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1zashreena1 · 4 years

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Princess and the Migraine -7

18+, m/f, technically OCxDiego Jimenez [Power]

Summary: When Princess needs his help Murder Panther undergoes a trial by fire and comes out soft and gooey. Like a marshmallow. A really sexy, highly dangerous marshmallow.

WARNINGS: Ridiculous descriptions and 'the code is more like guidelines' outlook on grammar. Is it OOC if the character was given essentially zero development in canon???

NO SMUT, usage of names, mild groping (he’s still Diego), illness and medical establishments, plus size woman+fit man, secretly competent Diego!, helpless Princess, bad boys with too much money and not enough impulse control, secondary OCs, excessive swearing (???), illegal business dealings... I mean, its DIEGO

A/N: Princess took on a life of her own and has essentially become an OC. There are infrequent mentions of her description (specifically as plus size) and her actual name in later pieces (its Bicki). She started as self-insert so she looks like me (plus size, white, short, blue eyes, curly hair). If that is not your thing, I totally understand. And do not feel obligated to read this, I will not be offended!

I'm not a fan of "plot" so be aware that most of this series is just meandering through their relationship, angst-fluff-smut whiplash style. But with dick jokes.

TAGLIST: @chelsfic @symbiont13 @nicke0115 @bunnykjm @rosee-sensuelle @girlpornparadise @mandoplease @heresathreebee @xxsteph-enrixx @jetiikad @joalsglasses @mutantcookiesecrets @demoncatstone @squidlywiddly87 @lockedoutofmyotherblog @poeedamerons

gif by @nicke0115

Diego had received the normal text from his Princess, a simple and efficient 'here' attached to a selfie. This Friday the selfie was in his bed, that mane of ringlets tossed up over the pillow and those deep blue eyes half closed in relaxation. There was nothing sexual about it, hell, he couldn't even see her lips, and it still made him half hard. What if I could see that every day? In person, right next to her? I must convince her to quit that stupid little job.

Groaning softly, he flips the phone to be held horizontally in his left hand while the right presses the heel of his palm into his burgeoning erection. He cannot wait to bury himself into that soft little body; fingers, tongue, dick, anything. She is the softest woman he has ever touched, even her tiny little feet are soft, it is maddening. He slouches down into the backseat to relieve some of the pressure from his pants.

"You want me to stop anywhere, boss?" Bastian asks from the driver's seat. Bastian is a good kid, he follows orders, he is efficient, he even anticipates needs like this, offering to get food on the way home. He looks nothing like his uncle. Julio always did say that his little sister liked blondes and Bastian was living proof.

"No, I will see what she wants to do first." Diego wants to get his hands on Princess more than he wants food.

Julio chuckles from the front seat, "His dinner is already at home, eh?" He's been with Diego for twenty years, he knows how this goes down.

"One can only hope." Diego mutters as he flips through the 'Pretty Princess' photo album in the phone's gallery. Sure, there are the expected compromising pictures (much to his delight, she enjoys posing seductively at any level of undress), but many are shots of her laughing, being excited at a new restaurant, snuggled into his side at some scenic location perfect for a couples' pic.

A couple. Is that what they are? Does he want that? (Yes) Can I have that? (I will). He hasn't wanted any of what used to be his regular girls in… six months. Sure, Franchesca and, and whatever-her-face-is accompanied him to some club events, he even let Franchesca blow him in the car. But it wasn't until he closed his eyes and saw another gaze, drowning blue and dark as ink, that he came. Vocally. Franchesca at least knew better than to comment. That was the last time.

He wants this. He wants Princess. His Princess. How, he has no idea, but he assumes he'll figure it out. He has figured out how to survive his sister and his profession all the way to age 42. He has figured it out so far and he has no plans to stop now.

