal soundtrack of the movie we are watching get mixed and edited by the person on screen. And as he tries to unravel a murder mystery, he uses what's at hand: magnetic tape, flatbed editors, an animation camera to turn still photos from the crime scene into a film and sync it with the audio he recorded; it's forensics using only the tools of the editing room. As someone who's spent some time in college editing rooms, this is a hoot and a half. Loses a bit of steam as it goes on and the film nerd stuff gives way to a more traditional thriller, but rallies for a sound-tech-centered final setpiece, which steadily builds to such madcap heights you can feel the air thinning, before oddly cutting its own tension and then trying to build it back up again. It doesn't work as well the second time. But then, that shot right after the climax? Damn. Conflicted on how the movie treats the female lead. I get why feminist film theorists are so divided on De Palma. His stuff is full of things feminists (rightly) criticize, full of women getting naked when they're not getting stabbed, but he also clearly finds women fascinating and has them do empowered and unexpected things, and there are many feminist reads of his movies. Call it a mixed bag. But even when he's doing tropey shit, he explores the tropes in unexpected ways. Definitely the best movie so far that I hadn't already seen.

Cutter's Way (rw) Alex Cutter is pitched to us as an obnoxious-but-sympathetic son of a bitch, and, you know, two out of three ain't bad. Watched this during my 2020 neo-noir kick and considered skipping it this time because I really didn't enjoy it. Found it a little more compelling this go around, while being reminded of why my feelings were room temp before. Thematically, I'm onboard: it's about a guy, Cutter, getting it in his head that he's found a murderer and needs to bring him to justice, and his friend, Bone, who intermittently helps him because he feels bad that Cutter lost his arm, leg, and eye in Nam and he also feels guilty for being in love with Cutter's wife. The question of whether the guy they're trying to bring down actually did it is intentionally undefined, and arguably unimportant; they've got personal reasons to see this through. Postmodern and noirish, fixated with the inability to ever fully know the truth of anything, but starring people so broken by society that they're desperate for certainty. (Pretty obvious parallels to Vietnam.) Cutter's a drunk and kind of an asshole, but understandably so. Bone's shiftlessness is the other response to a lack of meaning in the world, to the point where making a decision, any decision, feels like character growth, even if it's maybe killing a guy whose guilt is entirely theoretical. So, yeah, I'm down with all of this! A- in outline form. It's just that Cutter is so uninterestingly unpleasant and no one else on screen is compelling enough to make up for it. His drunken windups are tedious and his sanctimonious speeches about what the war was like are, well, true and accurate but also obviously manipulative. It's two hours with two miserable people, and I think Cutter's constant chatter is supposed to be the comic relief but it's a little too accurate to drunken rambling, which isn't funny if you're not also drunk. He's just tedious, irritating, and periodically racist. Pass.

Blood Simple (rw) I'm pretty cool on the Coens - there are things I've liked, even loved, in every Coen film I've seen, but I always come away dissatisfied. For a while, I kept going to their movies because I was sure eventually I'd love one without qualification. No Country for Old Men came close, the first two acts being master classes in sustained tension. But then the third act is all about denying closure: the protagonist is murdered offscreen, the villain's motives are never explained, and it ends with an existentialist speech about the unfathomable cruelty of the world. And it just doesn't land for me. The archness of the Coen's dialogue, the fussiness of their set design, the kinda-intimate, kinda-awkward, kinda-funny closeness of the camera's singles, it cannot sell me on a devastating meditation about meaninglessness. It's only ever sold me on the Coens' own cleverness. And that archness, that distancing, has typified every one of their movies I've come close to loving. Which is a long-ass preamble to saying, holy heck, I was not prepared for their very first movie to be the one I'd been looking for! I watched it last year and it remains true on rewatch: Blood Simple works like gangbusters. It's kind of Double Indemnity (again) but played as a comedy of errors, minus the comedy: two people romantically involved feeling their trust unravel after a murder. And I think the first thing that works for me is that utter lack of comedy. It's loaded with the Coens' trademark ironies - mostly dramatic in this case - but it's all played straight. Unlike the usual lead/femme fatale relationship, where distrust brews as the movie goes on, the audience knows the two main characters can trust each other. There are no secret duplicitous motives waiting to be revealed. The audience also know why they don't trust each other. (And it's all communicated wordlessly, btw: a character enters a scene and we know, based on the information that character has, how it looks to them and what suspicions it would arouse, even as we know the truth of it). The second thing that works is, weirdly, that the characters aren't very interesting?! Ray and Abby have almost no characterization. Outside of a general likability, they are blank slates. This is a weakness in most films, but, given the agonizingly long, wordless sequences where they dispose of bodies or hide from gunfire, you're left thinking not "what will Ray/Abby do in this scenario," because Ray and Abby are relatively elemental and undefined, but "what would I do in this scenario?" Which creates an exquisite tension but also, weirdly, creates more empathy than I feel for the Coens' usual cast of personalities. It's supposed to work the other way around! Truly enjoyable throughout but absolutely wonderful in the suspenseful-as-hell climax. Good shit right here.

Body Double The thing about erotic thrillers is everything that matters is in the name. Is it thrilling? Is it erotic? Good; all else is secondary. De Palma set out to make the most lurid, voyeuristic, horny, violent, shocking, steamy movie he could come up with, and its success was not strictly dependent on the lead's acting ability or the verisimilitude of the plot. But what are we, the modern audience, to make of it once 37 years have passed and, by today's standards, the eroticism is quite tame and the twists are no longer shocking? Then we're left with a nonsensical riff on Vertigo, a specularization of women that is very hard to justify, and lead actor made of pulped wood. De Palma's obsessions don't cohere into anything more this time; the bits stolen from Hitchcock aren't repurposed to new ends, it really is just Hitch with more tits and less brains. (I mean, I still haven't seen Vertigo, but I feel 100% confident in that statement.) The diopter shots and rear-projections this time look cheap (literally so, apparently; this had 1/3 the budget of Blow Out). There are some mildly interesting setpieces, but nothing compared to Travolta's auditory reconstructions or car chase where he tries to tail a subway train from street level even if it means driving through a frickin parade like an inverted French Connection, goddamn Blow Out was a good movie! Anyway. Melanie Griffith seems to be having fun, at least. I guess I had a little as well, but it was, at best, diverting, and a real letdown.

The Hit Surprised by how much I enjoyed this one. Terrance Stamp flips on the mob and spends ten years living a life of ease in Spain, waiting for the day they find and kill him. Movie kicks off when they do find him, and what follows is a ramshackle road movie as John Hurt and a young Tim Roth attempt to drive him to Paris so they can shoot him in front of his old boss. Stamp is magnetic. He's spent a decade reading philosophy and seems utterly prepared for death, so he spends the trip humming, philosophizing, and being friendly with his captors when he's not winding them up. It remains unclear to the end whether the discord he sews between Roth and Hurt is part of some larger plan of escape or just for shits and giggles. There's also a decent amount of plot for a movie that's not terribly plot-driven - just about every part of the kidnapping has tiny hitches the kidnappers aren't prepared for, and each has film-long repercussions, drawing the cops closer and somehow sticking Laura del Sol in their backseat. The ongoing questions are when Stamp will die, whether del Sol will die, and whether Roth will be able to pull the trigger. In the end, it's actually a meditation on ethics and mortality, but in a quiet and often funny way. It's not going to go down as one of my new favs, but it was a nice way to spend a couple hours.

Trouble in Mind (dnrw) I fucking hated this movie. It's been many months since I watched it, do I remember what I hated most? Was it the bit where a couple of country bumpkins who've come to the city walk into a diner and Mr. Bumpkin clocks that the one Black guy in the back as obviously a criminal despite never having seen him before? Was it the part where Kris Kristofferson won't stop hounding Mrs. Bumpkin no matter how many times she demands to be left alone, and it's played as romantic because obviously he knows what she needs better than she does? Or is it the part where Mr. Bumpkin reluctantly takes a job from the Obvious Criminal (who is, in fact, a criminal, and the only named Black character in the movie if I remember correctly, draw your own conclusions) and, within a week, has become a full-blown hood, which is exemplified by a lot, like, a lot of queer-coding? The answer to all three questions is yes. It's also fucking boring. Even out-of-drag Divine's performance as the villain can't save it.

Manhunter 'sfine? I've still never seen Silence of the Lambs, nor any of the Hopkins Lecter movies, nor, indeed, any full episode of the show. So the unheimlich others get seeing Brian Cox play Hannibal didn't come into play. Cox does a good job with him, but he's barely there. Shame, cuz he's the most interesting part of the movie. Honestly, there's a lot of interesting stuff that's barely there. Will Graham being a guy who gets into the heads of serial killers is explored well enough, and Mann knows how to direct a police procedural such that it's both contemplative and propulsive. But all the other themes it points at? Will's fear that he understands murderers a little too well? Hannibal trying to nudge him towards becoming one? Whatever dance Hannibal and Tooth Fairy are doing? What Tooth Fairy's deal is, anyway? (Why does he wear fake teeth and bite things? Why is he fixated on the red dragon? Does the bit where he says "Francis is gone forever" mean he has DID?) None of it goes anywhere or amounts to anything. I mean, it's certainly more interesting with this stuff than without, but it has that feel of a book that's been pared of its interesting bits to fit the runtime (or, alternately, pulp that's been sloppily elevated). I still haven't made my mind up on Mann's cold, precise camera work, but at least it gives me something to look at. It's fine! This is fine.

Mona Lisa (rw) Gave this one another shot. Bob Hoskins is wonderful as a hood out of his depth in classy places, quick to anger but just as quick to let anger go (the opening sequence where he's screaming on his ex-wife's doorstep, hurling trash cans at her house, and one minute later thrilled to see his old car, is pretty nice). And Cathy Tyson's working girl is a subtler kind of fascinating, exuding a mixture of coldness and kindness. It's just... this is ultimately a story about how heartbreaking it is when the girl you like is gay, right? It's Weezer's Pink Triangle: The Movie. It's not homophobic, exactly - Simone isn't demonized for being a lesbian - but it's still, like, "man, this straight white guy's pain is so much more interesting than the Black queer sex worker's." And when he's yelling "you woulda done it!" at the end, I can't tell if we're supposed to agree with him. Seems pretty clear that she wouldn'ta done it, at least not without there being some reveal about her character that doesn't happen, but I don't think the ending works if we don't agree with him, so... I'm like 70% sure the movie does Simone dirty there. For the first half, their growing relationship feels genuine and natural, and, honestly, the story being about a real bond that unfortunately means different things to each party could work if it didn't end with a gun and a sock in the jaw. Shape feels jagged as well; what feels like the end of the second act or so turns out to be the climax. And some of the symbolism is... well, ok, Simone gives George money to buy more appropriate clothes for hanging out in high end hotels, and he gets a tan leather jacket and a Hawaiian shirt, and their first proper bonding moment is when she takes him out for actual clothes. For the rest of the movie he is rocking double-breasted suits (not sure I agree with the striped tie, but it was the eighties, whaddya gonna do?). Then, in the second half, she sends him off looking for her old streetwalker friend, and now he looks completely out of place in the strip clubs and bordellos. So far so good. But then they have this run-in where her old pimp pulls a knife and cuts George's arm, so, with his nice shirt torn and it not safe going home (I guess?) he starts wearing the Hawaiian shirt again. So around the time he's starting to realize he doesn't really belong in Simone's world or the lowlife world he came from anymore, he's running around with the classy double-breasted suit jacket over the garish Hawaiian shirt, and, yeah, bit on the nose guys. Anyway, it has good bits, I just feel like a movie that asks me to feel for the guy punching a gay, Black woman in the face needs to work harder to earn it. Bit of wasted talent.

The Bedroom Window Starts well. Man starts an affair with his boss' wife, their first night together she witnesses an attempted murder from his window, she worries going to the police will reveal the affair to her husband, so the man reports her testimony to the cops claiming he's the one who saw it. Young Isabelle Huppert is the perfect woman for a guy to risk his career on a crush over, and Young Steve Guttenberg is the perfect balance of affability and amorality. And it flows great - picks just the right media to res. So then he's talking to the cops, telling them what she told him, and they ask questions he forgot to ask her - was the perp's jacket a blazer or a windbreaker? - and he has to guess. Then he gets called into the police lineup, and one guy matches her description really well, but is it just because he's wearing his red hair the way she described it? He can't be sure, doesn't finger any of them. He finds out the cops were pretty certain about one of the guys, so he follows the one he thinks it was around, looking for more evidence, and another girl is attacked right outside a bar he knows the redhead was at. Now he's certain! But he shows the boss' wife the guy and she's not certain, and she reminds him they don't even know if the guy he followed is the same guy the police suspected! And as he feeds more evidence to the cops, he has to lie more, because he can't exactly say he was tailing the guy around the city. So, I'm all in now. Maybe it's because I'd so recently rewatched Night Moves and Cutter's Way, but this seems like another story about uncertainty. He's really certain about the guy because it fits narratively, and we, the audience, feel the same. But he's not actually a witness, he doesn't have actual evidence, he's fitting bits and pieces together like a conspiracy theorist. He's fixating on what he wants to be true. Sign me up! But then it turns out he's 100% correct about who the killer is but his lies are found out and now the cops think he's the killer and I realize, oh, no, this movie isn't nearly as smart as I thought it was. Egg on my face! What transpires for the remaining half of the runtime is goofy as hell, and someone with shlockier sensibilities could have made a meal of it, but Hanson, despite being a Corman protege, takes this silliness seriously in the all wrong ways. Next!

