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#cop and crime show that has a gay teen coming of age story just like. happens to be there. and it basically all fits!!!!
lascapigliata · 18 days
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despite being about cops in two separate countries this show in fact reminds me of both the OA and the leftovers in its willingness to just play with visuals and genre and animation and yes, interpretive dance, which is a two-nickels situation if i've ever ever come across one
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spikeghost · 1 year
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Teen Wolf 1x03/1x04
Nightmare!Allison has a hell of a low kick
Him turning is always so damn dramatic.
They don't even get a day off for murders?
Holy shit. They actually brought the Black girl from the pilot back. She even got a line again. I really want her and stiles to interact again.
Not Lydia being secretly smart. I know Holland couldn’t relate.
I know it's the werewolf shit but Stiles being that involved in Scott's dating life is suspicious (gay) as hell.
I do like Scott's relationship with his mom
The music is so loud
Cops leaving a crime scene unguarded. How big a town is Beacon Hill supposed to be?
Yeah i still don't buy Allison and Lydia as friends. They look like they can barely tolerate each other.
Is Lydia gonna sexually harrass Mr. Argent?
They're doing a great job enforcing this curfew /s
Knowing the show won't really acknowledge Kate raping Derek takes most of the tension from Derek's scenes with Chris away. Hopefully they'll at least acknowledge her killing his family
So hunters are just assholes to be assholes?
Must be a tiny town if Melissa can afford a house this big as a single mom (i was told the fandom has agreed she got it in the divorce)
I really wanna see the hale house before the fire. It looks like it was nice
Ok My Chemical Romance! Love me some turn around and die music during a fight
I hope they play Teenagers next. It would be appropriately on the nose for this show
3 episodes in Tyler Hoechlin is becoming a bit better
These episodes go by very fast when i don't press pause every 2 minutes out of embarrassment
I love that Melissa McCall, upon seeing her son's bedroom empty during a curfew, instead of checking if her son is in the house, just sighed, said "it's above me now" and moved on. I love that woman
Should we consider werewolves as a captive species since they adhere to the alpha, beta, etc pack shit?
Kate!???
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Does this man know his sister's a pedophile? Cause i got beef if he does (he does not know)
Stiles is being weird about Scott fucking
Why is that man's first instinct when dying to go to the local high school? Again, being weird!
Jackson is entering the "find out" portion of this story. Finally.
This episode is surprisingly decent so far.
STAY AWAY FROM HIM GET A JOB!
Props to Jill Wagner because she is leaning HARD into her character being a creep. Looks like she understood the gravity of what Kate did more than the writers
I had to paus the episode for a couple hours cause Scott was taking his damn time gathering the damn bullet and hovering over Kate's pack he was stressing me out/pissing me off.
I hate when a show does this thing where everybody is dumb and does the stupidest thing possible to build tension that doesn't really feel like tension but just feels frustrating to watch.
The episode was doing so good up until now... at least as good as this show can.
Oh my god why is he so slow???
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I swear to god this scene feels like it's 5 minutes long and not just because i took a 2 hours long break in the middle of it.
Pretty sure that's not how sepsis works... maybe that's how magic sepsis work.
Not they're already at the arm-cutting stage. How about you wine and dine a bitch first?
How is Scott even able to function? Like he has got to be the dumbest TV character i've come across outside of a sitcom.
i am stumped trying to figure out how he even survived long enough to get bitten
mind you, I have watched 7 seasons of Charmed OG and 1 and a half season of Charmed 2018, from the age of 10 up until now. I am rewatching Mutant X this month. I KNOW stupid fucking characters, I was shaped by them, and that boy still takes the cake
And I feel bad because I really like Tyler Posey, he seems like sweet guy who wants to do good and do his best but he just doesn't have the chops to elevate the godawful material he has to work with. At least not at that point in his career.
And I hate it because I want him to be successful and fulfilled and to be able to get out from the shadow of this show and do interesting things.
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kaypeace21 · 3 years
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DID theory part 3: St novels/comics/spotify list analyses
*read part 2  of DID theory-first! You’ll be lost otherwise, seriously XD. First, I’ll say -I find the ST comics/ books as canon as the st movie inspirations . I don’t consider the books/comics ‘literal canon’ (cause they contradict the show ( like Max and billy meeting a year before s2  in runaway max - but meeting as little kids in s3,  or El’s age being wrong in suspicious minds, in the d&D comic Will’s friends instead of him /Jonathan building castle byers, etc) . 
So I think we shouldn’t take it  literally - but more like the st movie lists - filled with foreshadowing/symbolism and other eastereggs (That the Duffers may have told them to add). So here’s some more (possible) alter / DID hints...
‘Suspicious minds’ novel
- Brenner  equates k*lling rabbits to h*rting kids. And he’ll hurt (kid) Kali (the bunny in the analogy) if Terry tries running away from him . I wonder if Lonnie used a similar threat against jonathan? Jon could be giving only a partial truth to why he cried for a week (about the bunny story)?
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-Kali “hops” like a bunny then talks about tigers obsessively (linking her to rabbits/tigers similar to the other alters/Will/Lonnie). Terry also imagines tigers and kali says to Alice they can all be tigers together.
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- one of the only male psychic experiments (who can see the future) is gay
- Terry is into lord of the rings, like Will. Has her and her boyfriend dress as sam & frodo (m/m ship). Terry calls her and her friends “the fellowship”.
-when Terry/Alice were injected with d**gs -they hallucinated rainbows.yikes.
- Alice (like Lonnie) is a car mechanic. She can see the future like Will the wise and says “monsters of course my mind has them as long as they stayed in there, everything would be alright? Wouldn’t it?” (in her visions she saw the demogorgan).