That book about relationships and autism spectrum really helped, maybe there are other similar books that he can get. Is there a book on how to get women to admit feelings? There has to be a book on something so… unusual, yes?

~~~~~~~~~~~~~~~~~~~~~~~~~

The elevator dings and he steps out before the doors are fully open. The common area is dark and quiet. "Princess?" He calls. Nothing.

Maybe she is still in the bed waiting for me. The image throws him into rapid motion; the jacket is tossed over the back of the sofa and he pulls the gun out of his belt to place it on the breakfast bar as he passes by. With huge strides, he hurdles up the stairs and into the bedroom.

The small lamp on the nightstand is at the lowest setting, turned to a faint aqua color. She does love fiddling with the ridiculous color options. Her bag is on the floor in front of the closet along with her purse, shoes, and a trail of clothing to the bed.. Odd, she always places everything just so. Never just, just dropped… anywhere.

Princess is in the bed… but she is asleep.

Diego pushes his shoes off and pads over to her side of the bed. Her glasses are on the nightstand and next to them the gemstone ring he gave her is threaded onto one of the diamond tennis bracelet for safekeeping. It makes him smile, how thoughtfully she cares for his gifts.

"Princess?" She winces at his soft rumble and cracks one eye open. "What's wrong?" He reaches out to touch her hair and she flinches away. Ouch, what the hell?

She holds out a hand, he takes that instead. "Baby?" Her voice is so quiet he can barely hear her. Something is very wrong.

Kneeling to the floor, Diego rests his chin on the bed directly in front of her face and waits. He has learned that if it's something physical that is bothering her he can simply wait her out. Each time that he has tried this it resulted in a shorter wait period the next time and a less agitated Princess. He's not sure if he is training her or if maybe it's the other way around.

Her fingers curl around his thumb, small but strong. Finally, she opens her mouth, "I have a migraine. Was fine earlier, but police lights. On whatever bridge. We sat for like ten minutes, Bastian couldn't get out of the traffic. I took medicine, but I need to sleep." She pauses, her eyes closed tightly and brow furrowed. Her breathing is shallow, like she is trying very hard not to cry. "I'm sorry, baby." She whimpers, and then a real tear does escape.

"No no no, Princess. No crying. Please do not." The absolute last thing Diego can deal with today is that pretty little face all red and messy with tears. She sniffles but doesn't move away when he wipes the tears with his thumbs. Those blue eyes are watching him very closely.

"Are--" she licks her lips and tries again, "Are you mad at me?" Her high voice cracks at the end and she blinks back more tears. Apprehension is coming off of her in waves.

Diego cocks his head, trying to understand where this question comes from. "You… think I will be mad at you for being ill?" Slowly, he leans closer to her while she nods tightly with a tiny 'mm hmm' of affirmation. When she huddles into herself, almost hiding under the covers, understanding begins to bloom. "Have other people gotten mad at you for becoming ill?"

Princess swallows hard, her eyes slide away from his. She is embarrassed. Someone has managed to shame her into feeling guilty about a hereditary illness she has no control over. He can feel rage climbing up inside his chest.

"Y-y-yeah. It's really inconvenient. I ruin p-plans like this. I'm sorry." Her voice is muffled by the covers. She picks at the stitching on the sheet, snapping her nail back and forth over the threads in a nervous tic.

Right now, I am doing the training because this needs to be broken. Immediately. He takes a deep breath, "No, Princess. No one can be mad at you for suffering from a condition you cannot control. That is ridiculous. I could never be angry at you for getting sick." He tries very hard to sound soothing and not like he's about to reprimand a ludicrous child. Slowly, he pulls the sheet down until her entire face is visible. Her eyes flick back to him, then away again. "Aqui." She obeys the command thoughtlessly, locking on his gaze. Diego raises a brow in question.

Princess huffs a soft sigh, then whispers, "Okay." Her face smooths out, eyebrows straightening and lips relaxing back to their normal fullness. Her little nose even unwrinkles as she eases. She must decide she buys it, because next she timidly asks, "Will you bring me a Coke?"

~~~~~~~~~~~~~~~~~~~~~

Diego gets her settled with her phone (which he silences) and the small bottle of Coke (opened downstairs so the noise doesn't hurt her). When she pulled herself upright to drink he realized she was still dressed so he got her into pajamas, it was odd putting clothing onto her instead of taking it off. She kept her eyes closed and allowed him to move her around like a ragdoll, relaxed and trusting.

The tightness in his chest only worsened when she crawled into his lap and nuzzled into him with a plaintive, "Hold me." Princess wasn't really a cuddly type of girl, so he knew this was bad. After ten minutes she was done with the 'mushy stuff' as she referred to it. He let her get situated then went downstairs with instructions to check on her in two hours.