Homicide (rw? I think I saw most of this on TV one time) Homicide centers around the conflicted loyalties of a Jewish cop. It opens with the Jewish cop and his white gentile partner taking over a case with a Black perp from some Black FBI agents. The media is making a big thing about the racial implications of the mostly white cops chasing down a Black man in a Black neighborhood. And inside of 15 minutes the FBI agent is calling the lead a k*ke and the gentile cop is calling the FBI agent a f****t and there's all kinds of invective for Black people. The film is announcing its intentions out the gate: this movie is about race. But the issue here is David Mamet doesn't care about race as anything other than a dramatic device. He's the Ubisoft of filmmakers, having no coherent perspective on social issues but expecting accolades for even bringing them up. Mamet is Jewish (though lead actor Joe Mantegna definitely is not) but what is his position on the Jewish diaspora? The whole deal is Mantegna gets stuck with a petty homicide case instead of the big one they just pinched from the Feds, where a Jewish candy shop owner gets shot in what looks like a stickup. Her family tries to appeal to his Jewishness to get him to take the case seriously, and, after giving them the brush-off for a long time, finally starts following through out of guilt, finding bits and pieces of what may or may not be a conspiracy, with Zionist gun runners and underground neo-Nazis. But, again: all of these are just dramatic devices. Mantegna's Jewishness (those words will never not sound ridiculous together) has always been a liability for him as a cop (we are told, not shown), and taking the case seriously is a reclamation of identity. The Jews he finds community with sold tommyguns to revolutionaries during the founding of Israel. These Jews end up blackmailing him to get a document from the evidence room. So: what is the film's position on placing stock in one's Jewish identity? What is its position on Israel? What is its opinion on Palestine? Because all three come up! And the answer is: Mamet doesn't care. You can read it a lot of different ways. Someone with more context and more patience than me could probably deduce what the de facto message is, the way Chris Franklin deduced the de facto message of Far Cry V despite the game's efforts not to have one, but I'm not going to. Mantegna's attempt to reconnect with his Jewishness gets his partner killed, gets the guy he was supposed to bring in alive shot dead, gets him possibly permanent injuries, gets him on camera blowing up a store that's a front for white nationalists, and all for nothing because the "clues" he found (pretty much exclusively by coincidence) were unconnected nothings. The problem is either his Jewishness, or his lifelong failure to connect with his Jewishness until late in life. Mamet doesn't give a shit. (Like, Mamet canonically doesn't give a shit: he is on record saying social context is meaningless, characters only exist to serve the plot, and there are no deeper meanings in fiction.) Mamet's ping-pong dialogue is fun, as always, and there are some neat ideas and characters, but it's all in service of a big nothing that needed to be a something to work.

Swoon So much I could talk about, let's keep it to the most interesting bits. Hommes Fatales: a thing about classic noir that it was fascinated by the marginal but had to keep it in the margins. Liberated women, queer-coded killers, Black jazz players, broke thieves; they were the main event, they were what audiences wanted to see, they were what made the movies fun. But the ending always had to reassert straightlaced straight, white, middle-class male society as unshakeable. White supremacist capitalist patriarchy demanded, both ideologically and via the Hays Code, that anyone outside these norms be punished, reformed, or dead by the movie's end. The only way to make them the heroes was to play their deaths for tragedy. It is unsurprising that neo-noir would take the queer-coded villains and make them the protagonists. Implicature: This is the story of Leopold and Loeb, murderers famous for being queer, and what's interesting is how the queerness in the first half exists entirely outside of language. Like, it's kind of amazing for a movie from 1992 to be this gay - we watch Nathan and Dickie kiss, undress, masturbate, fuck; hell, they wear wedding rings when they're alone together. But it's never verbalized. Sex is referred to as "your reward" or "what you wanted" or "best time." Dickie says he's going to have "the girls over," and it turns out "the girls" are a bunch of drag queens, but this is never acknowledged. Nathan at one point lists off a bunch of famous men - Oscar Wild, E.M. Forster, Frederick the Great - but, though the commonality between them is obvious (they were all gay), it's left the the audience to recognize it. When their queerness is finally verbalized in the second half, it's first in the language of pathology - a psychiatrist describing their "perversions" and "misuse" of their "organs" before the court, which has to be cleared of women because it's so inappropriate - and then with slurs from the man who murders Dickie in jail (a murder which is written off with no investigation because the victim is a gay prisoner instead of a L&L's victim, a child of a wealthy family). I don't know if I'd have noticed this if I hadn't read Chip Delany describing his experience as a gay man in the 50's existing almost entirely outside of language, the only language at the time being that of heteronormativity. Murder as Love Story: L&L exchange sex as payment for the other commiting crimes; it's foreplay. Their statements to the police where they disagree over who's to blame is a lover's quarrel. Their sentencing is a marriage. Nathan performs his own funeral rites over Dickie's body after he dies on the operating table. They are, in their way, together til death did they part. This is the relationship they can have. That it does all this without romanticizing the murder itself or valorizing L&L as humans is frankly incredible.

Suture (rw) The pitch: at the funeral for his father, wealthy Vincent Towers meets his long lost half brother Clay Arlington. It is implied Clay is a child from out of wedlock, possibly an affair; no one knows Vincent has a half-brother but him and Clay. Vincent invites Clay out to his fancy-ass home in Arizona. Thing is, Vincent is suspected (correctly) by the police of having murdered his father, and, due to a striking family resemblence, he's brought Clay to his home to fake his own death. He finagles Clay into wearing his clothes and driving his car, and then blows the car up and flees the state, leaving the cops to think him dead. Thing is, Clay survives, but with amnesia. The doctors tell him he's Vincent, and he has no reason to disagree. Any discrepancy in the way he looks is dismissed as the result of reconstructive surgery after the explosion. So Clay Arlington resumes Vincent Towers' life, without knowing Clay Arlington even exists. The twist: Clay and Vincent are both white, but Vincent is played by Michael Harris, a white actor, and Clay is played by Dennis Haysbert, a Black actor. "Ian, if there's just the two of them, how do you know it's not Harris playing a Black character?" Glad you asked! It is most explicitly obvious during a scene where Vincent/Clay's surgeon-cum-girlfriend essentially bringing up phrenology to explain how Vincent/Clay couldn't possibly have murdered his father, describing straight hair, thin lips, and a Greco-Roman nose Haysbert very clearly doesn't have. But, let's be honest: we knew well beforehand that the rich-as-fuck asshole living in a huge, modern house and living it up in Arizona high society was white. Though Clay is, canonically, white, he lives an poor and underprivileged life common to Black men in America. Though the film's title officially refers to the many stitches holding Vincent/Clay's face together after the accident, "suture" is a film theory term, referring to the way a film audience gets wrapped up - sutured - in the world of the movie, choosing to forget the outside world and pretend the story is real. The usage is ironic, because the audience cannot be sutured in; we cannot, and are not expected to, suspend our disbelief that Clay is white. We are deliberately distanced. Consequently this is a movie to be thought about, not to to be felt. It has the shape of a Hitchcockian thriller but it can't evoke the emotions of one. You can see the scaffolding - "ah, yes, this is the part of a thriller where one man hides while another stalks him with a gun, clever." I feel ill-suited to comment on what the filmmakers are saying about race. I could venture a guess about the ending, where the psychiatrist, the only one who knows the truth about Clay, says he can never truly be happy living the lie of being Vincent Towers, while we see photographs of Clay/Vincent seemingly living an extremely happy life: society says white men simply belong at the top more than Black men do, but, if the roles could be reversed, the latter would slot in seamlessly. Maybe??? Of all the movies in this collection, this is the one I'd most want to read an essay on (followed by Swoon).

The Last Seduction (dnrw) No, no, no, I am not rewataching this piece of shit movie.

Brick (rw) Here's my weird contention: Brick is in color and in widescreen, but, besides that? There's nothing neo- about this noir. There's no swearing except "hell." (I always thought Tug said "goddamn" at one point but, no, he's calling The Pin "gothed-up.") There's a lot of discussion of sex, but always through implication, and the only deleted scene is the one that removed ambiguity about what Brendan and Laura get up to after kissing. There's nothing postmodern or subversive - yes, the hook is it's set in high school, but the big twist is that it takes this very seriously. It mines it for jokes, yes, but the drama is authentic. In fact, making the gumshoe a high school student, his jadedness an obvious front, still too young to be as hard as he tries to be, just makes the drama hit harder. Sam Spade if Sam Spade were allowed to cry. I've always found it an interesting counterpoint to The Good German, a movie that fastidiously mimics the aesthetics of classic noir - down to even using period-appropriate sound recording - but is wholly neo- in construction. Brick could get approved by the Hays Code. Its vibe, its plot about a detective playing a bunch of criminals against each other, even its slang ("bulls," "yegg," "flopped") are all taken directly from Hammett. It's not even stealing from noir, it's stealing from what noir stole from! It's a perfect curtain call for the collection: the final film is both the most contemporary and the most classic. It's also - but for the strong case you could make for Night Moves - the best movie on the list. It's even more appropriate for me, personally: this was where it all started for me and noir. I saw this in theaters when it came out and loved it. It was probably my favorite movie for some time. It gave me a taste for pulpy crime movies which I only, years later, realized were neo-noir. This is why I looked into Kiss Kiss, Bang Bang and In Bruges. I've seen it more times than any film on this list, by a factor of at least 3. It's why I will always adore Rian Johnson and Joseph Gordon-Levitt. It's the best-looking half-million-dollar movie I've ever seen. (Indie filmmakers, take fucking notes.) I even did a script analysis of this, and, yes, it follows the formula, but so tightly and with so much style. Did you notice that he says several of the sequence tensions out loud? ("I just want to find her." "Show of hands.") I notice new things each time I see it - this time it was how "brushing Brendan's hair out of his face" is Em's move, making him look more like he does in the flashback, and how Laura does the same to him as she's seducing him, in the moment when he misses Em the hardest. It isn't perfect. It's recreated noir so faithfully that the Innocent Girl dies, the Femme Fatale uses intimacy as a weapon, and none of the women ever appear in a scene together. 1940's gender politics maybe don't need to be revisited. They say be critical of the media you love, and it applies here most of all: it is a real criticism of something I love immensely.

#film noir #neo-noir #criterion channel

42 notes · View notes

helloalycia · 3 years

Text

worth the wait [three] // daisy johnson

summary: when you're out chasing a story that leads you to the unanticipated hands of HYDRA, you certainly don't expect to be rescued by a girl you presumed dead for nine years.

warning/s: descriptions of violence, torture, injuries.

author’s note: here’s the next part, hope you all like it!

Nine years later...

"I'm meeting with my contact now. He said he knows something about the weapons."

"Okay, just make sure you're safe, Y/N."

I smiled with amusement. "I always am, Taylor. I think this could be the source to break the story though. I'm gonna try and get them to speak on the record."

"Just be careful," he warned.

"Will do," I promised, before checking my watch for the time. "Okay, I gotta go. See ya."

"Good luck," he finished, and I hung up before putting my phone away.

Looking around, I saw the village was quiet seeing as it was pretty late and everyone was in their homes. It was the perfect place to meet with a source for my story on human trafficking.

I headed down the street and waited outside the apartment building for my source. I had no idea what he looked like, but nobody else would be out this late into the night, so he couldn't be hard to spot.

A few minutes passed before I saw a guy approaching me, holding some files in his hands. I straightened up and held his gaze as he stopped before me. He glanced around before looking me up and down.

"You are Y/N?" he asked with a Burmese accent.

I nodded, speaking fluent Burmese as I said, "Yes. You must be Ohnmar? We can speak Burmese if you prefer."

"Okay. We talked earlier, but it wasn't safe then. I have information on the missing residents," he answered in Burmese, before shaking the files. "It's all in here, but you mustn't open it until you get home."

I accepted the files and nodded, though was mildly confused. "Is it about the labour they're doing? I have a theory, but I have no proof. I... I think it might be HYDRA."

He pursed his lips and I figured he was confirming my thoughts, which concerned me.

"I'm right," I realised, before moving to open the file. "I need to–"

"You should've stayed away," he suddenly said in English, and I looked up in confusion.

Before I could question him, he pulled a gun from behind him and hit me on the head, knocking me to the ground. I tried to blink my eyes open, but my vision was blurred and I eventually blacked out, unable to stay awake any longer.

I woke up in a dark room with an aching head and confused mind. It took a moment for me to catch myself up, but I soon realised I'd been tricked by my contact. I was so easily fooled and I felt stupid as I hadn't seen it coming, instead too blindsided by my need for information.

Looking around, I realised I was tied to a chair. The only light in the room was from a single electric lamp plugged in the corner, shedding light on the damaged walls and, to my dismay, a HYRDA logo.

"Well, fuck," I mumbled, before shaking my wrists to try and get free, but they were tied pretty tightly with rope, making me shift uncomfortably at the chafing.

Panic started to set in when the door slammed open in front of me, flooding the room with light and making me close my eyes with discomfort. I heard another slam and opened my eyes when I saw the door closed behind whoever entered.

Two people were in the room and one of them turned the lamp, shining it in my direction and also revealing my assailants' faces. One of them was Ohnmar, my contact, which I guess wasn't his real name. The other wasn't anybody I recognised, and they were both wearing uniforms with the HYDRA logo on the pocket.

"I wouldn't try to escape if I were you," the fake Ohnmar said.

I clicked my tongue and looked between the both of them. "I'm guessing I got a little too close to the truth which is why I'm here. Right?"

"You've been putting your nose in where it doesn't belong," the other guy said. "Did you really think you would get away with this? That we'd let you write about this?!"

I flinched at his loud volume before clearing my throat. "I didn't think I needed your permission. And in case you didn't notice, it's my job to report on this."

Fake Ohnmar scoffed. "We don't care what your job is. Now tell us what you know and what you've told your superiors back home."

I narrowed my eyes. "Do you really think this is the first time I've been captured? I've spent nine months in this village. If you think I'm going to throw that away for you, you better think again."

Fake Ohnmar's friend cracked his neck, pacing with discomfort, before pulling out a gun. I chewed on the inside of my mouth, nerves settling as I tried not to show it.

"We have someone going through your electronics as we speak," he told me, gripping his gun. "Your superiors will get their updates as expected, but you won't be giving them."

"Look, you're gonna kill me whether I tell you or no–"

I was cut off when he smacked me across the face with his gun, making me see stars momentarily. I felt something warm gush from my nose and realised I was bleeding.

"You have no idea who you're dealing with," he muttered, his face inches from my face as he stared me down threateningly. "Now tell us what you know of the missing villagers."

I wiped my nose on my shirt the best I could and chose not to speak. They couldn't do much without knowing what I knew. Everything I'd learnt had been sent back home to the news organisation I worked for, and if I didn't get back to them or call them, they'd know what happened.

"Two things I despise," he mumbled with irritation. "Journalists and Americans." He waved to his friend dismissively. "She won't talk. You know what to do."

Fake Ohnmar nodded obediently before suddenly punching me in the face, once again, leaving me dazed. This went on for a while, him beating me up as an attempt at torture, before the two of them left me alone to 'think about' if I wanted to tell them.

I had been in this situation, surprisingly, two times before in my journalistic career. Both times I was able to get out either by escaping myself or managing to get found by the authorities. Of course, in this case, the latter seemed impossible, so my only hope was escaping myself.

I looked around, but realised I was in too much pain to hatch a plan right now. They'd done a good job on me, and I was sure my ribs were bruised pretty badly. Honestly, I didn't expect nine months of investigative journalism in Myanmar to lead to HYDRA of all places.

—

"You've beat me, starved me..." I coughed because of how dry my throat was. "I'm not talking."

Fake Ohnmar placed something rectangular on the table in front of me. I realised it was my laptop – they must have taken it from where I'd left it in the room I'd been renting downtown.

"You're clever, I'll give you that," he said, crossing his arms and shaking his gun impatiently. "Where did you learn such complicated encryptions?"

I couldn't help but smile when I knew he couldn't get into my laptop. At least not the parts that exposed what I'd learnt so far.