 (completed) graphic ST novels (by Jody Hozer) so far  (+ other st comics).
*Jody Hozer writes all the graphic novels (every novel is 4 chapters each) - the will byers comic, number 6 comic , into the fire comic, and at the moment she’s writing the d&d series and the summer camp series (which isn’t done yet). Then there’s the occasional 1 chapter st comics not written by her.
- Number 6 has (the ability to foresee the future like Will the wise/Alice) and has an ab*sive dad. 
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When having a nightmare of the demogorgan ...she says as she wakes up “screw you dad” (another hint the demogrgan -aka in d&d means ‘deep father’ ...is Lonnie).
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- when number 6 and others run they say they’re’ “rabbiting”(which yes technically makes sense but I found such an uncommon phrase odd.)
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- The (summer camp and d&d graphic novels aren’t completed yet) but they establish d&d creatures are based off  real life people the boys don’t like in real life. Or that d&d is used as an outlet to explain true events from their pasts -but they just give the true stories a d&d fantasy slant.
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- Which brings me to the halloween oneshot(not by Hozer),taking place before s1. Will tells a scary story told to him by Jonathan, and originally told to him by Lonnie. Says the boys have to keep it a secret cause it was something he was never supposed to tell to anyone. Mike says he has to finish the story he started. It’s about a “ch*lld-eater” monster first attacking a boy near the quarry (like where Will was found) and  attacking kids in a library (where Will was also found in s1).When the child sees the sheriff she bangs on the library door begging for help-he ignores her , walks away, and tells the other cops to never speak of what they saw as she screams for help. Because the previous sheriff was in kahoots with the monster. It def had some ... uh questionable imagery too 0_0
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The vine in the mouth is also like the one in Will’s mouth (when Joyce found him in the library).And of course Dustin asks whether or not something like that could be covered up.
- In the “bully  comic” (about troy) also not by Jody. We focus on Troy and his ab*sive dad (who encourages him to fight/ditch his best friend). The dad has a drinking problem (gets fired), calls Troy a “mess” , pushes him, and constantly encourages Troy to be vi*lent/macho. He pretty much tries sabotaging the relationship Troy has with his friend (which I could see Lonnie doing in the future with byler).The dad/troy is framed similarly to when Billy gives Max a ride home-  after both ab*sers give bad advice saying not to hang out with their friend (after witnessing them fight in the school parking lot). Dad also laughs about almost k*lling a squirrel (a trait we see troy mimic)- and we see El feel guilty about k*lling a squirrel in s2. At the end of the comic- Troy (like Will) after making up with his bff james- moves leaving his best friend behind.
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-  (into the fire) Twins: (one was normal with no powers living in the real world and the twin with fire powers is trapped in a dark sunless “cold” world styled like a psych facility/medieval fantasy) . pics in link.She hated her reflection cause it reminded her of being betrayed by her normal non powered twin who left her behind in the ‘cold’ place. She’d call herself a ‘hunter’ who would defend herself and attack others to never be hurt again. Her powers being unleashed were described like opening “a door.” And she loves her twin deep down and just wants friends . And fire twin goes to the “other side” to reunite with her reflection and find happiness in the real world. *also there’s sunflower/bunny symbols which she lights on fire-which can relate back to Will/Terry/Lonnie etc. The twins = Will & Will the wise (mf)
Mirrors also connect to Will and Will the wise via the canon spotify playlists too.
Will playlist (song: mirror in the bathroom)-Mirror in the bathroom Please talk free.The door is locked -Just you and me.Mirror in the bathroom recompense for all my crimes of self defense.Cures you whisper make no sense!Drift gently into Mental illness.
Demogorgan playlist ( from perspective of Will the wise aka the mf) (song: are you dead yet? )-”polluted soul through a mirror I behold.Throw a punch, shards bleed on the floor. tearing me apart. but I don't care anymore.Should I regret or ask myself are you dead yet?Wake up, don't cry. Regenerate to deny the truth. The fiction you live in blindfolds your eyes. Disclosure, self loathing, this time you've gone too far.Or could it be, my nemesis, that you are me?
(*st ‘into the fire’ comic. the fire powered twin’s thoughts echo the song)
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*I think this foreshadows the later plot points of mf (will the wise ) and Will interacting via mirrors. The fire-wielding twin and the non powered twin had a lot of mirror imagery. Including the fire powered twin (Who denies reality/and imagines herself in a fantasy world) punching her reflection because it reminds her of her non-powered twin. Here’s some cover art from the novels showing how much they emphasize mirrors.
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*And in s4 movies Black swan - “the black and white swan twins (two halves of the same person-Nina)” had creepy mirror imagery. In long kiss goodnight the women with DID talks to her “ (supposed)dark 1/2″  via a mirror (in a dream).  in ‘the visit’ the teen girl who’s dad abandoned her when young-  refuses to look in the mirror (and it’s never explained why she hates her reflection). So yes I think we’ll see this in s4 or 5. We already see the mf take on the appearance of Billy when talking to him.
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- Will in “zombie boy” comic is afraid he’s a monster.
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also lets appreciate the lil byler moment of Mike and Will being the only zombies and mike comforting him. honestly , though, the characters were pretty out of character for most of this 1 ch comic (until the end) tbh.
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- in the “d&d comic” mf is  (possibly) described as a “protector” (aka like how i said the mf is probably a perpetrator alter- which are misguided protectors).
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*update now that it’s finished... hinting Will created everything subconsciously.
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‘Runaway Max’ novel (before s3)
(I didn’t get time to read this book unlike ‘suspicious minds’ -so can’t show screen shots of everything others talked about. May read it eventually)
-Max compares Billy  to ‘her monster’ and a ‘shadow’ that will attack anyone that comes close (mf parallel).