Diego spent the time researching migraines, her medication, and other possible treatments. Julio came and went with dinner, cheesesteaks that Princess had mentioned long before the police strobe lights.

~~~~~~~~~~~~~~~~~

The required two hours have passed, Diego swears it was two days long, so he heads upstairs to check on her. Princess is on her stomach, head turned to the left, and her mouth hanging open. His hand lands softly on her shoulder while he calls her, "Princess?"

Nothing happens.

He tries again, just a little louder, "Princess? Hey, mirame." Still no response. She is a light sleeper, this is highly unusual. And he is beginning to be concerned.

Diego nudges her shoulder, then, when he gets nothing, pushes until she rolls over. She doesn't even make a sound. Shit. Shit shit shit.

"Hey! Bicki! Wake up, come on." Her lashes flutter and she makes a whiny noise. Sitting on the bed, he hauls her into his lap so she leans back against his left arm. Tapping her cheek with his right hand gets a semi-verbal response.

"Dieg.. Where. I'm. Can't." She slurs and burrows into his chest. "Too brigh. Is brigh." Her voice is so quiet he can barely understand her. Her tiny hands are fisted in his shirt, hanging on for dear life.

He grips her jaw in his right hand and turns her head to face him. "Princess? Can you tell me?" She's struggling through his name, like her tongue is too big for her mouth. "Yes, it's me. It's your Diego. We're home, in bed. You're safe." Her brow furrows as she processes this information. It takes three times longer than it should, he hasn't seen anyone this fucked up in a long time. Its terrifying.

Finally, her hands in his shirt ease their grip and she looks around the room. "Diego?" She is squinting hard, blinking slowly.

"Right here, Princess." Turning her to face him, he can see that her eyes are completely unfocused, pupils so small they're barely visible in a sea of grayish blue. Her hands come up to touch his face and she makes a tiny noise of distress.

"Baby. Can't see. I can't." Her whisper fades as she goes limp, eyes rolling up. Her breathing stays even, if shallow, so he doesn't panic. Yet. She said she does this, that she will black out. Her whole family does it. Her sisters, her niece, her mom… HER MOM.

Hit by sudden inspiration, Diego whips around to her phone on the nightstand and snatches it up. Her mom. Her mom would know what to do, right? Easing her deadweight back to the bed, he makes sure she is breathing easily, then turns back to her phone. He unlocks her cell with his left hand while digging his out of his right pocket. There, at the top of her contacts labeled 'Emergency', Mom. Dad. Diego. He ignores the sharp flutter in his chest at seeing himself as her emergency contact, and opens up the Mom item. Before he can second guess himself, he taps in the number in on his own phone and hits the green button. She better know who I am or this is going to be a disaster.

It rings twice before a remarkably similar voice answers, "Hello?"

Shit, now what?

"Hello, is, is this Kat?" Fuck. Shit. Damnit Diego.

"Yes…?" It really is startling how similar their voices are.

"I do not know if you know who I am, my name is Diego and I--"

"Diego! Ohhh, I know who you are." She laughs lowly, just like Princess. He notes the fact that she recognizes him instantly for later discussion.

"I apologize for calling like this, but I need your help." He tries not to sound scared. He does not get scared.

"What's wrong? Is she okay? Are you okay?" Apparently he failed. Her mom, Kat, knows instantly that something is amiss.

"She said she had a migraine and took her medicine. Now, I cannot get her to wake up fully and she keeps repeating that she can't see. I don't know what to do, I've never seen her like this. Please." It all comes out in a rush, he hopes she can understand his rapidly thickening accent.

"Okay, first of all, take a deep breath." Do I sound that panicked? Should I be panicked?!? "This isn't that unusual for her more severe migraines. As long as she keeps breathing. Is her breathing fairly normal?"

He watches her chest rise and fall at regular intervals. "I, err, yes? It's a bit fast, but even."

"Good. That's good, Diego. She is not going to like this, but you have to take her to the ER."

"Okay. I can do that. Yes." Wait, what do you do when you take someone to the ER?

"Okay, listen. You have to tell them that she's had these since she was a kid. She takes the highest tablet dosage of imitrex, tell them what time she took it. She needs the shots, yes she has had them before, no drug allergies. Under no circumstances do you tell them that she blacked out or they will admit her. Also, no chance of pregnancy, they'll ask that. If they think she might be pregnant then they won't treat her."

THEY WHAT.

"What do you mean? Won't give her the shots? If she might be pregnant? What shots?" Diego is very confused. This is a lot of information in a very short time and all of it is very important. Why would that matter?

"Hospitals will not give medications to pregnant women. Only tylenol, generally. And that isn't going to help." Her mom sounds like this topic has been thoroughly debated in their household.

"Okay. No pregnancy. No black out. Have been having these her whole life, need shots, have had those before. I have the bottle of ...imitrex? I should take it along?" He ticks each item off on a mental list. "Actually, could you text all of... that?" He most definitely does not want them to admit her.

"Of course. And taking the bottle is perfect, that's quick thinking. What time did she take it?"

What time did she take that?? She had already taken it when he got home. "Sometime before seven…? Yes. Between six and seven."

"One last thing, I want you to be prepared. Its two shots, a sedative and a pain medication, but they'll put it in her butt."

That's… interesting. "In her butt?? She won't even let me put something in her butt." He mutters petulantly.

Her mom is sputtering with laughter. "Oh, I see why this relationship works. Wow. This is perfect."

"Err, is there anything else? I've never been to an ER, so. Um." Something about the way she sounds just like Princess puts him at ease, like he doesn't need to worry about impressing her.

"No. I'll text you the list after we hang up. Just let me know how she is tomorrow, okay? I know you'll take care of her, Diego."

"Yes, I will. Thank you." He ends the call and texts Julio to get up here now.

~~~~~~~~~~~~~~~~~

The ER is pandemonium and Princess is extremely unhappy to be there. She is curled into his side, trying to hide from the noise and the light, while Bastian fills out forms for her. Julio thought to bring her purse, it was a very good idea since her entire identity is in there. When Bastian hands over the forms to the desk the nurse sees Princess's hospital work badge in his hand with her ID and she magically shoots to the top of the waitlist.

The nurses come to take her into the back, they bring her a wheelchair which she grumbles about but goes willingly when Diego pushes her into the seat. He wants to go with her, but he isn't family. If this were anyone else he would do whatever he wants, but this is his Princess. The thought of breaking her trust by violating her privacy is unbearable, anything like this has never been discussed.

They barely disappear around the corner before a nurse comes right back.

"Alright. Which one is Diego? She will not shut up and she will not calm down. Come with me." The nurse grabs his arm and practically drags him for a few steps until his longer legs catch up.

They go into a curtained room where one nurse is trying to manhandle yoga pants down well-rounded hips and another is opening prefilled syringes. Princess is swiping at the unfamiliar hands on her body, unbalanced and jumpy. Little noises of fear escape from her lips in high pitches, her head is down and her eyes are closed tightly against the florescent lighting. Diego suddenly remembers that she can't see. She is terrified.

"Princess?" The second he touches her with one hand she dives into him. Her own little hands claw into his shirt and she tries to mold her body to his. "I'm here. You're safe." Wrapping arms around her, he holds her still tightly. She nods against his chest and relaxes a tiny bit.