"You do what I do and you learn from past mistakes," I told him, making him clench his jaw.

It wasn't much, probably the only trick in the book I knew as I wasn't exactly an expert with computers. Clearly it was benefiting me today though.

He slammed his hand on the table suddenly, making me jump. "Tell me the password, now!"

I licked my dry lips, choosing to stay quiet. I began to wonder just how advanced these guys were if they couldn't even afford to get a hacker to break through.

"So it's gonna be like that," he said with a shrug, before pointing his gun at my face.

He flicked off the safety and I closed my eyes as calmly as I could, already saying my goodbyes in my head. A few days in a HYDRA cell was like weeks anywhere else. I'd accepted my fate.

I expected the shot to go off any minute now, wondering what things would be like afterwards. Would it hurt? Would it be an instant death?

I certainly didn't expect my left ear to be ringing as an excruciating pain shot up my neck from my shoulder. My eyes opened and I tried to breathe through the pain whilst hoping my ear would stop ringing. The man began to laugh, but I couldn't hear him, only see his evil smile.

When I looked down, I saw blood seeping from a bullet wound in my left shoulder. Despite my experience in this profession, I can't say I'd ever been shot before. It certainly hurt a lot more than I'd imagined.

"You talk and I get you patched up," he said when my hearing returned to normal. I looked up and saw him watching me with narrowed eyes. "You stay quiet and we see how long it takes for you to bleed out."

I swallowed hard, squeezing my eyes shut to contain the pain, before opening them again.

"You're gonna move operations," I realised aloud. "You want to know whether you can. Because if I've told them about you, you know you can't stay here much longer. And if I haven't, you just get rid of me."

He squeezed his gun with irritation, watching as I spoke the truth.

"But either way I die," I repeated. "So why the hell would I want the last thing I do be to help you?"

He grabbed the laptop before kicking the table away with anger. "Call when you feel like talking. We can make your death quick and painless or long and painful."

I smiled bitterly as I watched him leave the room, slamming the door behind him. I released a deep breath as I looked down at my shoulder, trying to make out the damage. I didn't know much about first aid, but I was pretty sure there was no exit wound meaning the bullet was still in there. That was good, right? Or wasn't it...? I couldn't remember. I just knew it hurt like hell.

—

Hours had passed and I began to hallucinate. Silly things like cheeseburgers and dancing water bottles – lack of food and drink, the blood loss and the heat was making my head spin. I wasn't sure if this was where I wanted to die – in a small, dirty, hot room by myself. Was it worth it? Dying over a news story?

Of course it was. I pursued this story after some social media posts about disappearing villagers in Myanmar. I stayed here nine months with each day leading me closer and closer to the supposed human trafficking that was going on. I got to where I was because I wanted to get justice for those who suffered and stop anyone else from suffering. Yet the only people who knew were my editors back home, and I wasn't sure they'd ever know the full truth.

It was better than helping the enemy though.

Just when I thought cheeseburgers were the worst of my delusions, I saw a face I hadn't thought about in a long time. A person who I least expected my mind to drag up in a time like this.

The door opened and I was sure I was going to be questioned again, but in ran none other than Skye. The same Skye who had ran away all those years ago and wasn't to be found.

She looked a little older with her shorter hair, but otherwise she was just as I remembered.

"Hey, I'm gonna get you out of h– Y/N?" she started, before furrowing her eyebrows with confusion.

She even sounded the same, and if I could feel anything at that moment, I'm sure I would've felt my heart beating quickly at the sight of her.

"Can you hear me?"

I began to laugh with what little energy I had left. Is this what it was like to die? Seeing things that you'd pushed down for so long to stop your heart from hurting? It was strange. Why was my mind playing with me like this?

"Y/N, look at me, can you hear me?!" she asked quickly, grabbing my face and forcing me to meet her eyes.

I continued to laugh because it all felt so real. Her touch, her voice, her eyes that peered into me. I wished it was because maybe after all of these years I could have made things right.

—

"Miss, can you hear me? Y/N?"

I blinked the tiredness from my eyes and opened them, trying to remember what was happening. But I was confused and my body was numb and nothing made sense.

"Y/N, sweetie, can you hear me?"

I turned my head, realising I was laying in a bed. There was a woman beside my bed – a doctor, I presumed – staring down at me with a friendly smile on her face. I nodded slowly, my mouth dry.

I couldn't remember getting out of that cell, being rescued. Unless I wasn't rescued and this was still a trap.

At this thought, I widened my eyes and tried to move, panic setting in, but I was attached to a bunch of tubes and my body was still numb.

"Hey, it's okay, you're okay," the doctor tried to reassure, resting her hands on my arm, trying to keep me still. "You're safe here. You're on a S.H.I.E.L.D. quinjet. That's like a plane...? We got you out of that HYDRA cell and I've bandaged your wounds. You don't need to be afraid anymore."

I wasn't sure whether to believe her, but something about the way she spoke and the kindness in her eyes made me relax.

"My name is Agent Simmons," she introduced as she grabbed something from beside me, "but you can call me Jemma."

I opened my mouth, but no words came out. On cue, she held a glass of water towards me and helped me sit up enough to have some from the straw. It felt good to have actual water in my system after not being given anything the past two days.

"Not too quickly," she said gently. "Take your time."

I listened to her before laying back down. It took a few tries, but I managed to get out, "Thank you, Jemma. I'm Y/N."

"Y/N Y/L/N, investigative journalist for the New York Times," she stated before an apologetic expression crossed her face. "Sorry. Facial recognition an' all... I hope that doesn't freak you out."

I sighed, not the slightest bit surprised. I knew enough about S.H.I.E.L.D. to know they had the resources to know exactly who I was.

"I don't remember you getting me," I said with confusion. "How did you I know I was there?"

Jemma took a seat on the stool beside my bed. "Well, technically it was Quake who got you out. We had reports of HYDRA activity in that area for a while and we knew an American journalist had been taken, but we didn't know it was you."

I nodded, though I was still confused. "Who's Quake?"

Jemma chuckled, thinking I was joking. But when I met her eyes with confused ones, she lost her smile.

"You're serious? You don't know who Quake is?"

I shook my head. "I've been in Myanmar for nine months, and not in the most advanced areas. I haven't had much access to American news."

"Seriously?" she asked with disbelief, before putting her arms out and shaking them. "Earthquake-causing, vibration-manipulating, tremor-shaking superhero Quake?"

I raised an eyebrow judgementally, making Jemma lower her arms sheepishly.

"Oh, well, she's a hero that works for S.H.I.E.L.D.," she explained.

I nodded slowly, deciding that was something to ask more about later on. For now, I was more concerned about my story.

"You said S.H.I.E.L.D. had been watching that area for a while," I recalled. "Does that mean you found out what happened to the missing villagers? I got as far as working out HYDRA had been using them for some sort of forced labour, but never beyond that."

Jemma got up from her stool and busied herself with other things. "I, er, that's actually classified...? You see, it's not good if we tell you, especially as you're a journalist..."

"But it's my story," I countered with annoyance. "I've been trying to work this out for almost a year. I deserve to know the outcome. Did you save those villagers? Were they all alive? Did the local authorities know?"

Jemma seemed to be getting uncomfortable the more questions I asked and I forced myself to sit up, groaning at the ache in my shoulder.

"You can't hide this from me," I told her. "Please, just tell me."

She grimaced. "It's not my place. I'm not in charge–"

"Then tell me who is!" I shouted with frustration, before taking a deep breath. "I'm sorry. I just– I've put a lot of work into this and it can't just be taken away. I need to know what happened."

She nodded, avoiding my eyes for fear I'd get angry again. "Look, I can talk to my superiors and find out what I can say. For now, you should really be resting."

I leaned back and breathed out slowly, already feeling my fatigue catching up to me.

"Okay," I said quietly, before asking, "You said we were on a plane. Where are we going?"

"That's actually classified as well," she said regretfully, making me sigh. "We're going to our headquarters. But after that, we'll be taking you home or wherever you want us to take you."

At the mention of home, I grew hopeful. It had been so long since I'd been back. I wasn't exactly in the right state to be living by myself, so I was glad that I had made the choice to leave my flat and move in with my parents before leaving for Myanmar. Plus, I had missed them dearly. To be back there was almost unimaginable.

"Can I ring my parents?" I asked hopefully. "Just to let them know I'm okay? And that I'm coming soon?"

Jemma nodded, offering a small smile. "Of course, Y/N. I'll go grab you a phone."

She left the room momentarily and I took that as my chance to get a good look around. It looked like a hospital room you'd find anywhere, except without windows and with card-activated doors that had tiny glass windows showing a narrow hallway. I didn't get to look around for too long as Jemma returned pretty quickly, handing me (what looked like) a normal mobile phone.

"I'll give you a moment of privacy, but please only call your parents," Jemma warned as politely as she could.

I cracked a small smile. "What – are you guys tracking the phone or something?"

She chewed on her lower lip as she looked down, making my smile fade as I realised that's exactly what they were doing. I wasn't surprised, I guess.

"Right, okay, no other calls, got it," I agreed with a nod.

She left me to it as I dialled my mum's mobile number and eventually spoke to both her and my dad. It was emotional to say the least, as I tried not to worry them too much without withholding the truth. They knew when I was lying so it was better to just be honest. Of course, they were happy to have me stay at theirs until I was back on my feet and the call ended with my mum scolding me for not resting as the doctor recommended.

Finally succumbing to the tiredness I was feeling, I fell asleep for God knows how long, but when I woke up, I felt more refreshed. Similar to before, Jemma was in the room, checking some charts. She caught my eye when I woke up and smiled reassuringly.

"Feeling better?" she asked, setting down the chart and rounding the bed.

I nodded. "Yeah, thanks... how long was I asleep for?"

"About six hours," she guessed, waving her hand. "We've landed at S.H.I.E.L.D. HQ and our agents are debriefing. Once everything is sorted here, we can take you home to New York and arrange a driver to take you to wherever you want."

"My parents' house," I clarified.

She smiled and nodded. "Right. Your parents' house. How are you feeling?"

I tried to sit up and she helped me as I smiled gratefully in return.

"I'm not gonna lie, being shot hurts like a bitch," I admitted, grimacing as I glanced at my shoulder and arm in a sling.

"First time?"

"And hopefully the last," I retorted, before looking to her. "How long will this take to, y'know, get better?"

"Well, I'll need to keep you here for observation over the next few days," she explained. "When I'm happy with the outcome, I'll send you home and you'll need fortnightly checkups at the hospital. Overall I'd say a month? Maybe more if there's no... er... other issues."

"I know you mean PTSD," I told her bluntly, before frowning. "Doing what I do requires knowledge of that."

"There's going to be support available for you, both here and back home," Jemma reassured, resting a hand on mine and offering a small smile. "You're not alone, Y/N."

I nodded, clearing my throat. "I know... I know. Thanks."

She nodded and moved to the other side of the room to grab something, before wheeling a tray of food over to me.

"Hope you're hungry," she joked. "It's nothing fancy, but it's pretty good."

I smiled and accepted the food. "Means a lot, thanks."

I took a bite out of my sandwich as I remembered something. When I finished chewing, I wiped my face with the napkin before looking to Jemma who was at her desk.

"Er, Jemma," I called, making her look up. "Did you find out what happened to the villagers?"

She pursed her lips and nodded. "I've spoken to my superiors. I know you've been working on this and I'm only permitted to tell you so much."

I waited patiently, not wanting to snap at her like last time.

"The missing villagers were in fact taken by HYDRA, like you predicted," she explained. "They were forced into labour at a facility that was under the guise of a food warehouse."

"What was the labour?" I asked curiously.

She ran a hand through her hair. "I can't tell you much, but I can say that it was a nuclear weapon that could've hurt a lot of people. S.H.I.E.L.D. managed to stop it before they could finish it, which is when we found out that a journalist had been taken. That was when we came for you."

I released a deep breath, definitely not expecting that. At least they had been stopped.

"Did the missing people return to their families? Were they okay?" I asked hesitantly, remembering the many families I spoke to of the missing. I'd grown attached and I don't think I could have taken more bad news.

"Most of them, yes!" she exclaimed hopefully, but I could tell the following news wouldn't be good. "But not all of them were okay. There's some psychological damage and unfortunately physical damage, too. HYDRA did a number on them."

I massaged my head with my right hand, trying not to get upset, but the guilt in the pit of my stomach wasn't helping. I had one job, literally, and I couldn't even do it right.

"Y/N–"

"Do you have a list?" I asked, cutting her off. "A list of who made it?"

"Y/N, I don't think–"

"Please," I pleaded. "I spoke to the families of those who were missing. I got to know them. I need to know who's not getting their loved ones back."

She frowned, but nodded slowly. "I'm sure I can do something."

I sighed and my shoulders sunk with disappointment. Just another day on the job.

—

It had been a few days since being rescued by S.H.I.E.L.D. and I was itching to get home, but Jemma insisted I be observed for at least another day.

Under different circumstances, I would have been eager to explore the quinjet and get more information out of Jemma about her place of work, but I was too exhausted to care. Instead, I revelled in being taken care of and having a break from work.

I was laying in bed, reading a book, when Jemma walked in and caught my attention. I tried not to bother her as she was clearly working on other stuff, but it got pretty boring sitting in a room by yourself all day.

"Hey," I greeted with a smile, lowering my book.

"Hello," she returned as she took a seat at her desk, going on her computer. "You doing alright?"

"As alright as I can be, considering," I said, shrugging with my right shoulder. "Just a bit bored."

"The book not good?" she asked, nodding to my hand.

"I've read it," I admitted. "I just didn't wanna be a bother and ask for another one."

She chuckled. "You could have said something."

"It's okay," I assured her, before leaning back. "So, up to anything fun?"

She gave me a knowing look. "Are you seriously that bored?"

I nodded, pursing my lips, making her laugh. Eventually, she stared at me curiously.

"There's actually something I wanted to ask you," she admitted, crossing her arms and leaning back on her chair. "If you don't mind."

Wanting any distraction from my boredom, I nodded. "Go for it. I'm all ears."

"I've been reading some of your work," she shared. "You're really talented and you've been through your fair share of tough scrapes."

I chuckled. "I guess, yeah. And thank you. What's the question exactly?"

She looked at me like it was obvious. "What made you want to do this as a job? Investigative journalism?"

I played with the corner of the book as I answered thoughtfully, "Well, I guess I've always enjoyed writing and delving deep into stuff. The important stuff, y'know?" I looked down at my hands as I remembered Skye. "There was actually this girl I knew back in school. She was a friend and she, er... she was always wanting to find and expose truths. About herself, the world... I guess she kind of influenced me in a way."

I chewed on the inside of my mouth as I remembered my hallucination. Skye seemed to be coming up a lot more in my life lately, more than I was prepared for.