- Dart k*lled a cat,  El’s papa tried to force her to k*ll a cat. And Billy when seeing a d*ad cat lights it on fire for a “viking funeral”. A connection to WW (who has fire powers) and El & dart.
-Max and Billy both are into cars and bond over fixing them (similar to Lonnie’s interest in fixing up cars). And since Lonnie tried to brag to Jonathan about fixing a car up and Will is into tech it wouldn’t be a stretch that Lonnie and Will were into fixing cars together (like Max/billy who would hang out at a autoshop in Cali) .  Similar to Will ,max says hanging with Billy wasn’t always so bad- which made things more confusing to her.
- Max compares Billy being beat up by Neil: to ‘punching a pocket of a baseball glove’. This is interesting since this book was pre-s3 which was when they established the connection of billy and his dad to baseball (similar to s1 saying  Lonnie taught Will baseball).
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-Billy’s friend is a nice ‘music snob’ . He tries distracting Max with music while Billy is burning the cat. Which reminds me of Jonathan trying to distract Will from their parents fighting in the next room-with music
- Max’s bio dad is a criminal who takes her to shady bars, and Max fears he’d ‘get bored of her’. Max also ran away from her mom to her dad’s 2x.Which reminds me of Jonathan thinking Will ran to Lonnie’s in s1.
-Max mentions how Billy misses his friends after moving out of Cali. And he starts acting even worse-after the move. Which will probably be the case for Will (at least a bit) when moving to California.
-Billy tells Max Neil isn’t his ‘real dad’ either because Neil can’t be a father to anyone.
-Billy also tells Max who (at the time ) is 12 years old not to act “easy” and breaks her best friend’s (Nate’s) arm over  someone joking he was Max’s boyfriend and also cause Nate tried to get in between Billy bullying Max. Eventually all her Cali friends ditch her cause they’re afraid of Billy.And Ugh- why could I see Lonnie doing something like this in the future with Will/his new friends. 
- Creepily Max says Billy doesn’t fool around with her like other girls not because of her age or being family. But cause she wasn’t ‘attractive’. This whole excerpt gave me the heeby jeebies,on so many levels, honestly.  Almost like he’s jealous- and controlling her cause he doesn’t want Max to have any love interests. Maybe i’m just missing the context? But ugh... excerpt:
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Will byers secret Files
-Hopper gets scared by a pumpkin-scarecrow. And in Will’s canon journal when talking about the mindflayer and his nightmares draws the same scare-crow , Hopper saw. There’s also a lot of s4-5 foreshadowing in the book... but that’s a post for another day.
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Darkness on the edge of town (Hopper novel)
*didn’t get time to read this (except the preview)
 I think it’s more foreshadowing for future seasons though- cult/supposed ritual k*llings, people being wrongly blamed for those crimes-like the hellfire club , most likely.  (similar to the guy number 3 in the number 6 comic)  saint john in the novel also has the same brain control powers as 3- similar to the mf. .” When a blackout plunges the boroughs into chaos, Hopper must escape the the mobs in the streets to make sure his family is safe and stop Saint John from fulfilling his prophecy.” I already talked about here- how the next few seasons would start having more religious symbolism/a future apocalypse (based on what we’ve seen in the show/s4 movies). Although, i think there’s quite a few differences between (the novel’s) saint john and Will the wise. Hopper is also a star wars nerd like the boys (alter hint)
Canon spotify songs (posted after s2/before s3) hinting at DID/ alter /lonnie stuff-
Will  and Will the wise (aka the mf) being an alter
*Used Will and the demogorgan playlist (which i think has perspectives of Will the wise aka the mf, demogorgan, and Lonnie).
Besides the mirror songs previously mentioned...
Will (cold inside)-Doctor the problem's in my chest.My heart feels cold as ice but it's anybody's guess?Doctor can you help me cause I don't feel right?Better make it fast before I change my mind. Doctor can you help me cause I don't feel right?Better make it fast before I change my mindWell it's cold, cold, cold, cold inside. Darker in the day than the dead of night Cold, cold, cold, cold inside...Counselor give me some advice Tell me how hard will I fall if I live a double life?
El (ghost)-your ghost, the ghost of you.It keeps me awake.My friends had you figured out.Yeah they saw what's inside of you. You tried hiding another you.But your evil was coming through... living in the shade Your cold heart makes my spirit shake.
El (monster Lead me home)-I don't know what, what I was afraid of, I was afraid oooof...Monster take me somewhere...We walk in shadow.Monster lead me home.Where there is no place to hide.Stranger on the other side We walk in shadow.Monster lead me home.
 The’ innerworld’/  other hints Max, El, Hopper, and Billy are alters of Will’s
Max (Logical song)-I know it sounds absurd. Please tell me who I am, who I am, who I am, who I am?
EL(Buzzcut season)-I remember when your head caught flame It kissed your scalp and caressed your brain ...nothing's wrong when nothing's true. I live in a hologram with you Where all the things that we do for fun . Play along (make-believe it's hyper real) But I live in a hologram with you.
Billy (broken bones)-Broken bones.Stay alone. If I see only what I believe -reality's bound by what I conceive
Max (Why can’t i touch it)-Well, it seems so real.I can see it.And it seems so real-I can feel it.And it seems so real-I can taste it.And it seems so real-I can hear it.So why can't I touch it?
Hopper (breakers)-Just to keep me from losing my mind .It's so easy to drown in the dream.Oh, and everything is not what it seems This life is but a dream.Shatter illusions that hold your spirit down ...From the inside, so it seems.Oh, I'm telling you it's all a dream It's all a dream It's all a dream It's all a dream It's all a It's all a dream.”