The nurse with the syringes looks pointedly at Princess's butt, then back up at him. Oh. Right. Sliding one hand down her back, he inserts fingers into the back of her pants and eases the elastic waistband down. "Its just me," he whispers into her hair as she trembles in his hold. The strong muscles of her butt twitch, but she doesn't fight him. She trusts me.

Its over in under five seconds, both shots and both bandaids, one set on each side. She jumps with each injection but can't seem to process what happened fast enough to respond appropriately.

The nurse doesn't even bother to look up from cleaning the table. "Okay, take her home and put her to bed. She'll sleep for the next eight hours."

His eyebrows shoot up in surprise. "That's it?"

"Yep, thanks for your help."

~~~~~~~~~~~~~~~~

Princess succumbs to the sedative halfway home and Diego has to carry her to bed. She really does sleep for most of Saturday. He keeps going in to check on her, she is completely limp and doesn't change position once. Its a bit disturbing how helpless she is like this. Has she had to do this alone before? Or, worse yet, with the awful ex?

He stays right beside her after that.

When she finally wakes her eyes are normal again and she immediately reaches out for him. "Diego?"

Her little question makes him smile warmly.

"Right here, Princess. Welcome back." He rumbles softly, unsure if sound still hurts her. Stroking one hand down her back makes her arch up into his caress. So beautiful.

She squints up at him through the curtain of her hair. Slowly, Princess rises to all fours, then eases back to sit. "I…" she blinks at him. "I have to pee."

Okay, so awake but not totally coherent yet. She requires a little assistance in the bathroom, mostly a steady arm to lean on, but they manage it with only mild to moderate giggles and one bruise-inducing bump to the corner of the counter.

She stumbles back to bed, collapses face down, sticks her left arm out in his general direction, and wiggles fingers at him then back at herself.

"Take the stupid bandaids off. Shit itches."

Oh yes, finally time to touch the butt.

Diego sits on the bed beside her, one hip pressed up against her own. He firmly strokes both hands down her back just to hear her deep moan of pleasure. She arches up when he reaches the curve of her ass. Oh good, she is feeling better. Fuck that, she feels amazing, he chuckles at his own joke but doesn't pause in gently groping her. The silky panties slide easily over her cheeks, the sight makes his mouth water. The pale skin is only marred by the bandaids, so he pulls them both off in rapid succession then smooths fingers over the red marks.

"Mmmmm," she moans with the gentle treatment, "Thank you for taking care of me. That's the first time someone other than my parents did that for me. How did you know to take me to the ER, anyway?" Her voice is muffled in the pillow, soft and sleepy and content.

Diego absent-mindedly runs a finger down the crack of her ass, feather light. "Your mom told me what to do when I called her."

"YOU CALLED MY MOM?!?!"

Judging by her volume, apparently no, sound does not hurt her anymore.

#damnit diego #actually thank you diego #murder panther #soft murder panther #zash writes #stupid fluff

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hellyeahomeland · 6 years

Photo

“Paean to the People” | Directed by Lesli Linka Glatter

“Paean to the People” picks up right where “All In” left off. Carrie and Anson are speeding through the streets of Budapest Moscow Budapow. In this opening shot, their car is the only one on the bridge, adding to the feeling of just how on their own they are, without diplomatic cover, as they try to distract Yevgeny long enough to get Simone on that plane.

The arrangement in this shot!! Everyone whose face is visible is serving so much face. Simone is like, “don’t look at me.” Bennet (with facial hair!) is like, “are you fucking kidding me?” Doxie (with some pretty great side eye) is like, “I am NOT getting stuck in Budapow.” And Ms. Pink Scarf is like, “What am I doing here again? What is my job?” You and us both, Pink Scarf. You and us both.

Let’s give a full round of snaps to Sandy this season. She brought the sassy realness and Russian know-how the whole dang time. This show needs all the female energy it can get and this shot of her pulling out the chair for Clint’s “time out” is incredible. We’re not sure if she’ll be back for season eight, but if she won’t, we will miss her so.

Both Carrie and Anson know what’s at stake in this mission but in this moment, it’s Carrie who has to convince Anson how far she can and will go. We hate to say it, but the moment of recognition shared here between them screams “America First” when Quinn tells Carrie to get in the car and stay down. If seven seasons of Homeland have taught us one thing, it’s that these people all follow the same code: Get in. Get down. Shut up. Mission over self.

IJLTP.

We will hand it to the Homeland props department for getting the birthday right on Simone’s fake Carrie Mathison passport (it’s April 5, 1979). But!! Her middle name is spelled Anne, not Ann.

Simone spent a lot of time obscuring her face from the Russian officials in that car, but this glimpse of her expression after she asks Saul if he’s really going to leave Carrie--the Carrie who CLIMBED A FUCKING ROOF LIKE TWENTY MINUTES AGO TO GET TO SIMONE--in Budapow. That is a pursed lip and evil eye if we ever saw ‘em.

...And, of course, the guilt is written all over his face.

We are CACKLING at the dude in the white jacket in the background. We are not sure if he is just a really bad extra or some random stranger who saw Claire Danes in a Budapest train station and needed to share else he was met with a chorus of “pics or it didn’t happen” from his friends.

Sara and Doxie have the same birthday (November 4), which further solidifies that he is her forever man and the best Carrie Angel of them all.