"I'm guessing she isn't with you anymore," Jemma realised, expression softening. "I'm sorry."

I forced a small smile, looking up and shaking my head reassuringly. "It's okay, it doesn't matter."

Jemma smiled in return, but I could see the pity present in her eyes. "I'm sure whoever she was, she'd be proud of you now. For everything you've done."

"Thank you, Jemma, but I... I'm not too sure about that."

"I am."

I froze at the sound of a familiar voice. Was I hallucinating again? No, that couldn't be. I was getting better. But that sounded so real...

"Proud of you, that is," the voice continued, and I risked looking towards the door where I saw none other than Skye standing there with a nervous smile on her lips.

When I met her gaze, I knew she wasn't a figment of my imagination. Those piercing brown eyes couldn't be fake.

"Hey," she got out, barely a whisper.

I licked my lips and tried to look away, but my heart was suddenly racing in my chest. She was just how I saw her last, but I guess that had been real now.

"I should give you guys a moment," Jemma said, pulling me from my reverie and making me look away.

She walked out, past Skye, leaving us both alone. I was still in shock though, too startled to say anything.

"How are you?" she asked gently, and I still couldn't believe I was hearing her voice after all these years. When I didn't say anything, she continued, "I know this is strange, but–"

"Strange?" I finally found my words, eyebrows raised. "What exactly is strange? The part where I'm sure I'm seeing a ghost right now as I you presumed you were dead after not being able to find you for years after you left, or the part where you've probably been at S.H.I.E.L.D. the whole time and didn't bother to tell me you were okay? Which part is strange exactly?"

She frowned guiltily, eyes falling to her shoes. "When I left–"

"Ran away," I corrected her, bitterness slashing through like a sharp knife, surprising the both of us.

She glanced at me, nodding. "Right... when I ran away, I left you a message."

I almost laughed, a sarcastic smile on my lips. "Don't even get me started on the excuse veiled as a message you left me. The cowardly way out you took because you couldn't face me."

She met my gaze nervously. "I didn't think you'd be this angry after all this time. It happened so long ago."

"Of course I'm angry!" I shouted with frustration, making me grimace at the pain in my shoulder, but I didn't stop. "You left without a single trace of Skye or Mary left behind! You left me with nothing but concern for your wellbeing! I thought you were dead!"

I hadn't realised how I angry I was after all this time, but it made sense. When she first left, I always imagined what I would say to her when I found her again, what our reunion would be like. But when the years went on and I accepted she was truly gone, all of that worry turned into bitterness and resentment. And now, seeing her here... I was furious.

"Y/N, I know you're upset, but–"

"Just get out," I told her with a glare. "I appreciate you saving me and all, but get out."

"Y/N," she pleaded, but I looked away and pressed the button on the side of my bed.

Jemma soon returned and looked between Skye and I with confusion and reluctance.

"Everything okay here?" she asked.

I looked up and met Skye's guilt-filled gaze. "My shoulder hurts."

Skye seemed to get the hint and nodded once more before finally leaving the room. I breathed out a shaky breath, before swallowing the lump in my throat and letting Jemma help me.

I couldn't believe she was back.

#daisy johnson x you #daisy johnson #daisy johnson imagine #daisy johnson x reader #marvel imagine #mcu imagine #mcu #marvel #chloe bennet #agents of shield imagine #agents of shield

109 notes · View notes

verytiredblob · 3 years

Text

My reviews on Manhwas

Alright so, recently I've began to fall into the great Manhwa hell, as if I didn't have enough fandoms.

But I neither have friends to chat about this with, nor a Discord chat where I can fanby about it, so I just decided to throw it in here.

These are both Manhwas I recommend and my opinions on them. If there are any spoilers, They will be striked through and in blue for anyone that wishes to avoid them (if anyone even reads this lol).

1. The Villainess Reverses the Hourglass (악녀는 모래시계를 되돌린다)

Premise: Aria was a terrible person and was sentenced to dead by being beheaded. In her final moments, she discovers her step sister, Mielle, actually manipulated her during her entire life just so she could get Aria killed. She then is beheaded, and wakes up in the past, in her child body. So now, she must work to both survive and get her revenge on her sister.

Lovely story, and my first Manhwa. The art is simply stunning, and all the characters are very flashed out and developed. Aria (MC) is the pettiest person alive and I'm here for that.

Also, I noticed a trend where, even though the manhwa has "Villainess" in the title, the MC is usually a total angel. Well, not here. Aria is egotistical and a total Diva, she has her goals and one of them is her revenge and by all that is sacred she'll get it.

Mielle is a great villain, she has grown a lot in her own pettiness and tactics since she was a child, and I really like that. Also, watching her suffer for being a terrible person is delightful.

The Male Lead (Asher) is also really cool, I like how he's both witty and friendly, and how much he truly admires Aria and her achievements.

The side characters are also pretty good, and they get a lot of focus because of their interactions with the main cast.

Again, The art is S T U N N I N G. Look at this:

Literally all panels are drawn like this or better, I'm in love.

All in all, an awesome read, 10/10, I love this a lot.

2. The Monster Duchess And Contract Princess (괴물 공작가의 계약 공녀)

Premise: Leslie's life was terrible, and always centered on her big sister, Eli. After a failed attempt of her family to grant Eli her sister's skills and knowledge, Leslie searches for the feared "Monster Duchess" in an attempt to survive.

Another one with incredible art AND incredible characters. Leslie is an absolute angel, and seeing her grow as a person is awesome.

The gender envy I feel with the Duchess is unbearable, she's utterly perfect. And the entire family is so dotting and loving and sweet, my little grinch heart can't take it.

She's perfection, really.

The plot keeps getting more and more mysterious, and I'm here for it!

I love each of the main characters a lot, and even the villains are well done and fuel your hatred.

Also, Eli Sperado and her Dad can choke on those black flames for all eternity.

Another 10/10, although I must warn anyone that wishes to read this that the translations sometimes are very spotty and messy, so it can be a bit annoying.

3. I'll be the Matriarch in this Life (이번 생은 가주가 되겠습니)

Premise: Firentia was a girl that died in Korea in her past life, and was reborn into an influential family as the illegitimate daughter of the third son. Her life was pretty terrible, with in the end, her family ending up in poverty and disgrace because of her uncles and cousins, while she was exiled from the family. After another accident, she wakes up in her past, now with a goal: Become the Lombardi matriarch and stop the other family heirs from bringing it to ruin.

Awesome art and Awesome plot number 3! This is so good, genuinely. Firentia is such an awesome plotter, and her goals and actions are very well developed.

The Male Lead is my baby and I shall protect him, and the side characters? Utterly stunning.

The twins are the cutest fucking shit, seriously. Like, look at these two?? I'm dead. Although, all the children are very, veeery cute.

I like how Firentia subtly manipulates things around her to get what she wants. It's similar to Aria, but she's much more mature and knowledgeable, and has a much less petty goal.

Guess what? 10/10. Yeah, I know, I'm terrible at grading, sue me.

4. The Twins Siblings' New Life (쌍둥이 남매의 뉴라이프)

Premise: Arien and Arjen were a pair of twins that died in Korea, and were reborn again as twins and as the Emperor's illegitimate children. Now, with only each other to trust, they must do their best to survive.

My current obsession. I really like this one. The art is not on the same level of pure Awesome like the ones before, but it's pretty good nonetheless.

The plot is pretty nice, but I must warn you: DO NOT expect them to act like adults. Honestly, just forget they're meant to be reborn in this world. They're just normal children and that's it. They act like children, and they think like children. Honestly, I think the author just wanted to make this story about them as children and their producer went and said to make them reincarnates because that Isekai shit is popular nowadays (And to justify they having memories of their newborn days). Seriously, just ignore it, the experience reading will be much better.

Other than that, the story develops nicely. The characters are all very good and the plot is very mysterious. I am holding myself back to not spoil anything, aaaaa.

There is also only one another thing that disappoints me: Arien is very clearly the MC. The story is told by her eyes and we only know what Arjen thinks or feels when he says it 9 or by subtext). I really wish it was more balanced, because they're both different people and have different perspectives, and also I really like Arjen.

I have absolutely no idea where this plot is gonna go, and honestly? I like it. It's very rare when I don't know how things are gonna develop because of other stories, so it feels very fresh.

The brothers are freaking awesome. I was so scared they were going to hate the twins and be petty, because of other manhwas that are like that, but they're so loving and sweet?? All hail these idiots. Also, Daddy is the biggest dumbass of all, this poor clueless man.

An 8/10, because of the complaints above. Still a good read, and I really like it, even with it's defects.

4. I'm A Stepmother, But My Daughter Is Just Too Cute! (계모인데 딸이 너무 귀여워)

Premise: A seamstress dies of overwork in Korea, and wakes up in the body of Abigail, the vain Queen, and the evil stepmother to the princess Blanche. Yes, It's like she stepped into the world of Snow White, and she must now do her best to live and.. Dote on Blanche with toys and dresses as much as possible?

Again with the awesome art and nice plot. Why are there so many manga with awesome art?? I'm so envious.

May all hail this crispy, delicious art.

Abigail is a whole mood, and I enjoy how she is inserted into the life of someone who had already lived and had a reputation. Her actions baffle a lot of the characters, as do her motivations, and I'm here for it.

The King has also an amazing backstory that's very tragic and yikes. I enjoy it, really. Not something you see in men's backstories that much.

Also, I'm kinda saddened by the fact the MC and the king are bound to become an actual couple. They would be such good platonic friends stuck in a political marriage. I was robbed, y'all.

Abigail greatest ambition is to get to design a dress for Blanche and have her wear it, and you know what? Good for her! Sometimes, it's good to have an MC that is not plotting against world at large.

Also, her mirror? Verite is simply perfect, I love this guy. I non-jokingly ship him with Abigail more than her with the King.

Blanche is a sweetheart, she deserves to be in my "adopted children" wall.

For now it's more of a Slice of Life than anything? But I also don't know what happens in the novels, so I'm just going to wait.

For the current lack of a grater plot, this gets a 7/10. Still pretty good and entertaining, especially for when you just don't feel like trying to understand deep plots with lots of elements.

5. Beware of the Brothers! (그 오빠들을 조심해!)

Premise: Another one of those "I lived my life and then wake up in the past." Hari was adopted by this family after the death of their only daughter, and although her parents love her, her 3 older siblings very much don't. She lives a miserable life in their hands, and when it's the night before she is to get married and finally escape her brothers, she wakes up in the past, and has to deal with them all over again.

Another nice art one, and the background characters are very nice, as is the MC.

But for me, it has a big problem. And that problem is the main ship. It's Hari with her eldest brother, Eugene. Even though they are not related and yadda yadda yadda, they were raised as such, and thus it bothers me. Also, Eugene is as plain as white bread and just as generic when seen as the Male Lead.

I ship Hari with Johan, even though I know it's not gonna happen, Ugh, the pain..

For me, the main point in this is Hari's relationship with her other siblings and the other background characters. I'm here for that wholesome sibling interaction. Her relationship with Erich, specially, is awesome. I love these two so much

It also kinda lacks a plot? Other than the relationship development and their story as a family, but again, I have no idea how they will develop this.

Also, pet peeve? Why do they keep using Oppa instead of translating it properly as brother? I get honorifics and stuff, but it's so annoying.

I give it a 6/10. Good characters and good relationships outside of the bloody incest thing, and it's a good enough way to pass the time.

There are two more that I've read, buut it's like 4am and I'm sleepy as all hell, so I'll just add it in a reblog or attached post later, and I plan on doing this for other future manhwas as well.

Do you have any recommendations or comments or just wanna talk about any of these manhwas? Hit me up!

#The villainess reverses the hourglass #the monster duchess and contract princess #i'll be the matriarch in this life #I'm a stepmother but my daughter is just too cute!#Beware of the brothers!#manhwa #webtoon #manhwa recommendation #isekai

57 notes · View notes

kornito · 3 years

Text

SOURCE: https://korngiant.tripod.com/kornisgoodforu/id10.html

Dead

Song Meaning, Jonathan:

All I want in life is to be happy", it's that simple. People say that it's become their own anthem. It's like whenever I start to feel good, something comes and takes it away and I feel like I'm nothing again, like I'm dead.

Falling Away From Me

Song Meaning, Jonathan:

The song is about domestic abuse and that there ways to get help whether it's telling someone or calling a help line, there are ways to get out of those situations. Noone has to be treated like that.

Trash

Song Meaning, Jonathan:

"Trash" is about how I threw my world and everything out. I threw her away. I threw my old self away. It basically comes back down to the sex thing. The battles I did on the road, this whole album is what I went through because I was on the road and I went crazy.

Beg for Me

Song Meaning, Jonathan:

"Beg For Me" is more of an angry thing because the whole thing for "Beg For Me" is the crowd. The only time I was good on tour was when I walked up onstage and that's what the song is about. Feeling wanted is something one thing I've always needed. I was shuffled around so much when I was a kid...Being up onstage was the only point was the only time when my anxiety would go away for an hour.

Make Me Bad

Song Meaning, Jonathan:

I need to feel the sickness in you" ... It's spawned from f**kin', basically, from having sex. That's where that line comes from, but it means a whole bunch of things to me. "Make Me Bad" was about the battles I had being on the road, being married and being with other women. I'm not married anymore... beause of my lifestlyle, and I just couldnt do that to my wife anymore. So that ended. But does it make me bad that I have a dick and I have f**ken other feelings to be with other people? Why should I be with just one? It seems like human beings are genetically engineered to procreate. Thats what we do, f**k everything, and that's what our natural insides want to do. It is hard to find someone like that. But she was a good woman and I didnt want to keep on... I did the right thing, I was a man about it. It was better for me to tell her and let her go on with her life and find someone who could help her and be like that. So that song was spawned by that, does it make me bad to want to be with other women? In a sence it was my only drug, why... because I dont drink anymore, I cant drink. I've been sober for a year. I dont have any other vices. So at least doing that could be something.

Hey Daddy

Song Meaning, Jonathan:

"Hey Daddy" where I was schizophrenic and there were these voices telling me to do sh*t... To kill myself, basically. Daddy is one of my nicknames, so its like I'm talking to myself the whole time. It's hard to explain.

Dirty

Song Meaning: Jonathan

"I feel like a fucking whore to record companies." "You know how it is...the way we are used and marketed." "How they make all the money off us and we don't make shit!" "The only way we make money is to go out on tour and sell merchandise" "Basiclly we write all the music and turn in and they make all the money." "So I feel like that and also I feel like a slut cuz I'd go out at night and fucking girls and so I said fuck it, I'm going to do it. The only way to escape is to have sex." "Its all kind of different issues."

Its On!