Max (comfortably numb)-When I was a child I caught a fleeting glimpse out of the corner of my eye.I turned to look but it was gone.I cannot put my finger on it now.The child is grown.The dream is gone.I have become comfortably numb.
Max (Kids aren’t alright)-Still it's hard Hard to see Fragile lives, shattered dreams...What the hell is going on? The cruelest dream, reality.
El(team)-Livin' in ruins of a palace within my dreams. And you know we're on each other's team
Hopper (denial twist) ( just change ‘she’ to ‘he’)-Just because she makes you feel wrong she don't mean to be mean or hurt you on purpose, boy!Take a tip and do yourself a little service...by playing a different role Ya, by playing a different role, oh.The boat ya you know she's rockin' it.And the truth well ya know there's no stoppin' it.So what, somebody left you in a rut and wants to be the one who's in control.But the feeling that you're under can really make you wonder.How the hell she can be so cold?So now you're mad, denying the truth.And it's getting in the wisdom in the back of your tooth
El (the story)-You see the smile that's on my mouth.It's hiding the words that don't come out.And all of my friends who think that I'm blessed.They don't know my head is a mess.No they don't know who I really am.And they don't know what I've been through
El (hero) ( pretty much alludes to El being a construct of Will’s mind similar to his juju zombies in the d&d story he wrote )-Who knows what you'll find when you look inside (billy’s mind)?Haunted beach (billy flashback), roll the dice.The zombies in the corner aren't amused (d&d ref).Play the part of the blushing bride...Out of view, cloaked by night...My spirit dims, but I feel the force"No longer in my hands,"  (loses powers) .I say to you .I could've been a hero, I could've been a zero.Could've been all these thingsI could've been nothing, I could've had something.Could've been all these things.And if I am unable, tell him that I'll try but underneath the table will spin the wheel and hope for gold. Oh, and where it stops, nobody knows.
Max (it’s real)-I don't know who's behind the wheel.Sometimes I feel like I don't know The deal.But when I tell you how I feel-Believe me when I say It's real.I skated on a frozen Sea.It's real as far as I Can see?
Max (Halloween)-Because your role is planned for you there's nothing you can do.
El (White rabbit... alice and wonderland/lonnie ref)-And if you go chasing rabbits, and you know you're going to fall...When logic and proportion have fallen sloppy dead.
demogrogan(Dimensions of horror)-Gaze upon the ancient face you dread (lonnie)... Passing through the doors, into Dimensions Of Horror. Haunting visions from the past, rise once more.Realms of darkness, terror, death and gore.Scream in fear, your sanity is lost
demogorgan (SCHORCHED)-Terrorizing madness. Vivid dreams. internal. Hallucinating the unknown. Abstract entities prey.Through superhuman abilities.Fragments of memory erased.
demogrogan (Calling from a dream)-the shadow king...seven spirits (7 ref) Swarming around his head.Close your eyes.Listen to my call. Our bond will bring us together again.I will wait for you. For our hearts still beat as one.Listen to my calling from a dream. (integration?)
 Maybe a coincidence or a hint at Will having both male &female alters?Billy (dude looks like a lady)- What a funky lady...Oh, he was a lady.Dude looks like a lady. Hopper (turn the page)-All the same old cliches,"Is that a woman or a man?" Max ( rebel rebel) (this was on her her pre s3 spotify list + post s3 “wrapped list”)- you got your mother in a whirl, doesn’t know if you’re a boy or girl? 
 SHIT DAD/ AB*SIVE FAMILY
*trigger w*rning ahead for dark themes like s**ual ab*se
demogorgan (my children)My children I never loved them.Why feel that way when their existence is my business?My children...feral vessals of my selfinterest...So don't lean on me man 'Cause I ain't got nothing to give.Don't lean on me man 'Cause I ain't got nothing to give.My children they're right behind you My children they're gonna beat you.My children if you let them Oh, oh, my children.
demogorgan (black dahlia-window):  I’m not quoting the lyrics you can just look it up.  it’s messed up.Based on the 1st person pov of Gilles de Rais -k**ler and p*d*rest who also kidnapped a cleric.
Will (creature comfort)-Some boys hate themselves.Spend their lives resenting their fathers... hate their bodies .Stand in the mirror (another mirror ref) and wait for the feedback.Some boys get too much, too much love, too much touch.
Jonathan’s Playlist- We’re happy family: “Eating refried beans (poverty). Gulpin’ down Thorazines (pills for a mood disorder). We ain’t got no friends (s2 ref). Our troubles never end. Daddy likes men. Daddy’s telling LIES.”
Jonathan’s playlist-Enter sandman: “Don’t forget my son. Sleep with one eye open. Gripping your pillow tight, Exit light, Enter night. Take my hand, we’re off to never-never land. Something’s wrong, shut the light, heavy thoughts tonight. Dreams of LIARS and of things that will bite, yeah. Hush little baby don’t say a word, and never mind that noise you heard. It’s just the beasts under your bed, in your closet in your head.”
Jonathan (The killing moon-guy sings this)-So soon you'll take me up in your arms. Too late to beg you or cancel it. Against your will!He will wait until you give yourself to him...In starlit nights I saw you.So cruelly you kissed me... unwillingly mine.
jonathan (haunted)-You and I both know that the house is haunted And you and I both know that the ghost is me. You used to catch me in your bed-sheets just a-rattling your chains.Well back then , it didn't seem so strange...In the midnight hour..I was busy trying to charm that snake. When the sun came up we had no place to hide...You and I both know that the house is haunted  yeah you and I both know that the ghost is YOU! You used to walk around screaming, all slamming all 'dem doors Well I'm all grown up now and I don't scare easy no more But you and I both know.