We talked about the strong “America First” vibes above and the whole sequence of Carrie running through the train station is giving us heavy “The Smile” vibes, too. After seven seasons, it’s difficult for some moments not to feel like explicit callbacks from earlier episodes. After all, maybe looking at a mirror in a crowded marketplace is just Carrie’s favorite American spy woman move. But this shot, and Carrie’s smile later, are so specific that we think the homage is intentional.

IJLTP, II.

Real talk though, you really get a sense of the loneliness of the office here, as Beau faces away, back to the camera, surrounded by those heavy curtains.

Lesli Linka Glatter is a choreographer by training and she’s talked before about the diligent preparation she does before directing a Homeland episode. In sequences like these--filmed, acted, and edited with such specific clarity--that training and preparation come through loud and clear. Every shot has a purpose and we’re exposed to all angles of the action. It really is like a dance.

Here, the slow reveal of Yevgeny coming around the corner ratchets up the stakes as Carrie waits, a sitting duck in the locked room.

And here’s our duck. What’s so great about thrilling and suspenseful action sequences like this is the human moments they’re contrasted with. We can see the fear in her face as she contemplates whether to go down in a blaze of glory. She’s not made of steel. She may only have seconds left to live. She may be a hero but she is not a superhero.

Yevgeny delivers a BudaPOW (sorry, we couldn’t resist) with his punch to Carrie, but her moment of defeat is quickly transformed into one of triumph with the news that Saul and his “package” have achieved lift-off.

This smile, guys. Damn. Claire Danes is in a class all her own.

Delirious, glorious laughter. When was the last time we saw Carrie laugh?

It doesn’t last long, of course. The first rule of Homeland is that if Carrie smiles, shit’s about to get fucked up. “At least she had this moment,” we all whisper quietly to ourselves.

The shots of Saul looking down from his window at the city of Budapow--Carrie in it God knows where, the proverbial needle in the haystack--are powerful. He has left her there. And now he has to get her back.

We love this shot of everyone arrayed out like this, watching Simone’s testimony in The Room Where It Happened. Though we would like to point out that it’s hard to take Bennet seriously without facial hair. Dude, it’s 5 o’clock somewhere. Get on it! (Also there are so many VESTS this season! We count two in this shot alone.)

IJLTP, III.

This is the sequence of shots after Keane says she’ll do everything she can to get Carrie back. There was some chatter about going to Anson first (looking pensive), then Saul (looking sorrowful), and finally Max, who looks the most doubtful and suspect of them all (and, of course, almost hidden behind the others in the back). Sara actually thinks closing with Max is the most powerful. He’s been by Carrie’s side, through thick and thin, all seven seasons of this show. And after the trauma of losing Quinn last season, it’s easy to see how history may be replaying itself for him, this time in agonizing slow-motion.

So many “Pilot” vibes. This show loves playing with reversals and bookends, and having Carrie be the prisoner now is one of the most stinging of them all.

Sara would just like to say that she even looks beautiful in a Russian prison.

The book Carrie’s reading here is called Where Avon into Severn Flows, which is actually a short story by the American writer Harold Frederic and part of his book The Deserter and Other Stories: A Book of Two Wars.

Here is the opening paragraph of the story:

“A boy of fifteen, clad in doublet and hose of plain cloth dyed a sober brown, sat alone at one end of a broad, vaulted room, before a writing table. The strong, clear light which covered him and his work fell through an open window, arched at the top and piercing a stone wall of almost a yard's thickness. Similar openings to the right and left of him marked with bars of light a dozen other places along the extended, shelf-like table, where writers had now finished their day's labor, and, departing, had left covered horns of ink and cleansed utensils behind them. But the boy's task lagged behind fulfilment, and mocked him.”

It’s easy to see the parallels. Carrie is held in a Russian prison, also dressed in plain, ill-fitting clothes. She sits in a broad, vaulted room with a plain writing table nearby. Carrie might have won the battle, getting Simone back to the United States, but here in this cell, her success must feel fleeting and the irony of her current circumstance mocking.

Some major “There’s Something Else Going On” vibes here. (Sorry, we’re just gonna point out all our vibes.)

We’re just gonna call this pose from Costa Ronin the Yevgeny Lean (#IJustLikeHowHeLeans). On a more serious note, some credit needs to be given to Ronin, who brought Yevgeny to life and made him feel like a fully lived-in person. His habit of leaning back, feet propped out before him, is just one small example, but it’s representative of the care and attention he put into crafting such a three-dimensional portrait of one of the most interesting villains in the series’ history.

IJLTP, IV.

And that IJLTP shot of Carrie, alone in that Russian prison with the stakes (i.e., her mental health) now clearly defined, is followed by the rather astounding hero’s welcome that awaits Keane back in the West Wing. This reminds Sara of those tunnels that sports teams would form after a game for everyone to run through. And now Sara wishes Keane had run through the tunnel, high-fiving everyone.

It’s Tie Color Time! Note that Beau is now back to the blue tie, having resumed his position as Vice President.

Talk about sweet karma. The scene between Paley and Keane is remarkable for a few reasons. First, Paley does all the talking. Keane doesn’t even give him the respect that comes with a response. He lowers himself to his knees, literally begging for her mercy.

Keane is often shot from below, highlighting her stance and power. But here, it’s a point-of-view shot. We see what Paley sees: this woman, whom Saul once claimed could not “rise above her own vindictiveness,” closing in on him, a bird of prey who’s finally made her catch. And then she spits in his face.