Song Meaning, Jonathan:

It's On is my sh*t peer pressure song. Me being so stressed out going out and partying. Everybody's just going 'Come on dude, it's on.' That's partying, it's alcohol, cocaine, women. All that wrapped into one. I wrote a song about it. And the chorus I talked about Why am I really doing this? It's all my fault that I'm doing this because all the alcohol, the booze an the chicks do is just make it worse. They just rearrange all the problems in a different order that I can deal with at that moment.

Freak on a Leash

Song Meaning, Jonathan:

One of the best titles I've heard ever for a song. That's my song against the music industry. Like me feeling like I'm f**kin' a pimp, a prostitute. Like I'm paraded around. I'm this freak paraded around but I got corporate America f**kin' making all the money while it's taking a part of me. It's like they stole something from me, they stole my innocence and I'm not calm anymore. I worry constantly.

Got the Life

Song Meaning, Jonathan:

That's a song baggin' on myself. How everything's always handed to me. How I look up to God and don't want this anymore. Like I want something more out of life than all this. And I've got everything I really need but I sometimes don't like. I don't know how to explain it. I have to let it sit through the songs more to actually get into what I write. I truly know, really, the meanings of the songs almost. That's what I'm getting out of it right now.

Dead Bodies Everywhere

Song Meaning, Jonathan:

That was the song about my parents trying to keep me out of the music business. My father was in it and he knew how it was and I totally understand now that I have a son. I want Nathan to be a musician but I him don't want him to go through the hell I went through. That's the same thing my Dad was doing. A lot of people can relate to it, because it's like the Dad's wanting their sons to be football players and their sons want to be doctors or something. That peer pressure its like trying to make them something they're really not. And the Dead Bodies thing is like so I did it and all I got out of it was dead bodies everywhere and got all traumatized. Thanks a lot Dad, Mom.

Children of the Korn

Song Meaning, Jonathan:

That's the song that Ice Cube is on Cube came up with the title. I fed off of what he wrote, he was talking about growing up and puberty. Dictating what he can do, like how you gonna tell me how to live and who to f**k? And all this stuff. And I took that and in my stuff I was talking about being a kid always known as the f**kin' town faggot. It's funny how things change. That some of these people picked on me and all of a sudden look who's laughing now. Also in another of the verse I talked about all these parents f**kin hating me for what I do, saying I'm corrupting their children, but in turn these parents need to step outside of themselves and really listen to what I'm talking about. Then I think they can understand that they were kids before. They're just really quick to judge me. All the Children of The Korn are all our Korn fans. All those kids going through that sh*t and feeling what I feel.

B.B.K.

Song Meaning, Jonathan:

Big black cock! That's what I call a jack and coke. Those little glasses they serve in Europe and everything. That's what I named it, big black cock. And that's another song about me dealing with the pressures of this album and how I, you know, I'm trying to kill myself, but you know? Do I really want to kill myself? Things I'm just questioning myself. Most of this is self-structured.

Pretty

Song Meaning, Jonathan:

It's a story about this little girl that came into the coroner's office when I was working there and she was f**ked by her dad. She was an 11 month old little baby girl. Her legs were broken back behind her and he just f**ked her like a toy doll and chucked her in the bathroom. It was the most heinous thing I've ever seen in my life and I still have nightmares about it.

All in the Family

Song Meaning, Jonathan:

Fred was there after Korn TV and we said, 'Let's do a song together, Hey, man, let's go back and forth and rip on each other like an old school battle.' I don't know who's idea it was, I can't remember if it was mine or Fieldy's or Fred's but we came up with the idea and we started writing and we worked on it together. I came up with some bags on myself for Fred to say. It was all in good natured fun.

Reclaim My Place

Song Meaning, Jonathan:

This one is about the whole band and about all my life being called a homosexual. And then I became this big rock star in a band and I'm still called a fag even by my own band. So it's like I was f**kin' pissed off at them. It's like erase them all because I'm gonna reclaim my place and say hey, they owe a lot to me for what I did, and I owe a lot to them back. But, it still kinda sucks. I've never ever gotten away from that fag f**kin' title. Just because I'm a sensitive kinda guy. Kinda feminine it really sucks.

Justin

Song Meaning, Jonathan:

Justin, that was the kid dying terminally with intestinal cancer. His last dying wish was to meet us and it really freaked me out. That threw a whole bunch of new kind of pressures on my head. That's really intense. Someone's gonna die and his last thing he wants to do is come hang out with us. So I truly just freaked out. It's like why would you want to meet me? What makes me so special? And in turn I talk about how I admire his strength and his life. I couldn't stare at him because he was so content he was gonna die. No one could look him in the eyes. And I totally admire his strength. I wish I had it.

Seed

Song Meaning, Jonathan:

Seed. That's all about the same thing again. I laying in bed in my hotel room, thinking about do I really need all this stuff? All this pressure on me? Because I'm a stressed out freak. It's about Nathan, it's about every time that I look into his eyes, I see myself how I used to be, innocent and stress free. I'm kind of jealous of it. It really sucks, I used to be that way. It's like I have to work so hard at this thing in my life. I have to become a stressed out freak. I put food on the table for my child. Every time I look in his eyes, I just see myself staring right back at my @ss laughing. I was like care free, innocent as a child. It's really weird and I'm really jealous of it.

Cameltosis

Song Meaning, Jonathan:

That's a love song. It's about women in general, women who hurt me. It's Tre's lyrics. He's going on about chicks and my chorus is like I'm so scared to love anyone and really let them in after I got hurt really really bad by a girl. I've let Renee in a little bit, to be honest, but I'll never be that in love ever again. That's what I'm saying, if you've loved twice, you're gonna get f**ked, 'cause you usually do.

My Gift to You

Song Meaning, Jonathan:

Renee always wanted me to write her a love song and that's why I called it My Gift To You. It's my gift to her, you know how I get sick. I always had a fantasy of f**king her and choking her to death. I fantasize about what it would look like me in her body and watching me do it. So it's like a really sick f**ked up song. I did it totally like, I love her so much, I want to take her out of this world. It's really strange. She used to leave notes on my pillow like 25 ways she'd like to kill me. She's got this weird death fetish. We're kinda f**kin' freaky. She got it. She's all 'Thank you that's kinda f**ked up. I was expecting a f**kin' I love you, baby kinda song.' I'm all, 'No, you know me.' I mean I can't do that.

Chi

Song Meaning, Jonathan:

Chi is about a lot of alcohol and drug abuse. People turn to that when they have problems so that they won't have to feel their pain. The song was named after Chi Cheng from the Deftones. We named it after him because he used to call it reggae, and he loves reggae music.

Lost

Song Meaning, Jonathan:

It's the sterotypical thing about your best friend meeting a chick, and then you're nothing

Swallow

Song Meaning, Jonathan:

That's about being paranoid. Drug-induced paranoia.

Good God

Song Meaning, Jonathan:

It's about a guy I knew in school who I thought was a my friend, but who f**ked me. He came into my life with nothing, hung out at my house, lived off me, and made me do sh*t I didn't really wanna do." "I was into new romantic music and he was a mod, and he'd tell me if I didn't dress like a mod he wouldn't be my friend anymore."

"Whenever I had plans to go on a date with a chick he'd sabotage it, because he didn't have a date or nothing. He was a gutless f**king nothing. I haven't talked to him for years.

Mr. Rogers

Song Meaning, Jonathan:

Back in the day when I was a speed freak, um... even further back when I was a little kid watchin' Mr. Rogers, that sh*t was scary. He was a freaky old man... Land of Makebelieve and Mr. f**kinMcFeely and sh*t... made me sick. So back when I was doing speed, like for 5 or 6 days I'd be trippin out and my brain would start to get freaky and get schizophrenic and stuff, and I'd tape it and watch it everyday over and over... I don't know, I was sick in the head. As a kid he told me to be polite and all it did was get me picked on. I f**king hate that man. Thanks for making me polite and trusting everyone, and easy to take advantage of. So I spent 3 months on that one song, just tweakin' on it, and it was totally just my Mr. Rogers obsession, about how evil I thought he was. Pretty much drug induced.

K @ # Ø % (Kunt)

Song Meaning, Jonathan:

People think it's sexist but it isn't. It's more subconcious b*tching at all the women who've been with me in my life. It's not about women in feneral, just those women who hurt me." "Initially, we wrote it to send to American radio for a joke, because they always chop up all the other songs. So we were going to send a 'real' single seven days later."

A.D.I.D.A.S.

Song Meaning, Jonathan:

It stands for all day I dream about sex. It's about how much of a pervert my ass is, and how I daydream about what a stud I am. But when it comes down to it, I'm a f**king pussy and I'm in there jacking off.

a** Itch

Song Meaning, Jonathan:

That was the last song I wrote, and I was so burned at writing out lyrics because everytime I write I get depressed because I start thinking about things, you know? So the whole song is about that. In the chorus it says, 'Before day, my sun will be dying'. It's because I put myself on the line all the time and for what? Because people aren't going to be listening to it anyway.

Kill You

Song Meaning, Jonathan:

It's about a relative I first met when I was 12. I f**king hate that b*tch. She's the most evil, f**ked up person I've met in my whole life. She hated my guts. She did everything she could to make my life hell. Like, when I was sick she'd feed me tea with Tabasco, which is really hot pepper oil. She'd make me drink it and say, 'You have to burn that cold out, boy'. f**ked up sh*t like that. So every night when I'd go to sleep, I'd dream of killing that b*tch. In some sick way I had a sexual fantasy about her, and I don't know what that stems from or why, but I always dreamt about f**king her and killing her

Ball Tongue

Song Meaning, Jonathan:

The meaning of ball tongue is simple. Some thought it had to do with oral sex, but in fact its about a guy we had to work with on a t-shirt (Jeff Creath). He either had a pierced tongue or a wart or something on his tongue and he was a dick to us.

Different live: Jonathan goes into a Rap (by Coolio) Called "Loddi Doddi" in the middle of the song.

Clown

Song Meaning, Jonathan:

Korn was playing a show in San Diego for a clothing card. This skinhead guy came up and started flippin' me off. When we started, I bent down and the guy took a swing at me. Our tour manager, Jeff, got into it and knocked the guy out. I wrote this song about him: 'Scared to be honest with yourself/you're a cowardly man.

Faget

Song Meaning, Jonathan:

Everyone thinks I'm bashing gay people in this song, and I'm not. It's really about me going through high school being called 'pussy,' 'queer' and all that stuff, about getting picked on by all these jocks.

Shoots and Ladders

Song Meaning, Jonathan:

It was written because all these little kids sing these nursery rhymes and they don't know what they originally meant. Everyone is so happy when singing but 'London Bridge' is about the Black Plague. All of them have these evil stories behind them." "The lyrics are all from nursery rhymes, and a lot of nursery rhymes go back to the Middle Ages. They're actually pretty twisted if you know the stories behind them, like about Black Death and stuff.

Helmet in the Bush

Song Meaning, Jonathan:

It's about a speed problem that I had. You know, you do a lot of speed and -- if you're a male -- your penis retracts severly. The guy heard at the beginning of the song is La Caco, a friend of the band. His real name is Michael and likes taco bell. He's a really Nice Guy and he has been friends with the band for years

Daddy

Song Meaning, Jonathan:

People think daddy' was writen because my dad f**ked me up the ass,thats not what the song's about. It wasn't about my dad or my mum. When I was a kid I was being abused by someone else and I went to my parents and told them about it. and they thought I was lying and joking around, they never did sh*t about it. They didn't belive it was happening to their son. I don't like to talk about that song, this is the most I've ever talked about it...

#korn #jonathan davis #just thought it was interesting

41 notes · View notes

experiment-000 · 3 years

Text

My Top 10 Ships of 2020

It's been a weird year but I've seen other people doing this. Plus this year I've been way more into gen fics (love a bit of found family especially in clone wars and marvel) than anything shippy. So I genuinely don't know what imma put on here aside from two ships for sure. Sorry this post is super long idk how to do the below the cut thing and I've had this app for 5 years...

10) Viktor Nikiforov and Yuuri Katsuki - Yuri!!! On Ice

It was a real toss up between this, supercorp, kanera and wolfstar cos they're all very integral ships to my fan heart but this son because of the Yuri on Ice fandom's rebirth this year. I've never stopped shipping this, never stopped reading fanfic of them for any extended period of time, they're still my most bookmarked ship on ao3 (although I think now star wars - all media types may have overtaken them for fandom). They were one of the first things I watched where the queer ship I loved became canon and I can't wait for the film (and hopefully someday a season 2). Heck I even made my mum watch Yuri on Ice with me so I think that says it all.

9) Edelgard Von Hresvelg and female Byleth - Fire Emblem: Three Houses

My first fire emblem game was fates when I was like 14 (and finally gay awake lol). I was so disappointed that I had to be with a guy character because the only female option was kinda creepy and also I wouldn't get the character of kana. So when three houses came out I was so happy because finally there were beautiful incredible female characters my female byleth could romance (I'm so sorry mlm you deserved so much more than you got). I got the game as soon as it came out (had to search a lot of shops let me tell you) and started on black eagles. I was actually kinda disappointed back in 2019. I didn't like the explore the monastery bit (still find it kinda tedious) and the battle mechanics weren't quite the same as fates (no pairing up?! Aka my main battle technique for protecting the weaker units). So I got like 20 hours in and put it down. Came back to it in lockdown and finally finished it! I'm so proud of myself I virtually never finish games. And I fully fell in love with the useless lesbian edelgard in the process. When I started back playing in 2020 I was like eh I wish I'd picked a different character to romance (like shes an emperor that's morally very shady) but then the romance stuff started with edelgard and I fell the heck in love.

8) Cory Matthews and Shawn Hunter (and Topanga Lawrence) - Boy Meets World

Disney+ was released in the UK this year and I finally got the opportunity to watch boy meets world in its best quality (aka not on YouTube). I watched it back when I was like 12 or 13 and it's such a nostalgic show for me. Watching it again I still absolutely adore it (and my bi ass was low-key crushing on Shawn especially in chick like me - I'm 18 btw and I got so scared for a sec but rider strong was 18 when chick like me came out so it's fine woah). And of course now I see the possibilities of the beautiful Cory and Shawn relationship like they were so bromance it was basically romance and throw in topanga it's the perfect ot3 (but I'm also fine with just Cory and Shawn or just Cory and Topanga). Read some good fanfic for them this year. My favourite was one about Shawn stealing makeup and stuff and exploring gender (need more fics like this I'm biiii).

7) Steve Rogers and Bucky Barnes - Marvel Cinematic Universe

I rewatched all the MCU films this year too. And got really into Peter parker whump and irondad. Plus my eternal obsession with identity and relationship reveals of course led me from Spiderman identity reveals (and found family cuteness) to stucky coming out. Especially when it involves the internet and social media. Not my favourite ship but it's been significant to my year due to the sheer amount of marvel stuff I've read.