Hopper (Confession)-Now I'm on the low Confession, to a virgin ghost Admission, force you know.
hopper (Tomorrow ) Yeah, and back when s*x and amph*tamines were the staples of our childhood physique.
Max (Last caress)-I got something to say.I k**led your baby today.And it doesn't matter much to me.As long as it's de*d.Well I got something to say.I r*ped your mother today.And it doesn't matter much to me.As long as she spread. (Lonnie pov? Neil?messed up song to be on Max’s list)
hopper House of the rising sun- And my father was a gamblin' man Way down in New Orleans... And the only time he's satisfied Is when he's on a drunk
Max Poor relations-An attitude, no patience, he's paper thin.Talking over everything you have to say...Don't correct the things he said, what's the use?Can't handle violence.Can't handle violence.Learning to love the abuse you can't live without.Your familiar oppression, your daily injustice...That loser man that belongs to you, he's ruling you.
el (sweet dreams are made of this)- Some of them want to use you ...Some of them want to ab*se you.Sweet dreams are made of this...Hold your head up.Keep your head up, movin' on.
Max (Alternative ulster)-They say they're a part of you.And that's not true, you know.They say they've got control of you.And that's a lie, you know.They say you will never Be free, free, free
max In bloom-”Sometimes at night I let it get to me.And last night it had me down and feeling NUMB...And thinking back upon those days Way way back when I was young.I was such a little shit.Cos I was always on the run.Well you know just what they say-Just like father then like son.Don't delude me with your sympathy.Cos I can do this on my own.And this will be the last time-That I break down and wanna crawl to bed. “(since Billy has a playlist I found this song choice being on hers instead of his interesting- in fact almost all of Max’s songs are from the 1st person perspective of a boy unlike the other gals.)
Max (comfortably numb)-The child is grown.The dream is gone.I have become comfortably NUMB.
hopper (numb)-Honey, here I go again Down that crooked road of sin.My momma locked me out again And hung me high to rust under the rain I am NUMB( 8x)....Little bluebird at my window Sing a pretty song for me Don't you know that you can fly, fly, fly away Don't you know that you can leave I am numb.
other psych songs
Hopper (life of sin)-Every morning when I rise I look in the mirror (another mirror ref) and despise the sight of everything and all that I've become. The level of my medicating some might find intimidating But that's alright cause' it don't bother me none.
 Max (Moon over marin)- “Dive in my scalding wooden tub (connects to mf/el)...There, wasn't that a nice visit?Don't forget, a psychiatrist is on duty twenty-four hours a day in the blue room...Drink plenty of water when you take these.Now you can relax.” ( I wonder if stranger writers saying to “drink plenty of water” is secretly a line said by a psych person in s4?)
Max (Feeling ok)-My doctor says that I should take it -At least I won't have to keep faking.I know, someday I'll find it-Where I, I least expect it.Today I know I feel ok.
Max ( Going gets tough)-.No home since the fire.Me and the ash can't settle down...So I sink another round-Placebo for pain.And there's no one for to blame . I refuse to accept-That my work is all in vain...Still always remembering .When the going gets tough .That the labor of our love-Will reward us soon enough.
 Max (Comfortably numb)-Hello? (Hello? Hello? Hello?)Is there anybody in there?Just nod if you can hear me.Is there anyone home?Come on now-I hear you're feeling down.Well I can ease your pain .Get you on your feet again.Relax // Now I've got that feeling once again.I can't explain . you would not understand.This is not how I am. I have become comfortably numb.I have become comfortably numb //Okay (okay, okay, okay)Just a little pinprick.There'll be no more, ah .But you may feel a little sick.Can you stand up?I do believe it's working, good.That'll keep you going through the show.Come on it's time to go// Your lips move but I can't hear what you're saying.
Explanations of Why the mf  (WIll the wise)behaves the way he does
demogorgan (ww) (Cowards starved)- friends think of me as a priest.I had to show them that the weakest hands Can still make impressive fires. (aka MF = will the wise)
demogorgan (ww) (Unmerciful):I will be reborn...Tranquil demeanor.Now devoured.Surfacing malice...I can't reconcile the torment others bring unto me.I will not take any reproach.Turning the other cheek.Relentless hatred consumes.Control released.Absolved of all compassion.I am free .Look into my hate filled eyes and tell me What do you see?Surging aura of my rage Paralyzing you in fear.
Demogorgan (ww) (bodies-Beaten why for (why for)?Can't take much more.(Here we go, here we go, here we go).One, nothing wrong with me,Two, nothing wrong with me.Three, nothing wrong with me.Four, nothing wrong with me.One, something's got to give.Two, something's got to give.Three, something's got to give now...You're all by yourself but you're not alone...Driven by hate consumed by fear.
demogrgan (ww)-Orbs used as transmitters carry electromagnetic beams from above (affecting magnetic fields in the show).Silence, manipulated, tortured ...How immune is your system of suffering?Its in the blood of suffering (familial ref).Its in the blood.
 Demogrgan (Monster)-I shoot the lights out..Whoa, just another lonely night...None of who you get it, ain't nobody cold as this.A zombie (will ref) with no conscience .Everybody knows I'm a motherfucking monster. Everybody wanna know what my Achilles' heel is? Love I don't get enough of it.