The Washington Monument, which sits due east of the Reflecting Pool, adds great dramatic effect to this beautifully shot (and scored) moment after Keane leaves her meeting with Paley. Despite the monument’s great size, in these shots its height matches Keane’s, which is likely intentional.

As the monument was being completed. Joseph R. Chandler, a Freemason and member of the House of Representatives said:

“No more Washingtons shall come in our time ... But his virtues are stamped on the heart of mankind. He who is great in the battlefield looks upward to the generalship of Washington. He who grows wise in counsel feels that he is imitating Washington. He who can resign power against the wishes of a people, has in his eye the bright example of Washington.”

As she drives back through the DC streets at night one last time as President, she’s clearly at a crossroads. History has its eyes on her. (We will also continue to make ALL the Hamilton references.)

We’re not sure if this moment was scripted or if it was a choice by Claire in the moment. Either way, what’s happening? If she praying? Thanking God? Carrie’s relationship with religion and atonement has been basically nonexistent since the show devoted attention to it in season five. We wonder if, like Brody before her, she may be discovering--or rediscovering, as it were--it while in captivity, a salve for her inevitable isolation.

A few things to note from this headstone:

It’s the tenth anniversary of Andrew’s death.

Are we really meant to believe Keane is old enough to have had a kid in 1979? Elizabeth Marvel was born in 1969, which means she’s playing at least ten years older than she actually is. Sara does not buy this, but whatever.

Andrew is born mere weeks before Carrie, which in hindsight kind of shifts the relationship between Keane and Carrie in season six. Carrie really could be Keane’s daughter, and if Carrie indeed did see her in some small part as a mother figure, it frames her conflict with Saul last season--and the battle for Carrie’s loyalty--in an even sharper light.

This is just a gorgeous light, the rows of headstones filling the bottom half of the screen and the large, overgrown tree framing Keane in the top half. It’s her figurative “moment alone in the shade” (figurative because she’s not really in the shade, but y’all catch our drift).

Again, it was impossible to properly capture the moment when Carrie congratulates Aleksandr through anything other than a gif. The quiver in her voice, her attempt at a forced smile. After this moment, the lighting in the room shifts--she is literally forced to see the light, as the direness of her circumstances are fully revealed.

This is the last time we see Carrie before the “seven months later” coda, so now’s as good a time as any to talk about the truly tremendous work she did this season.

From the opening episode, Claire took us on the tenuous, tumultuous journey of Carrie’s war with her own mind and the battles waged within. Every episode, every moment was brought to life with exacting precision. Sometimes we loved her, and sometimes we hated her, but Claire’s commitment to every moment never wavered, whether it was seducing Dante, having nightmarish visions of her bloodied daughter, or inching her way across that GRU roof.

The throughline of this season of Carrie’s mental health makes this moment and the final scene land with even more crushing weight than they otherwise would. When Carrie experiences a breakdown so harrowing and frightening, she goes to extreme lengths to restore her own sanity. In the last three episodes of the season, we see just how invaluable that sanity is--her mind is both her greatest asset and greatest liability.

Carrie knows here what’s about to happen. She stares, eyes wide open, almost as if she’s glimpsing into the future at what lies before her. There’s no safety net this time, no pills or ECT to pull her back or hit the reset button. But for as much as she knows that she’ll lose her mind (in every sense of the word, it turns out), there is also great uncertainty, looking into “the bottom of a black hole with no walls.”

Something we find super interesting about this sequence is just how many perspectives LLG gives us of Keane’s speech, whether it’s Wellington’s from inside the Oval, Saul in his office, or Yevgeny in Budapow. Again, LLG’s choreography background comes shining through. For almost the entire speech, we see her presidency--and what turns out to be its final moments--through everyone’s lens except her own.

LLG doesn’t shoot Keane center-frame, without some extra filter of a screen, until the very end of the scene, after the speech is over. Keane talks earlier about wanting to speak directly to the American people, from the heart, but what we actually get is everyone looking at screens, at the filtered version of this woman and her office, a metaphor if ever there was one for her short-lived presidency.

As her speech (which, like Washington’s Farewell Address, focuses on the need to not let political parties and divisions tear apart the country) nears its end, we do see Keane center-frame. But, again, it’s a shot of her center-frame on the screen, and her appearance is somehow altered and filtered.

(A quick note about her wardrobe: Keane starts the day grieving for her son at Arlington, and she keeps on the same black clothing during her speech, a signal of the impending end of her presidency. The dangling earrings are also an interesting choice, and an unusual one for Keane, who usually wears studs or conservative-looking hoops. Like Carrie in “Species Jump,” this is as close as she’ll get to “letting her hair down,” and the unconventional jewelry choice conveys the peace she’s found with her decision.)

And now the lights come down on Keane and her presidency, in every sense of the word.