6) Satine Kryze and Obi Wan Kenobi - Star Wars

I rewatched clone wars in prep for season 7 and wow Satine's death was sad and sudden. She first appeared in S2 E13 I think and just the sheer sexual tension of their bickering. "The sarcasm of a soldier. The delusion of a dreamer." Just ugnnhhh my bi ass can't take much more of this. And Anakin just sipping his wine in the background grinning. And I fully believe korkie is a Kenobi.

5) Commander Cody and Obi Wan Kenobi - Star Wars

I am very much an Obi wan multishipper. I don't really have a favourite but I fully believe he was with satine and Quinlan in his life. I don't think be would've actually done anything with Cody because of the whole superior officer thing. And this probably isn't even my favourite Obi wan ship - that honour probably goes to quinobi or obitine. However the most popular ships in the fandom are codywan, quiobi and obikin. No offence to anyone who ships these they're just personally not to my taste, but I can't stand quiobi, and obikin I find only slightly more tolerable and I think that's just because there's so much obikin content so if I like the concept of a fic that happens to be obikin I'll read it. I'm just not a fan of the mentor/student relationships. So I generally favoured the codywan fics when there was shipping involved meaning I read a lot of them this year. Needed that nice fix it content post season 7.

4) Zuko and Katara - Avatar: the Last Airbender

Again I am a multishipper I have nothing against zukka it's cute. But I'm a zutara shipper first and foremost because when I first watched avatar I was like 13 and denying my gayness and gayness in general so I shipped the straight things and the straight things only. Most of these ships I stopped shipping - dramione, spuffy, some my little pony ones which we don't talk about. Zutara stayed. (I have nothing against any of the things I used to ship I just stopped shipping them so much/shipped new things more). I've continuously shipped zutara since I first watched avatar even if I didn't necessarily spend that much time on it it has always been here as one of my favourite ships. It has such good fanfic I swear including my favourite ever fanfic from any fandom - love thy enemy. Plus like the black games (reread this for the millionth time this year), a delicate subterfuge (which I read for the first time this year and damn it's so good) and so many more. With the avatar resurgence this year I haven't actually rewatched avatar aside from my normal random episode every now and then when I feel like it. But there's been a lot of avatar on my dash from people I follow getting into it and people I followed for avatar returning so naturally I returned to the fandom and read quite a lot of fanfic. I also read just a lot of avatar gen fics which were great at the whole found family thing I've been so obsessed with this year.

3) Catra and Adora - She Ra and the Princesses of Power

Catradora is canon! They kissed! What more is there to say. Arguably they should've been top but I never shipped them that much since I was always very much a multishipper when it came to she ra so yes I was very happy it became canon because we actually won for once but also I've never read much fanfic for them etc. But they are very much a dynamic I love and watching she ra all again in prep for season 5 I really enjoyed the build up of their relationship. The other two only go above because Buffy is my favourite show ever and damn there's some good fuffy fanfic and Aphra and Tolvan is both fresh in my mind and star wars owns me. Would love some catradora fic recs btw if anyone has them tho.

2) Buffy Summers and Faith Lehane - Buffy the Vampire Slayer

I didn't realise it was last year that I got super into them but according to my ao3 bookmarks it was lol. 2020 I swear it's lasted an eternity. I got into them about a month before lockdown (which feels like another lifetime). I've loved Buffy since I first watched it when I was 13. It's arguably still my favourite TV show. I've been through a lot of ships for Buffy - bangel to spuffy and now fuffy. I still think angel and her were a beautiful ship back in season 2 and especially in the angel episode I will remember you. But faith and Buffy had so much chemistry in season 3 - she would've been a fresh start for Buffy and the amount of fix it fics I read I swear. My favourite has to be one where they met in LA during Anne and how that changed everything feat Buffy's internal homophobia.

1) Cheili Lona Aphra and Magna Tolvan - Star Wars

I read Darth Vader (2015) and Doctor Aphra (2016) for the first time at the end of 2020 (got a comic subscription which has served me very well already I've nearly finished the star wars canon comics). Just to see canon queer ladies in star wars was so magical for me as a queer lady. I didn't think star wars would be so overt yet as to have a queer kiss in canon (even if it's in the comics) and especially not with the main character of arguably their main comic series. Now we just gotta hope that we'll get it in live action someday soon. They weren't the ship I consumed the most content of in 2020 but they were the highlight of my 2020 because star wars did that and I finally found out about it

Honourable mentions: Vivian and Elle - Legally Blonde, Candace and Vanessa - Phineas and Ferb, Stevie and Alex - Wizards of Waverly Place, Xander and Spike - Buffy the Vampire Slayer (I actually don't ship this but damn some authors are good - this was the ship that made me realise I don't need to like a ship if the author is good enough to write it well), Eli Vanto and Mitth'raw'nuruodo - Star Wars (started reading the books last year but finished this year and only started with fanfic this year), Villanelle and Eve - Killing Eve, Kanan and Hera - Star Wars, Barriss and Ahsoka - Star Wars, Remus and Sirius - Harry Potter, Kara and Lena - Supergirl (let's hope this becomes canon next year!) (Those last four are ones I've shipped forever some of my og ships but nothing particularly big has happened for me this year with them so)

I got Disney+ this year so rewatched a fair few things from my youth and though hey my obsession with that character may have been a little gay.

69 notes · View notes

fio-violet · 3 years

Text

Fluffy help (part 1)

Throughout the day, the Killer did not behave normally. He looked tired all day, and it bothered him a lot. He couldn't compose himself, couldn't remember the script, got confused in words, and got scolded for it. It was obvious that he had been distracted just today, and at the wrong time, they had a lot of work planned for this day, and he could not collect his thoughts.

"- Hey, Kill -" knight shouted, "- You're a little confused today, are you all right? -" Nightmare asked with a little excitement, this behavior is strange for his boyfriend, usually he is collected when they are on set.

"- I don't know, I've been feeling tired all day, -" the Killer replied, rubbing the back of his head with his hands. "- And now I have a little stress because of the huge number of failed takes, the Director is clearly not happy with me today -" he looked calm, but who knows what is on his mind now.

While the two actors were talking in the other corner of the stage, a timid trainee entered the hall and began to approach the workers who had previously asked the Barista for a certain coffee. Surprisingly, our coffee boy remembered what kind of coffee one or another employee ordered. Now he had gone through almost everything, and there were only two glasses of coffee left on the tray, intended for the monsters he likes.

Ccino had noticed during his rounds that the Killer and Nightmare were talking about something, and to his surprise, it was the Nightmare who took the initiative, and usually the Killer tries to get Him to talk. "- Is something wrong? -" it flashed through his mind as he approached them. He decided that he would definitely ask them about it, but probably later, but for now he tries to smile, and not give away a certain embarrassment and confusion.

"- Hi guys -" a little timidly greeted the two actors, the Barista.

"- Oh, hi, Ccino -" Nightmar said, smiling slightly as the Intern approached them.

"- Hello, baby- " the Killer tried to act natural in front of another favorite monster.

Ccino tried not to show his embarrassment at the Killer's response, but the flush on his cheekbones betrayed it.

"- Y-your coffee. Knight you asked for your regular coffee without additives. And the Killer asked for an espresso with a double dose of caffeine, right? -" of course, he is sure that he remembered everything correctly, but always clarified.

"- Yes, thank you, Ccino -" said Nightmer, still smiling slightly as he took his drink from the tray.

"- That's right, thank you -" the Killer also kept up with the Night and took his glass. Then they simultaneously moved closer to their trainee and kissed on the cheeks from different sides. Ccino, who had not expected such actions, started at first in surprise, and then, as it dawned on him, his face flushed again, and he froze in place, trying to recover himself.

"- Heh, you're so embarrassed again, you should get used to it by now, -" the Killer said with a light laugh, taking a sip of coffee. "-But you get even nicer at times like this -" he continued after a short pause. Nightmare just grinned, as if agreeing with his second boyfriend.

" -B-by the way, -" Ccino said, still looking at the killer in confusion, "- You usually drink coffee with additives, but today you decided to drink the same coffee as Nightmare, with double caffeine." He tried to change the subject to one that bothered him more. "- I noticed that you are silent more than usual, in conversation the Nightmare spoke more than you, something happened? -" Ccino was already looking at his boyfriend with concern.

"- W-wow, you're really observant -" the Killer was actually confused and pleased to some extent, the idea that his boyfriends noticed his condition, even though he tried to hide it so that he could focus on work.

"- I said it was noticeable -" Nightmare said with a grin.

"- Hey, I'm worried about you and the Nightmare, of course I'll notice the changes -" he managed to confuse both himself and the two actors at the same time, but Ccino wanted to know what was going on with the Killer today, maybe he got sick or something.

"- Ccino, the Killer probably overworked recently, this is the result of the actor's hard work -" said the still slightly confused Nightmare.

"- So...are you tired because of stress? -" the barista asked.

"- Most likely -" the Killer replied with a slight smile, finishing his coffee, the drink should help him relieve fatigue until the end of the working day, and then the wave of fatigue and drowsiness will cover him with a vengeance. By the way, Nightmare had almost finished his coffee.

"- Have you thought about taking the day off? -" Night threw the empty glass in the trash and looked at the slightly cheerful Killer.

"- I can't, there's a lot of work, have you seen the script at all? -" a little indignantly asked the Killer, remembering how many times today he forgot words or dialogues until they finished shooting, it was some kind of show.

"- Then you can rest in the evening -" the Nightmare continued after the Killer's response.

"- We can spend this evening together, -" the Intern suddenly suggested. There were slightly surprised looks at him, but he continued, "- I mean, we could help the Killer relax and de-stress this evening, so that he can have a good rest and go back to normal work tomorrow. -"

"- Hmm, this idea could be tried, -" Nightmare was more interested in how it would come out and what it would lead to. "- What do you say, Killer? Would you like to spend the evening with us? -" he was smiling maliciously.

"- Tempting offer -" in response, he also smiled maliciously. "-It still depends on what we will do -".

"- We can spend the evening at my place, my apartment is small, but I think that's enough for us -" it seems that at the moment Ccino is not embarrassed by his own proposal, but who knows if he will regret it or not?

"- Are you sure? -" the Killer asked doubtfully.

"- Yeah, it's all right. I will enjoy your company. By the way, you haven't really been to my house that often, have you, Killer? -"

"- Well, Yes, it is -" he said.

"- I have animals at home, cats -" on the word "cats" the Killer perked up a little "- I think they will help you to relieve some stress. As far as I know you like cats too -"

"- Yes, it is. Only now I'm envious -" the Killer replied, slightly offended.

"- It's starting -" Nightmare said softly, a little irritated. The Nightmare does not allow the killer to bring home animals, especially since it is a big responsibility, and they still need to take care of this animal, and they do not have time for all this. They disappear all day at work, they come home almost at night, with this mode, the Nightmare doubts that the animal will survive with them.

They were saved from even more questions by the Director's voice calling for them to return to the set.

"- Well, we're leaving, they're waiting for us -" the killer said in a more cheerful voice, throwing away the empty сup of coffee he had drunk.

"- Yeah, it's time to get back to work. -" Nightmare agreed.

"- Well, I'll see you tonight, baby. -" the Killer said, and gave Ccino a quick peck on the forehead. Nightmare also kept up and gave the Barista a quick kiss on the nose.

Ccino stayed where he was, feeling his face start to burn again with embarrassment. He was happy, there was no doubt about it, but he also wanted to cheer up the two guys who were already walking away from him and talking about something.

"- I'll regret this -" Ccino thought. - "Hey!", he shouted, running up to them. They turned and looked at him in slight surprise, about to ask something, but the trainee silenced them with a quick kiss on the lips. When they realized this, they were at first slightly shocked, they did not expect that their coffee boy, who was always embarrassed by any kisses and words, would climb up to them to kiss himself.

"- T-this is to c-cheer you two up when you're on set -" Ccino tried to explain his action quickly and confidently, as it delays them, but with each word he blushed more and without saying anything else quickly left the set.

Nightmare and the killer only looked slightly surprised as the trainee left, then went to the set in high spirits.

"- You're a bad influence on him -" Nightmare said.

"- As if you don't like it when I do it or he does it -" the Killer replied, laughing a little.

"- Fuck you! -" nightmare exclaimed in embarrassment, quickening his pace.

"- Come on, I love you -" the killer exclaimed, catching up with the nightmare and giving it a quick kiss on the temple.

"- Me too... -" he replied, calming down a little, and the Killer's smile widened.

Well, the evening promises to be fun.

(To be continued ???)

I finally finished this part. I really worked on it, and I hope someone likes it. Please excuse the mistakes, my English is not so good. (QwQ)💦

I was inspired by these people: @zu-is-here , @help-im-a-gay-fish , @yuriyuruandyuraart , @kotikaleo , @jann-the-bean .

Thank you for your inspiration and for loving this ship. ( UwU)✨💜💜💜

Killer!Sans by @rahofy-sketch

Ccino!Sans by @black-nyanko

Nightmare by @jokublog

96 notes · View notes

maybeacrowdedmind · 3 years

Text

My Top Seven Favorite Musical Moments In Shows That Aren't Musically Driven* and why (in no particular order)**

*By not musically driven I mean shows that do not have plots driven by music (i.e. Glee, Smash, etc. etc.)

**I know I said top seven, but I just mean out of the many I have seen, these seven are the ones I like the most.

Note: None of the images used are mine; they belong to various internet gods.

Legacies Season 1 Episode 11: We're Gonna Need a Spotlight

Kaleb and the Vampire faction singing "Feeling Good" by Nina Simone at the Salvatore School talent show.

While the entirety of the talent show was amazing (Kaylee Bryant's singing voice, Raf's slightly awkward yet still appropriately dramatic poetry), it was Kaleb and the vampires who stole the show. Chris Lee has an incredible voice and his rendition of Nina Simone's "Feeling Good" was stunning, both visually and vocally. I'm also a great lover of epic dance moves, so it was no contest.

Gilmore Girls Season 7 Episode 20: Lorelai? Lorelai?

Lorelai singing "I Will Always Love You" by Dolly Parton originally (Whitney Houston covered) at Stars Hollow karaoke to Luke, despite beginning the song as a dedication to Rory.

Lorelai and Luke may be broken up, but Lorelai's beautiful (and slightly alcohol-fueled) version of Dolly Parton's kind of cheesy yet nonetheless tender "if you love someone, set them free" ballad that was later made into an iconic cover by Whitney Houston was proof that they'd never really be over. Sure, she says she's singing it to Rory, but the moment Luke walks in and they lock eyes, everyone knows. Lauren Graham also has a good voice, and the emotion that comes through is so real, a cheesy karaoke moment becomes a heartfelt cheesy karaoke moment.