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acsversace-news · 6 years
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Ryan Murphy hates the word “camp.” He sees it as a lazy catchall that gets thrown at gay artists in order to marginalize their ambitions, to frame their work as niche. “I don’t think that when John Waters made ‘Female Trouble’ that he was, like, ‘I want to make a camp piece,’ ” Murphy told me last May, as we sat in a production tent in South Beach, Florida, where he was directing the pilot of “American Crime Story: The Assassination of Gianni Versace,” a nine-episode series for FX. “I think that he was, like, ‘It’s my tone—and my tone is unique.’ ”
Murphy prefers a different label: “baroque.” Between shots, the showrunner—who has overseen a dozen television series in the past two decades—elaborated, with regal authority, on this idea. To Murphy, “camp” describes not irony but something closer to clumsiness, the accident you can’t look away from. People rarely use the term to describe a melodrama made by a straight man; even when “camp” is meant as a compliment, it contains an insult, suggesting a musty smallness. “Baroque” is big. Murphy, referring to TV critics (including me) who have applied “camp” to his work, said, “I will admit that it really used to bug the shit out of me. But it doesn’t anymore.”
We were outside the Casa Casuarina, the Mediterranean-style mansion that the Italian fashion designer Gianni Versace renovated and considered his masterwork—a building with airy courtyards and a pool inlaid with dizzy ribbons of red, orange, and yellow ceramic tiles. A small bronze statue of a kneeling Aphrodite stood at the top of the mansion’s front steps. In 1997, a young gay serial killer named Andrew Cunanan shot Versace to death there as the designer, who was fifty, was returning from his morning stroll.
The previous day, Murphy had filmed the murder scene. Cunanan was played by Darren Criss, a star of Murphy’s biggest hit, “Glee.” I’d visited the set that day, too, arriving to find ambulances, cops, and paparazzi swarming outside. There was a splash of red on the marble steps. Inside the house, Edgar Ramirez, the Venezuelan actor playing Versace, sat in a shaded courtyard, his hair caked with gun-wound makeup, his face lowered in his hands.
Now Murphy was filming the aftermath of the crime, including a scene in which two lookie-loos dip a copy of Vanity Fair into the puddle of Versace’s blood. (They sell the relic on eBay.) The vibe was an odd blend of sombre and festive; a half-naked rollerblader spun in slow circles on the sidewalk next to the beach. Murphy, who is fifty-three, is a stylish man, but on set he wore the middle-aged male showrunner’s uniform: baggy cargo shorts and a polo shirt. He has a rosebud mouth and close-cropped vanilla hair. He is five feet ten but has a brawny air of command, creating the illusion that he is much taller. His brother is six feet four, he told me, as was his late father; Murphy thinks that his own growth was stunted by chain-smoking when he was a rebellious teen-ager, in Indiana.
Murphy’s mood tends to shift unexpectedly, like a wonky thermostat—now warm, now icy—but on the “Versace” set he made one confident decision after another about the many shows he was overseeing, as if skipping stones. He also answered stray questions—about the casting for a Broadway revival of “The Boys in the Band” that he was producing, about a grand house in Los Angeles that he’d been renovating for two years. “Ooh, yes!” he said, inspecting penis-nosed clown masks that had been designed for his series “American Horror Story.” He approved a bespoke nail-polish design for an actress. A producer handed Murphy an updated script, joking, “If there’s a mistake, you can drown me in Versace’s pool!,” then scheduled a notes meeting for “American Crime Story: Katrina,” whose writers were working elsewhere in the building. Now and then, Murphy FaceTimed with his then four-year-old son, Logan, who, along with his two-year-old brother, Ford, was in L.A. with Murphy’s husband, David Miller.
“I never get overwhelmed or feel underwater, because I feel like all good things come from detail,” Murphy told me. It’s what got him to this point: the compulsion, and the craving, to do more. “Baroque is a sensibility I can get behind,” he said. “Baroque is a maximalist approach to storytelling that I’ve always liked. Baroque is a choice. And everything I do is an absolute choice.”
Murphy’s choices, perhaps more than those of any other showrunner, have upended the pieties of modern television. Like a wild guest at a dinner party, he’d lifted the table and slammed it back down, leaving the dishes broken or arranged in a new order. Several of Murphy’s shows have been critically divisive (and, on occasion, panned in ways that have raised his hackles). But he has produced an unusually long string of commercial and critical hits: audacious, funny-peculiar, joyfully destabilizing series, in nearly every genre. His run started with the satirical melodrama “Nip/Tuck” (2003), then continued with the global phenomenon “Glee” (2009) and with “American Horror Story,” now entering its eighth year, which launched the influential season-long anthology format. His legacy is not one standout show but, rather, the sheer force and variety and chutzpah of his creations, which are linked by a singular storytelling aesthetic: stylized extremity and rude humor, shock conjoined with sincerity, and serious themes wrapped in circus-bright packaging. He is the only television creator who could possibly have presented Lily Rabe as a Satan-possessed nun, gyrating in a red negligee in front of a crucifix while singing “You Don’t Own Me,” and have it come across as an indelible critique of the Catholic Church’s misogyny.
When Murphy entered the industry, he sometimes struck his peers as an aloof, prickly figure; he has deep wounds from those years, although he admits that he contributed to this reputation. Nonetheless, Murphy has moved steadily from the margins to television’s center. He changed; the industry changed; he changed the industry. In February, Murphy rose even higher, signing the largest deal in television history: a three-hundred-million-dollar, five-year contract with Netflix. For Murphy, it was a moment of both triumph and tension. You can’t be the underdog when you’re the most powerful man in TV.
On that sunny afternoon in South Beach, however, Murphy was still comfortably ensconced in a twelve-year deal with Fox Studios. On FX, which is owned by Fox, he had three anthology series: “American Horror Story”; “American Crime Story,” for which he was filming “Versace,” writing “Katrina,” and planning a season based on the Monica Lewinsky scandal; and “Feud,” whose first season starred Susan Sarandon as Bette Davis and Jessica Lange as Joan Crawford.