The dynamics of this scene remind Sara of the end of “The Choice,” when Saul sees Carrie in that hall of dead bodies after thinking she’d died in the explosion. They shared a moment of recognition at the end of that scene, standing in stark contrast to what unfolds here.

Here’s our first good shot of Carrie, and there’s a lot to take in. The swollen face and unkempt hair are startling, to say the least. Under her bulky black coat she’s wearing white (you can see a peak of her shirt here but her pants--not visible in this shot--are also white), indicating she’s been in an asylum.

The season opened with Carrie running on a treadmill, athletic and strong, the buzzy chords of jazz blaring in our ears. It ends with our heroine on the complete opposite end of the spectrum. She’s feeble and unsteady, running away from the Russian guards and straight past Saul. We hear jazz again, but it’s slower and somehow weightier.

As Saul gently brushes the hair from her face and looks into her eyes, calling her name, she is seemingly unable to recognize him. Her eyes dart from side to side, up and down, but his remain steady on her, and we can see (and share) the concern and devastation etched on his face.

She’s searching, and so is he.

#homeland #homelandedit #paean to the people #lesli linka glatter #*#in the director's chair #by: sara #by: gail #vibes on vibes on vibes

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bellabooks · 7 years

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Imagine If They Had Just Made Them Gay: SuperHero Edition

Out of all the numerous movie categories out there, the superhero genre has always struck me as insanely queer. Maybe it’s all the tight, spandex outfits. Or the overly common “outsider / sociality reject” theme that can be found in almost every superhero movie known to man. But, regardless of the reason, most superhero movies tend to be one good, sweaty grappling fight scene away from being dubbed an LGBTQ+ instant classic. So then why aren’t there more queer superhero movies? Simple. Superheroes, by our antiquated societal definition, are supposed to be the epitome of hyper masculinity. They are super muscular, insanely good looking, and always manage to not only save the day, but also win over the affection of the damsel in distress while doing so. And of course, this naturally means, they can’t be associated to anything that remotely goes against those stereotype. Like being female. Or queer… Or, god forbid, being a queer female. Yes, there have been some great strides made over the past few years to fix this general disparity and we are finally starting to see more of an overall variety when it comes to types of superheroes on the big screen *cough* Wonder Woman *cough*, but there’s still a long, long way to go. So, while I sit and wait for Hollywood to finally make my dreams come true and produce a honest to god queer female superhero movie, I pass the time by playing a few rounds of “Imagine If they Had Just Made Them Gay” with some of my all-time favorite superhero movies. Power Rangers (2017) Now, I know what you’re thinking… Power Rangers? Seriously? Out of all of the one to choose from in the vast lexicon of superhero movies, why Power Rangers? Isn’t it just a cheesy, big-screen version of the painfully bad 90’s kids TV show? Well, three reasons. One, the Power Rangers Movie is actually good… like surprisingly good, in an modern day Breakfast Club, extra angsty sorta way. Don’t believe me? Go on and watch it for yourself. Don’t worry. I can wait… Done watching? Good. Now, let’s continue. Secondly, the Power Rangers is one of the rare examples of an ensemble superhero movie that features more than one female lead. Crazy, right? But, sadly, it’s the truth. The Avengers? Black Widow. Fantastic Four? Sue Storm. The Justice League? Wonder Woman. You get the point. And lastly, it’s the first superhero movie to feature a queer character. Granted, I use the word “queer” loosely because this is only hinted at in one scene where Trini (aka the Yellow Ranger) gives an indirect “coming out” speech after being asked if her problems were “girl problems.” But, at the same time, though, given her steady wardrobe of flannels and beanies, and faux shaved side of the head hairstyle, little to no verbal confirmation is actually needed. Trini, in short, is one rainbow flag away from a one woman pride parade. So, given all of the above, plus the overwhelming amount of Trini / Kimberly (aka the Pink Ranger) “getting to know you” deleted scenes, why on earth didn’t they just take it one step further and make it a full-fledged queer falling in love story? Absolute head scratcher, right? Well, I still hold out hope for there being one in the next movie (that’s if Lionsgate comes to their senses and finally green lights a sequel), but in the meantime, imagine if Power Rangers went a little something like this… Kimberly Hart. Once head cheerleader and ex-teen royalty of Angel Grove High, falls from grace after leaking a nude pic of her ex-best friend to her then boyfriend. (side note: still have sooo many questions as to why she had this pic to begin with. Is this a straight girl thing? Cause, if not, it so screams gay in a “I have memorized every Tegan and Sara song known to man” sorta way.) After giving herself an impromptu bob in the high school bathroom during Saturday detention, Kimberly happens to stumble upon four other high school social rejects late one night at the local quarry and they proceed to make a life changing discovery in the way of five oddly colored, intergalactic gems. Quickly coming to the realization that they suddenly now all possess superpowers thanks to the mysteriously gems, the group returns to the quarry the next day in an attempt to figure out what the hell is going on. And it’s at that very moment, that Kimberly’s whole life changes… Cue Trini. Angel Grove’s very own death metal loving, yoga practicing, resident pocket-sized queer. She’s feisty, sarcastic, and knows just how to impress a girl with her climbing up the side of a rock face and then leaping over an enormous cavern skills. Unable to hide her gay, Kimberly stumbles her way through a painfully awkward conversation where she tries to turn on the