Everything's Gonna Be Okay Season 1 Episode 5: West African Giant Black Millipedes

Nicholas doing a drag queen routine to Thelma Houston's disco hit "Don't Leave Me This Way" for Alex and his friends.

Okay, so I love this scene so much, because not only is it done to an incredibly fun song, it also showcases Nicholas doing something so utterly entertaining for Alex and a bunch of people he was nervous about meeting. The fact that just a few days before watching this episode I had watched an episode of Ru Paul's Drag Race where two queens had to lip sync for their lives to the very same song made the scene that much more enjoyable to watch. Nicholas looks amazing, his dance moves are to die for, and his lip syncing game is strong. I also appreciated the fact that when he did this scene, Josh Thomas committed to it. The scene is done in full, not going for a bit and then fading out before we get to see the end. Also, I know that Nicholas isn't technically singing, but it still totally counts.

The Magicians Season 1 Episode 4: The World in the Walls

Quentin starting up a group sing-along to Taylor Swift's "Shake It Off" to get Penny's attention in the mental hospital while under Julia and Marina's spell.

I just started watching this show after having read the first two books, and this scene was HILARIOUS! I loved that the show used a random interaction between Quentin and Penny from a previous episode and turned it into something more because usually shows ignore one-off interactions between characters. Also, Quentin singing off-key at the top of his lungs with everyone else joining in and dancing while Penny suddenly hears it in the real world was so funny and a huge break in an otherwise extremely dramatic and rather dark episode.

Skam Season 2 Episode 3: Er det noe du skjuler for oss? (Are You Hiding Someone From Us?)

Noora singing Extreme's "More Than Words" on William's guitar, initially doing so to make fun of him, but quickly turning into a super sweet and romantic moment between the two.

Skam is another show I started watching recently, and Noora quickly became one of my favorite characters. Now, I'll admit, I wasn't too fond of the idea of William and Noora at first, but this scene changed my mind immediately. I'm also very into the whole "enemies to lovers" thing these two have with one another. All of the songs Noora sings in this scene are good, but "More Than Words" is the one where you really begin to see that William's feelings for Noora are not as one-sided as she says they are. Josefine Frida Petterson, who plays Noora, has an absolutely beautiful voice, and the vocalization and soft musicality throughout are stunning. This is one of my favorite scenes in this show to date, and everything about it was perfect.

New Girl Season 1 Episode 1: Pilot

Coach, Schmidt, and Nick singing "(I've Had) The Time Of My Life" by Bill Medley and Jennifer Warnes from Dirty Dancing to Jess, who eventually joins in, after her date stands her up.

Poor Jess had just broken up with her boyfriend, moved into an apartment with three guys who have little to know emotional know-how when it comes to women, and had her first date since her breakup stand her up at a fancy restaurant. The situation was made worse by the fact that she was told to give up her table. When the boys showed up and claimed to be her boyfriends, it was sweet, but the moment they began singing "(I've Had) The Time Of My Life", they showed that they really did care about her. What makes this scene so funny is the fact that Nick (who begins it) and Coach (who joins in after Nick elbows him) don't really know the words, they're both singing different parts in different tunes at different volumes, and then Schmidt (who initially says he's not singing), comes out of nowhere belting the song with the correct words and tune. Then Jess joins in and they have a great time until the restaurant makes them leave. They head back to the apartment, watch Dirty Dancing, and show that any problem can be solved with good friends and 80s movies.

Angel Season 2 Episode 11: Redefinition

Cordelia, Wesley, and Gunn sing "We Are The Champions" by Queen at Caritas after Angel fires them.

Cordelia, Wesley, and Gunn had just been fired by Angel so he could kill Darla and Drusilla without their interference and the trio was at a loss for what to do next. Angel Investigations was disbanded, and none of them had any clue what to do about it. Their solution? Terribly sing Queen's "We Are The Champions" at Lorne's bar Caritas and drown their sorrows. While an extremely short scene, Cordy, Wes, and Gunn's reaction to being fired was super relatable, and you can never go wrong with Queen. They also have three very different personalities; Cordelia is snarky, has a lot of wit, and tends to be rather superficial, but she has so much heart beneath the surface, Wesley is a stuffy English professor type, and being a former Watcher means he couldn't be hip and cool if he tried, and Gunn is a hardened vampire hunter with a strong resolution and loyal to the core, who was still relatively new to the group when Angel gave them the boot. As such, seeing them all be together with arms around shoulders singing their hearts out was immensely fun to see.

Honorable Mentions:

Legacies: Alaric singing "Take Me Out To The Ball Game" terribly off-key before Kaleb and Cleo swooped in and saved the day with their improvised song.

Buffy the Vampire Slayer: Giles Singing "Free Bird" while playing his guitar in his home.

How I Met Your Mother: Lily and Marshall singing "Don't Go Breaking My Heart" at karaoke, effectively making up after Marshall accepts a corporate job rather than one that fits his morals.

7 notes · View notes

iceslushii · 3 years

Note

So, I'm writing this to document what I can only assume is my sudden descent into insanity. I can't possibly be THAT bad a navigator, and yet as I write this I've been trapped in Ikea for 2 days. I haven't seen another person in the entire time I've been here. I thought it was a prank at first. Turn the place into a maze, get all the people out and see how long it takes me to get lost, then everyone has a good old laugh. Realised that wasn't the case when I tried to backtrack. Everything had changed, so I ended up lost. Instead of the exit, it was just row after row of bookcases.

So, I'm trapped in Ikea. Sounds like the setup for a bad joke. The lights went out at 10pm. Nearly gave me a fucking heart attack, that loud electrical THUNK sound and then pitch blackness. Place is full of beds though and my phone has a torch on it - but no damn signal - so I found a bed and went to sleep. Spent most of the next day trying to find my way out with no luck. Did find a restaurant serving those meatballs though, so at least I won't starve. That's probably the punchline to that joke. Anyway they were still warm and fresh, but I haven't seen anyone around who could have cooked them. Made my way back to the beds before the lights cut out again since it's too dark to search with them off.

It's 9.10am now, the lights came back on a little while ago. I'm sure I've searched the entire area around where I came in now and the exit obviously isn't here, so I'm going to pick a direction and hope for the best.

Day 3 of my magical Ikea mystery adventure. If I wasn't sure that there was something seriously weird about this place before, I am now. Walked for 3 hours in a more or less straight line (insert Ikea joke here) before I came across a ladder next to one of those huge stock shelves they have here. Climbed up to get my bearings, and it looks like this place just stretches on forever. Like that scene from the Lion King, except instead of trees and grass it was all shelves and tables and crap. I did see a person moving not too far away though, so I headed over.

Thought it was a staff member at first - it was wearing the uniform. And hell maybe it was, maybe freakish 7ft tall monsters with long arms, short legs and no faces are just the kinds of thing they want working at Super Ikea. Damn thing completely ignored me though, and with no eyes or ears I can't even be sure it knew I was there. Thought about shoving it or something to get its attention, but its hands were big enough to crush a water melon so I decided against it. It just kept moving along and eventually I lost sight of it so I decided to carry on the way I was going.

Anyway, no comfy bed for me tonight. Looks like I've entered the Improbably Hard and Pointy Table section of the store. Guess I'll have to make do with some bunched up tablecloths. Phone battery died during the day too. Didn't work anyway, but I feel like I've just lost some vital lifeline.

You ever see one of those cartoons where they're going through doors in a hallway and they just pop out of another door in the same hallway? That's how I feel right now. I've seen nothing but the same identical bookshelf for 2 days now. Just row after row after row of them. I mean, come on. I love books as much as the next guy, but this is excessive. I'm obviously still moving forwards though, I can see the signs hanging overhead passing by. Too bad none of them say "Exit".

Not sure who I was addressing that question to. Lets just say it was practice for the autobiography I'm going to write when I get out of here. I'll call it "My perfectly normal trip to a regular old Ikea".

If I ever get out o

Finally found some other people! Yeah, turns out I'm not the only poor bastard trapped in here. Lucky for me, I guess. My 6th night here, 2 of those staff things came at me in the dark. Different from the first one I saw, but still messed up. Heard them coming, they were saying that the store was closed and I had to leave the building, all nice and polite like. I'm not sure which part of that was weirder, that they don't have mouths or that they were apparently trying to kill me while they were saying it. Came at me like rabid dogs.

So, I legged it. Sprinting through ikea in the dark like a fucking madman. I saw it when I cleared another stand of those giant stock shelves, all lit up with torches and floodlights. They've built a whole town in here! Got a massive wall built out of shelves and beds and tables and whatever else. I swear to god it was the most beautiful thing I've ever seen. Anyway I guess they saw me coming (or maybe they heard my girlish manly bellows of fear), because they had a gate open and 2 people were there waving me in. Heard the staff things slam into the gate behind me after it closed, still politely informing us all that the store was now closed. They wandered off eventually though.

They call the town Exchange, because that's whats on the sign hanging from the ceiling directly above it. Exchange and Returns. All lit up against the night using lights they've found and plugged into the power lines. And there are beds and food and people. Over 50 wonderful people with regular sized limbs and a full set of facial features. It's now my 7th night here, and the first one not spent in darkness. A full week living in Ikea. There's probably a TV show in that somewhere.

Now that I'm around other people, I'm starting to feel more normal. Maybe normal isn't the word. But after a week with only the sound of my own footsteps for company, I was becoming increasingly sure that I'd just gone nuts. That I was tied up in some padded room somewhere, banging my head against the wall. But no, I feel quite sane now, thank you very much!

Apparently there are other towns out there. Some with more people, some with less. I found that fairly mind-boggling - how can that many people go missing with no one noticing. Surely someone would have noticed that everyone who goes to ikea seems to fucking vanish. Or maybe it's not everyone. Maybe we're just the lucky ones.

The people here just call those staff monster things the Staff. Apparently they are fine during the day, minding their own business walking the aisles. As soon as those lights go out though, they go fucking bonkers. So during the day people go out to find food, water and whatever else they need. Apparently there are restaurants and shops around that randomly get restocked. No one knows how. Maybe the staff do it. Apparently they aren't very good at their jobs though because the restocking sometimes takes a while, which means the food needs to be rationed. Maybe if they weren't so busy chasing people around in the dark they'd get more done.

Anyway when night comes the staff go nuts and everyone holds up inside the walls. Apparently it's the same everywhere in this place, whatever this place is. The Ur-Ikea, from whence all other Ikeas sprang. Or maybe we're all still just in the regular ikea and this is all some fever dream brought on by mind-numbing boredom. Who knows.

Been here for 10 days now. Most of the people I asked said they stopped keeping track a long time ago and one guy, Chris, said he'd been in here for years.

Years.

[ILLEGIBLE SCRIBBLES]

Apparently there are rumours of people who do manage to get out. And of people who see the exit, only to have it vanish before their very eyes. I get the feeling not everyone believes that, but I do. Explains how we got stuck in here in the first place (sort of). And I mean, come on. Staff monsters, row after endless row of high quality Swedish furniture. I don't know why they would find a disappearing door so hard to believe in.

Anyway, I went out scavenging for food at a nearby shop with Sandra and Jerry today. Once you learn the landmarks of this place it's not so hard to navigate. The overhead signs help a lot, but there are others; not too far in the distance a huge section of those giant stock shelves has collapsed against each other and way off in the east (we all assume it's east anyway - apparently Ikea doesn't sell compasses) is some kind of tower that looks like its made of wood, reaches all the way to the ceiling. Maybe they were trying to break out through the roof. Lights up at night so there must be people there, but its apparently a few days walk (which means it must be miles away) so no one here really knows for sure. Apparently I got incredibly lucky sleeping out in the open for a week without getting ripped to bits by the staff. That's me. Lucky lucky lucky.

We found some food in the shop. Guess the staff restocked it during the night, which was nice of them. There was a telephone on the wall, so I figured I'd try it out. There was a voice on the other end, but they were just talking nonsense. Random words strung together with no real meaning. You ever see a video of someone with aphasia? Kind of sounded like that. Didn't answer me when I spoke to them anyway. Sandra says all the phones in here are the same.

Oops, asking the journal questions again!

I was thinking last night. The ceiling on this place is pretty high and as far as anyone can tell it goes on forever. Shouldn't there be some kind of weather in here? I'm sure I read about some NASA building that was so big it had its own weather patterns, with clouds and stuff. This place is definitely bigger than that, but now that I think about it I'm pretty sure I've never felt so much as a temperature change in here.

I'll add it to the Grand List of Weird Bullshit.

The staff attacked the Exchange last night. Must have been 20 or 30 of them all just asking us to leave the store calm as you like, while trying to smash the walls down with their bare hands. Apparently this happens pretty regularly, so everyone is prepared for it. Knives from the restaurants, lawn mower blades made into hatchets, a fire axe. One guy, Wasim, even made a functional crossbow. Anyway the walls have holes in them, which I hadn't noticed before, specifically so we can stab out at the staff when they attack. Took a couple of them down myself. They don't seem to bleed, which is weird, but they go down as easy as a regular person once you start sticking holes in them.

We had to haul the bodies away in the morning. Apparently the dead ones will attract more during the night, so we had to get them away from Exchange. We have a couple of those trolley things they use to move big boxes around, so we loaded them up and took them over to Pickup. Apparently people just name everything in here after whatever sign is hanging overhead.

Pickup was grisly. There were hundreds, maybe thousands of dead staff all piled up. There was no smell, which was a blessing. Apparently in addition to not bleeding, these things don't rot either. My curiosity got the better of me while we were unloading them, so I took a look at one of the more cut-up ones. They're just skin, or something that looks like skin, all the way through. No muscle, no bone, no organs. Are they even really alive in the first place? They certainly seem like they have bones when they are moving around, pounding on the walls. And I'm sure I felt more resistance than just skin when the knife went in during the night. Maybe something happens to them when they die. Just one more thing on the ever-increasing list of Weird Shit that goes on in here, I guess.

Something occurred to me, after the staff attack the other night. Every time you see a situation like this on TV or in a film, like its the end of the world or everyone is trapped on an island or whatever, once groups like ours start to form people always seem to turn on each other. Fighting for food or dominance or whatever else. That hasn't happened here. Apparently people from other towns come by from time to time, just to check in or occasionally to trade if they are short on something. But everything is always cordial. Friendly, even. Maybe its the threat of the staff, or perhaps the constant restocking of supplies in the shops means there's nothing much to fight over.

Maybe people are just better than they are generally given credit for. That's a nice thought. I think I'll go with that one.

A dozen people showed up at the gates this afternoon from a town called Trolleys. Apparently the staff broke through the walls and tore the town apart during the night. These 12 are the only survivors out of over a hundred. We let them in, obviously. One more point in the human decency column. Later, I asked if anyone knew how many of these towns there were out there. Between us and the new folks, we managed to come up with over 20 names. 20 towns filled with people, and who knows how many beyond that.