For Fox, he was developing “9-1-1,” a procedural about first responders. He had announced two shows for Netflix: “Ratched,” a nurse’s-eye view of “One Flew Over the Cuckoo’s Nest,” starring Sarah Paulson; and “The Politician,” a satirical drama starring Ben Platt. Glenn Close was trying to talk him into directing her in a movie version of the Andrew Lloyd Webber musical “Sunset Boulevard.” Murphy was writing a book called “Ladies,” about female icons. He had launched Half, a foundation dedicated to diversity in directing, and had committed to hiring half of his directors from underrepresented groups. And, he told me, there was something new: a series for FX called “Pose,” a dance-filled show set in the nineteen-eighties.
It was no mystery which character in his current series Murphy most identified with: Gianni Versace himself. Versace was a commercially minded artist whose brash inventions were dismissed by know-nothings as tacky, and whose openness about his sexuality threatened his ascent in a homophobic era. Versace, too, was a baroque maximalist, Murphy told me, who built his reputation through fervid workaholism—an insistence that his vision be seen and understood. “He was punished and he struggled,” Murphy said, then spoke in Versace’s voice: “Why aren’t I loved for my excess? Why don’t they see something valid in that?”
[...] Murphy has long been a connoisseur of extremes and hyperbole, games and theatricality. He rates everything he sees and revels in institutions that do the same—the Oscars are a kind of religion for him. In Miami, at dinner with the “Katrina” and “Versace” writers, he played a high-stakes game in which he was forced to immediately choose one person in his circle over another; he demurred only when the choice was between Jessica Lange and Sarah Paulson. His go-to question is “Is it a hit or a flop?,” and he asked it about every show that came up in conversation, as I observed him giving shape to “Pose,” from scouting locations to editing dance footage. (He has other stock phrases. “What’s the scoop?” is how he begins writers’ meetings. “Energy begets energy” explains his impulse to add new projects. “That’s interesting” sometimes indicates “That’s worth noticing” but just as often means “That’s infuriating.”)
[...] His multitasking benefits greatly from the freedoms of cable and streaming: he has zero nostalgia for the twenty-two-episode network grind of a show like “Glee,” in which “halfway through Episode 15 you had nothing left to say, the actors were sick, the writers were sick, and it was fucking oatmeal until the end.” He favors eight or ten episodes, often with a small writers’ room, as with “Pose.” He writes scripts for some shows, whereas for others he gives notes; on a few projects, like his HBO adaptation of Larry Kramer’s play “The Normal Heart,” he’s very hands-on. “We left blood on the dance floor,” Murphy said, affectionately, of his three-year collaboration with Kramer. “Versace” had one writer, Tom Rob Smith. But Murphy provided close directorial, design, and casting oversight, and he had a strong commitment to the show’s themes, particularly the contrast between Versace and Cunanan, two gay men craving success, but only one willing to work for it.
[...] In the meanwhile, Murphy had scored a ratings bonanza with Fox’s “9-1-1,” a wackadoo procedural featuring stories like one about a baby caught in a plumbing pipe. It was his parting gift to Dana Walden. “Versace” had been, by certain standards, a flop: lower ratings, mixed reviews. Artistically, though, it was one of Murphy’s boldest shows, with a backward chronology and a moving performance by Criss as Cunanan, a panicked dandy hollowed out by self-hatred. After the finale aired, a new set of reviews emerged. Matt Brennan, on Paste, argued that “Versace” had been subjected to “the straight glance”—a critical gaze that skims queer art, denying its depths. “Even critics sympathetic to the series seem as uncomfortable with its central subject as the Miami cops were with those South Beach fags,” Brennan wrote. Murphy was reading a new oral history of Tony Kushner’s “Angels in America,” in which, in one scene, Roy Cohn denies being gay because, he barks, homosexuals lack power: they are “men who know nobody and who nobody knows.” The line echoes one in “Versace.” A homeless junkie dying of aids tells the cops, bitterly, why gay men couldn’t stop talking about the designer: “We all imagined what it would be like to be so rich and so powerful that it doesn’t matter that you’re gay.”
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christinaengela · 5 years
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Today in a series of replies to FAQ (frequently asked questions) sent to me by fans (and sometimes not so much), I answer the question:  “Why Did I Write ‘Other Kids Are Kids Almost Just Like You’?“
Many kids today face a frighteningly increasing level of bullying at the hands of their peers! Typically this bullying is based on differences in race, gender, sexual orientation or gender identity – and as it always has been, for reasons involving jealousy, fear, resentment, or as it often is with kids, just “for fun”.
In a world where bullying and intolerance of diversity is becoming increasingly a problem, I think it’s very, very important to teach children – and adults – compassion for others. Naturally I think compassion and kindness is something that everyone should’ve learned at their parent’s knees – but unfortunately, not everyone was as lucky as some of us were – or to have the kind of parents I had!
Back in 2015, when I started realizing that children were dying at the hands of bullies, and even committing suicide because of bullying, it was an awful reality to face. Worse still, was the realization that children were being picked on for appearing gay, effeminate, or for being transgender, as I was as a child and teen (and even as a young adult) – as well as for being disabled, sickly or of another race! Seriously?
Where do children get these ideas? They certainly aren’t born with them, that’s for sure!
Children are supposed to be innocent, naive, and a newer, better version of us, aren’t they? Ideally, yes – but it’s often not the case. Some kids can be very, very cruel, even brutal towards others. This sort of behavior isn’t always spontaneous or “part of growing up” – it is often also learnt. The kid who hears Dad mouthing off about “librals” on the TV, or the Sunday School teacher venting insane yet imaginative propaganda about gay people for example, will often integrate that behavior into their own mindset and act that out with their peers.