charm and convince Trini to come with them. And when that doesn’t work, she decides to just bite the bullet make a move (literally) but grabbing hold of Trini, throwing them right over the side of a cliff. And so begins the all too familiar “is it or isn’t it a date” montage. It’s all fun and games, until a gold obsessed villain named Rita shows up and decides to pay a late night visit to Trini. Rita proceeds to rough Trini up as a warning to the rest of the rangers and in the process fully ticks off Kimberly. Out for blood, Kimberly convinces the rest of the rangers to go after Rita. But, like most novice superheroes, the are beyond ill prepared and not only do they get their asses handed to them but the run also results in Billy ( aka the Blue Ranger) getting temporarily killed. After a quick regroup back at the ship for a prep talk and a minor supernatural resurrection, the rangers go after Rita once again, this time sporting brand spanking new suits and prehistoric themed vehicles. An epic battle ensues and in a sudden life and death moment, the light bulb finally clicks for both Trini and Kimberly. They want to be together… No, scratch that. They NEED to be together. And right now. With the burst of extra motivation, Kimberly and Trini lead the charge and help the boys send Rita on a one way trip to deep space and then sneak off to celebrate with one another… again… and again… and again… Hancock (2008) Again, I know what you’re thinking… Power Rangers is one thing, but Hancock? Not only is it a mediocre movie at best, it’s not even based off of a pre-existing comic franchise. I whole-heartily agree that Hancock has its fair share of problems. For starters, the main one being the casting of Will Smith as Hancock himself. Now, don’t get me wrong. I love Will Smith. There are roles that are just good fits for him and then there are the other ones–the ones like Hancock. And then there’s Jason Bateman. Jason Bateman always plays one type of character and one type of character only… Michael Bluth. And Michael Bluth should never ever exist within a superhero movie. But, looking beyond its problems, Hancock does have something going for it that most superhero movies, more often than not, tend to severely lack–an original and unique story. Hancock’s plot at its core is an unrequited love story. Two superheroes, who are destined to find one another time and time again regardless of the situation, yet the mere presence of one another is so toxic that being together will eventually lead to their deaths. Sound vaguely familiar? Like something you might’ve seen in real life once or twice? That’s because this plot could also double as a description for roughly 65% of all queer relationships. Who hasn’t had a friend (or ten) break up with the same girl time and time again only to get back together with her a few months later because “they can’t help themselves”? So, given that it’s plot is insanely queer to begin with, imagine if Hancock went something like this… (Sidenote: My photoshop skills are good, but not THAT good. So, every time you see Will Smith, just imagine an amazing actress instead… Like Samira Wiley) Hancock, a rough around the edges queer superhero, is known for two things. Protecting the citizens of greater Los Angeles from a wide array of criminal activity and creating an insane amount of collateral damage while doing so. In short, Hancock has a MAJOR perception problem. But does she care? Chalk it up to years of being dubbed an “outsider” or a superhuman sized chip on her shoulder, but Hancock just doesn’t seem to care what anyone thinks about her. She’s a superhero and that means show up, kick some ass, and save the day. End of story. There’s just no need for anything (or anyone) else. But, then one day, Hancock’s world is turned upside down when she happens to save the life of a lovable but super generic PR specialist named Ray. Beyond grateful, Ray makes it his personal mission, not only to befriend Hancock, but also to help her turn her public image around. New clothes. New attitude. And of course, new social circles. Hancock begrudging goes along with it all, including agreeing to attend a family dinner, where she happens to discover that Ray’s wife Mary looks oddly familiar. And suddenly… BAM! Hancock finds herself inexplicably drawn to Mary. She simply can’t get enough of the woman and needs to be around her 24/7. Mary, though, wants nothing to do with Hancock. She’s not only strangely standoffish, but seems to make up an excuse to leave the room whenever Hancock appears. Dying to win Mary over, Hancock attempts to learn more about her and in the process discovers that Mary, in fact, is a superhero as well. But before Hancock can confront Mary on this unique shared similarity, Mary falls deathly ill and is hospitalized. No one seems to know what the problem is and to make matters worse, Hancock is affected as well, but only when she’s in proximity to Mary. Hancock is pushed to the brink of insanity while trying to unearth what is causing Mary’s illness. Unable to handle her feelings, she goes on a crime-fighting bender and after being hit on the head by a flying piece of debris, suddenly remembers who exactly Mary is. Mary is Hancock’s eternal soulmate and, in a cruel twist of fate, also her ultimate kryptonite. Lifetime after lifetime, they are destined to find one another, only to inadvertently poison each other to death by their mere presence. Not wanting to put Mary through anymore unnecessary pain and suffering, Hancock decides that the only sane and logical thing to do is for her to disappear forever and live out the rest of her life in utter isolation. She goes to see Mary one last time to say her goodbyes, but for she can carry out her plan, Mary stops her. Thanks to modern technology, there’s a way they can be together and yet be apart at all at the same time… So, what do you think? What other superhero movies do you think would be better if they had just made it gay? http://dlvr.it/PjNdz1

#Movies #Hancock #Imagine If They Had Just Made Them Gay

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