The motto for this place should be "How Is That Even Possible". Surely someone, somewhere must be looking for the thousands of people that must be in here.

I've been here for a little over 2 months now. Not that much changes, as it turns out. A couple of new people showed up, same story as the rest of us. Nice little trip to Ikea and suddenly they're trapped in Billy Bookcase's House of Faceless Weirdos. The staff attack the Exchange once or twice a week. We kill them and haul their bodies off, sometimes they hurt some of us first. They killed a guy called Jared a couple of weeks back. It was awful, frankly. Turns out regular humans still bleed in here, even if the staff don't. We tried our best, but none of us are doctors.

Jared was a good guy. He deserved better. We all do.

It occurred to me a couple of days after that, none of us were really looking for a way out of here. I don't even know where we'd start.

One of those quad copter things with a camera attached buzzed passed Exchange today. I thought it meant that someone was finally looking for us, that help was on the way. Apparently it's not the first time this has happened, though. Same thing happened a few months ago, and everyone is still here.

No idea if it saw us, it didn't stop if it did. Just kept flying until we could no longer see it.

Note: Based on recovery time of the journal, this entry appears to line up approximately with our first successful test piloting a drone inside SCP-3008-1. Analysis of footage shows a walled settlement under a sign labelled "Exchange and Returns". Attempts to relocate the settlement failed. Origin of previously sighted drones is unknown.

I started talking to people about the stuff they miss from home during dinner today. Probably not the best idea I've ever had, everyone seemed pretty down after. A bunch of people here have families. Husbands and wives, kids. Dogs. Franklin apparently has a pet llama, though I'm not sure I buy that.

But apparently some of the people here have some seriously odd gaps in their knowledge. 3 of them had never heard of the International Space Station, 2 of them seemed to think █████ ███████ was the Prime Minister, and one of them had apparently never heard of the Statue of Liberty. I believe them, too. They seemed just as confused as the rest of us.

The more I thought about it though, the more it started to explain a few things. What if the reason no one is looking for all us missing people is because we haven't all come from the same place. This is going to sound weird (maybe that should be the motto for this place) but what if all the people here have come from different dimensions? Realities? Whatever you call it. I've seen enough TV shows to know the drill. Sarah comes from a place where there is no Statue of Liberty. They didn't launch a space station where Wasim is from. If everyone here came from different places, even from ones that seem identical, there'd be no huge missing persons panic. No mass search. We'd just be a blip, a single missing person in a world of non-stop news.

Well. That was a fun train of thought.

Just realised that yesterday was the six month anniversary of my arrival here. I wonder if Ikea sells party hats. The routine around here has remained more or less the same. More new folk show up, one every couple of weeks or so. Food supplies go up and down, but we've never actually had a major shortage. Occasionally we get a visitor from one of the nearby towns, usually Checkouts or Aisle 630. We check in with each other from time to time, occasionally trade supplies if someone gets particularly low on something. It's comforting, in a way. A reminder that we aren't alone in here, some small glimmer of civilisation. Sometimes they bring medical supplies. Apparently there's a pharmacy a few towns down from Checkouts that gets restocked every now and then, so they share out what they can. I've never heard of an Ikea with a pharmacy before but at this point I wouldn't be surprised if someone stumbled on an Ikea Organ Harvesting Lab. Would certainly explain the staff.

Speaking of our faceless jailers, their attacks have been getting worse lately. 3 or 4 times a week now, with twice as many staff as there used to be. No idea where they all come from, or why the attacks have increased. We tried following one of them during the day a few weeks ago, me and Sarah. Wanted to see if they lead back to a staff room or something. Didn't seem to go anywhere though, just randomly walked through the aisles. We had to turn back before we found anything.

We've been reinforcing the walls, trying to arm ourselves better. Certainly no lack of materials to use. Wasim has been making more crossbows, but it's pretty slow going.

Too bad Ikea doesn't sell guns.

Note: No new personnel have entered SCP-3008 at Site-██ in the time span indicated in this entry.

The attacks are getting bad now. Almost every night, and with so many staff that the bodies almost pile high enough for others to climb the walls. I think we're in real trouble here.

Exchange is

I think Exchange is done. We got hit pretty bad last night. Not many casualties, but the wall is wrecked. We finally figured out why the attacks had been escalating, too. A box of supplies had a chunk of one of the staff in there. No idea how it happened but apparently a piece of one will draw them as well as a full body. Too late now in any case, there's too many bodies for us to haul away and still have time to fix the wall before night. Candace has called a meeting. I suspect there will be talk of abandoning Exchange, maybe try and get shelter at Checkouts or something.

It's already getting late though. I don't think we'll have time to make it. Maybe some of us will. I was fine for that first week out in the dark, after all. But then, how often can I keep getting lucky.

I'm only writing this for a sense of closure, I guess. For me, or for anyone who finds this. If this is the final entry here, I hope whoever is reading this is doing so from outside of this place.

My biggest fear? If I do die tonight, I'll just wake up here again in the morning.

Note: This is the last entry. It is assumed that while attempting to reach the "Checkouts" settlement he was separated from the rest of his group by a pursuing SCP-3008-2 instance and happened upon the exit.

We're no strangers to love You know the rules and so do I A full commitment's what I'm thinking of You wouldn't get this from any other guy I just wanna tell you how I'm feeling Gotta make you understand Never gonna give you up Never gonna let you down Never gonna run around and desert you Never gonna make you cry Never gonna say goodbye Never gonna tell a lie and hurt you We've known each other for so long Your heart's been aching but you're too shy to say it Inside we both know what's been going on We know the game and we're gonna play it And if you ask me how I'm feeling Don't tell me you're too blind to see

Never gonna give you up Never gonna let you down Never gonna run around and desert you Never gonna make you cry Never gonna say goodbye Never gonna tell a lie and hurt you Never gonna give you up Never gonna let you down Never gonna run around and desert you Never gonna make you cry Never gonna say goodbye Never gonna tell a lie and hurt you Never gonna give, never gonna give (Give you up) We've known each other for so long Your heart's been aching but you're too shy to say it Inside we both know what's been going on We know the game and we're gonna play it I just wanna tell you how I'm feeling Gotta make you understand Never gonna give you up Never gonna let you down Never gonna run around and desert you Never gonna make you cry Never gonna say goodbye Never gonna tell a lie and hurt you Never gonna give you up Never gonna let you down Never gonna run around and desert you Never gonna make you cry Never gonna say goodbye Never gonna tell a lie and hurt you Never gonna give you up Never gonna let you down Never gonna run around and desert you Never gonna make you cry Never gonna say goodbye

6 notes · View notes

aros001 · 3 years

Text

Going in blind: Watching season 1 for the first time. Random thoughts.

This show is kind of nice because I have no memories of the original She-Ra show, or even any of He-Man, honestly. I'm not sure if I ever watched the original, so I have no frame of reference for how the series is "supposed" to be. I can just take it and judge it as is.

Of the bat, all I know is that supposedly She-Ra and Catra get together as a romantic couple later, but I'm also a huge My Hero Academia fan and the fandom around me ships every character with every other character, so for all I know that might just be shipper wishful thinking I've been seeing and hearing. Given fandoms for Gravity Falls, Thor, and Supernatural ship even siblings together, I've learned not to trust anything except for what I see in the series for myself.

By the way, this isn't a review, just random thoughts and comments I'm having as I'm going through season 1 for the first time.

Episodes 1 and 2: Right off, I really like Catra's "No duh" response to Adora about the truth of the horde. She knows they've been lying to them and have been doing terrible things, she just doesn't care. If she and Adora play their cards right they could end up being the ones in charge and then they'd have all that power. Not necessarily to make things better but enough to where they could do whatever and live however they want. That's a good build for an antagonist. Not ignorant to the fact what they're doing is wrong, just simply so selfish that they don't care.

Episode 3: It really feels like there was no good reason why Glimmer didn't just outright introduce Adora to her mother and every reason she should have known it was a bad idea to try and hide her for a surprise. Being a former horde soldier she'd probably get treated with hostility if Glimmer brought her to the front gate but you'd almost guarantee Adora would get arrested or outright killed if she got caught while no one else knew she was there.

On the other side, we have Hordak being pretty intelligent in promoting Catra. He probably knows Shadow Weaver already doesn't like him, so it's not like he's losing anything making her upset with him, and it's clear she favors Adora way more than Catra, so that little bit of advancement towards Catra probably goes a long way in earning her loyalty to him and a person on the inside with Shadow Weaver.

Also, I'm not the only one who saw Madam Razz and immediately thought Adora had found her Yoda, right?

Episode 4: I don't know how it was in the original She-Ra and He-Man series but I kind of like She-Ra being this title from legend. Adora is not the first She-Ra, given what Razz was talking about with a Mara, so instead of being something new, impressing everyone with abilities they've never seen before, and creating the legend, Adora is placed in a position WAY over her head where she's having to live up to what came before her.

Episode 5: Calling it now, as long as her personality is genuine I think Scorpia is going to be one of my favorite characters in this show. She's...endearing, I think is the best word. She's like a mix of Kronk and a nicer Shego.

For a little bit I thought Mermista was voiced by the same actress who played Poison Ivy in the Harley Quinn animated series. She's not but they do have the same kind of Daria-ish inflections, thus by confusion. Given the prom episode, Sea Hawk feels kind of like her Kite Man.

Episode 6: Okay, now it's between Scorpia and Entrapta who are likely to be my favorites by the end of this. She's fun and quirky.

Episode 7: Quite the lore drop. Shadow Weaver was once a Mystacor sorceress known as Light Spinner. I like to imagine we'll get more on that later. Her haunting Adora reminded me of the Teen Titans' episode where Robin was similarly haunted by Slade. This didn't go as far as that but that's probably for the best, since TT had two and a half seasons to build that dynamic up with Robin and Slade while we're only now halfway through the first season.

Episode 8: Well dang. Again, I don't know for sure if Adora and Catra do end up together but boy do I buy why they're shipped together after that dance. Also, good on Bow for standing up for himself. It's clear that he'll always be Glimmer's friend and this won't change that but that doesn't mean he has to just accommodate her. I understand where her issues stem from but I am still glad he gave her a reality check. It helps him feel a little more like his own character.

Also, another nice little bit of lore and worldbuilding. Scorpia's a princess, the horde landed where her people lived, and they seemed to join them willingly.

Episode 9: Surprisingly don't have a lot to say about this other than I don't buy for a second that Entrapta is dead (EDIT: She's not). This was mostly action.

Episode 10: Not going to lie, this one kind of annoyed me a little, at least the first half. The conversation between Glimmer and her mother saved it a bit. It was a bit of a trifecta. You have the alliance breaking apart, saying that the loss of Entrapta only happened because they were all together...even though Entrapta only "died" because of her own machine obsession that caused her to deliberately walk back into the purging chamber. You have Entrapta who might be turning to the horde's side because she feels abandoned by the other princesses...even though they thought she was dead, and again it was her fault they got separated. And you have Glimmer refusing to tell her mother that Shadow Weaver's dark magic has caused her powers to go on the fritz and is causing her great pain. It just feels like none of this would be an issue if most of these people would stop being self-absorbed for three seconds and talk like any normal person would. It feels very CW drama, like something I'd see in a bad season of Arrow or The Flash. The only person whose issues I buy is Adora, who is basically a soldier who was never properly raised to deal with emotion or loss and is already struggling with the burden of being She-Ra, the legendary savior. I get why she's beating down on herself for not being able to do more even if nothing that happened was her fault.

Episode 11: JEEEEEEEEEZZZZ, that was such a good episode! Focused entirely on Adora and Catra and their past together. Like, just showing someone this episode alone could probably get them to want to watch the series. That was everything you needed to know about their dynamic and history together.

Also, that moment when Catra and her past self are looking at each other, while obviously Catra takes the opposite lesson, it reminded me of this fanart I'd once seen of Jason Todd, the Red Hood, looking at his past self as Robin. The past says to the future "You ruined everything". Catra could be happy but, ironically for someone who hates Shadow Weaver, she's probably going to be a lot like her, sacrificing everything for power and ambition.

Given the way she looked, I'm guessing Shadow Weaver is either addicted to the power of the Black Garnet or she suffered some kind of past injury and its power is the only thing keeping her going. Or both.

Episode 12: I'll be honest, Swiftwind being able to talk kind of gobsmacked and I needed a moment to recover. What a great voice they chose for that character.

So She-Ra is kind of like the legendary heroes from Rising of the Shield Hero, coming from a long line of people chosen to wield the sword. I tend to dislike chosen one types of stories because I think prophecy takes a lot of weight out of the character's actions, so this and Avatar are more what I like. The MC is special but not the only one who's ever been special and they can still easily fail. Their destiny was only to be able to use the weapon, not that they would succeed in any specific purpose.

And dang, Catra's turn against Shadow Weaver happened faster than I thought it would but I'm not complaining. That great "This is what you've really been preparing me for" speech and Hordak, again, being an intelligent villain. "Oh, this experiment could net me a MASSIVE gain and all it could potentially cost me is this rock I already gave away to someone who lately hasn't been producing any results and has been consistently disobeying me. Yeah, I'm going to let this play out."

Episode 13: That was kind of a brutal fight between Adora and Catra. Not the worst I've ever seen even in other shows for this age range (Samurai Jack, for example) but those punches are connecting and those claws are leaving marks.

Also, maybe I'm just misunderstanding the exact situation but shouldn't the good guys' side be called the Resistance instead of the Rebellion? Being a rebellion would imply they are rebelling against an established power or rule over them, but the actual conflict we are shown is the established power and rule that is the kingdoms of Eternia resisting an outside force that wishes to establish a new order over them.

Season 1 verdict: I'm into it. I'm definitely more invested in the villains' side of things but that's not a fault of the series, that stuff is just way more geared towards me than the current princess stuff. I actively am at attention whenever the horde main characters are on screen. For the good guys it's mostly Adora and the She-Ra stuff I'm invested it. That isn't to say I have any real dislikes for that side. Bow especially I'm liking much more than I thought I might. He has kind of this gravitational pull around him. You will be his friend regardless of how much you might want to resist. He's definitely the rock for everyone else to hold onto.

Minor side note, kind of like Korra in Legend of Korra, I love how even when her powers aren't active Adora is shown to still be pretty strong physically with how easily she was lifting people up at the prom.

And I was right, Scorpia is my favorite side character.

On to season 2!

Original Reddit post: https://www.reddit.com/r/PrincessesOfPower/comments/nyll2e/going_in_blind_watching_season_1_for_the_first/

#she ra #she ra spop #random thoughts #reddit repost

5 notes · View notes