It’s often the same with adults, isn’t it? John and Jill will go to church and listen to Pastor Jimmy thumping the holy book, misquoting and distorting verses and sermons in order to demonise and incite ill-will towards those darned homosexuals and immigrants who “come over here to rape white women and steal our jobs” – and come Monday morning, John is sharing this view with Pete and Mike over their tea-break and Jill calls the cops on a neighbor who looks suspicious while mowing his own lawn on account of the color of his skin. Meanwhile, little Mikey take their own Sunday School lessons to school with them, and decides that because Albert looks a little like a girl and likes to hang around the girls and play with their toys, he deserves what the other kids in class do to him – and joins in.
Hatred of others – and a lack of compassion or empathy – isn’t something most children are born with, it’s something they learn from those around them.
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Which brings me to a very important point: what kind of learning environment and what kind of examples are adults setting for their kids? Don’t their parents teach them that hate, cruelty and bullying others is wrong or bad? Don’t they teach them to help others, to be kind? Or like many pessemists today think, do they not teach them anything at all, and “just leave it all up to the teachers at school”? In many places today, a lot of children slip through the cracks in the system – if there even is a system in place!
A lot of kids grow up with uncaring, absent parents who don’t involve themselves in their kids lives. Others might be abusive too – and there’re already whole libraries written about that aspect, but there are also many children who grow up as orphans, living in care centers, or even living on the streets. Perhaps not always in places like the US or other first world countries, where mandated foster care or center-living up to the age of 18 is legally enforced – but in places like South Africa and India and other third-world countries where kids not only slip through cracks, they disappear!
Gangs of “street kids” callously and vigorously commit crimes in the darker parts of the world, sometimes to survive, sometimes for entertainment – like the kids who chased a dog and pelted it to death with stones some years ago in a Johannesburg suburb. Then there’re the kids in the UK who were not street kids who made a video of them torturing a puppy by cutting its ears off with scissors. How cruel – how far gone must someone be to do something like that? How sick and depraved! …but yet, I wonder, how did those kids come to be that way? What kind of life have they led, that they find enjoyment in causing pain and in being cruel to a defenseless, trusting creature? Did someone teach them, an adult perhaps – through experience – that hurting and harming others gives a kind of pleasure? Perhaps a fleeting warm feeling inside to help keep the cold, harshness of living at bay?
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Circumstances and environment play a vital role in a child’s upbringing – and if a child grows up in a negative, brutal environment, whether at school or at home – it will more than likely result in a damaged child and consequently, a dysfunctional young adult. Whether or not that individual adopts the same behavior or traits and becomes a bad person – or rejects them to seek the good and beautiful in the world, generally depends on their internal make-up… and their environment as adults, and to me it’s terribly tragic to place children in such a position.
Further, there’s still a lot of animosity towards people with disabilities – which is definitely unneccessary! It seems a cruel streak runs through most of us, but in the right environment it can be negated and prevented from dominating an individual’s personality. It’s difficult to convince cynical kids though, that mocking people for their physical disabilities or characteristics is wrong and unacceptable however, when one of the most powerful leaders on earth builds his entire election platform upon doing just that. What Mr. Trump is saying – and what his revolting single-cell organism followers are saying is: “Bullies are very fine people, be a bully like us, nobody’ll stand up to you!” Nauseating, isn’t it?
Not liking people you don’t know is fine and perfectly ordinary… but hating people for being different to oneself? No wonder so many kids grow up to be such horrible, nasty, sociopathic little gits! Geez!
…And yet, there’s still a lot of hope! Hope is good – hope I can work with!
To try to offset this indoctrination of children with hatred and suspicion towards others, and the undermining of children’s innate empathy and compassion for others – and against the breaking down of their self-worth, I decided to write this book. The text reads like a poem, and it has some really gorgeous, insightful illustrations by Amanda M. Lyons, and it’s available in both eBook and paperback forms.
I wrote “Other Kids” to inspire kids (and the adults who read it with kids) who are bullied for being different without focusing too strongly on the bullying angle.
Anyway, that’s the background of why I wrote the story! Below, a review for “Other Kids Are Kids Almost Just Like You“.
“Other Kids Are Kids Almost Just Like You” by Christina Engela celebrates the concept of diversity and how precious every child is.
This book is about intolerance, diversity, and bullying and encourages readers to accept everyone, irrespective of their differences based on gender, race, and color. The book also emphasizes being compassionate to everyone, regardless of their color, status, and gender.
Bullying and intolerance are relevant topics in today’s times and this book is good for read-aloud sessions in classrooms to help children be more tolerant and compassionate towards others. The illustrations lend clarity to the concept and help readers connect with the author’s words.
The author’s approach to the subject is unique and different, and she makes the book appealing to children with the help of colorful illustrations. It is a good book to teach children to be kind and compassionate. 5 stars” – Mamta Madhavan for Readers’ Favorite, Oct 17, 2019
Until next time,
Cheers!
Where can you get “Other Kids Are Kids Almost Just Like You“? Right here!
You can find my books all over the place – on Amazon, Barnes & Noble, Kobo, Lulu, Smashwords, PayHip, and a stack of others around the world! You can also find them on my website’s Shop page.
For South African readers, Kobo lists all available titles in South African currency!
I hope this answers this question to your satisfaction!
Feel free to email or message me via Facebook, Twitter or LinkedIn if you have any comments or questions!
If you would like to know more about Christina Engela and her writing, please feel free to browse her website.
If you’d like to send Christina Engela a question about her life as a writer or transactivist, please send an email to [email protected] or use the Contact form.
Show your appreciation for Christina’s work!
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All material copyright © Christina Engela, 2019.
FAQ’s Answered #15: Why Did I Write ‘Other Kids’? Today in a series of replies to FAQ (frequently asked questions) sent to me by fans (and sometimes not so much), I answer the question:  "
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