Being in fandoms where the characters are clearly based on other pieces of media/famous figures is so much fun because then some of my ships look like this:
Parentified Goldilocks who is also The Beast x Avoidance attachment Beauty who is ALSO also The Beast, one of my fav moments with them is when they off the Minotaur together who is ALSO also also The Beast
Little Red Riding Hood if she was also the Wolf and has galloons of repressed trauma x Snow White but she’s heavily knight coded and the poster child of daddy issues
Edgar Allen Poe’s Lenore x Annabel Lee but they’re in gay ghost love
The poem ‘The Last Rose of Summer’ x Odin’s raven Huginn but they’re exes still in love in a milf yuri divorce that ends super mega tragically and domino effects mommy issues out the ass
Historical figures Cleopatra x Frida Kahlo with the most chef’s kiss height difference you’ve ever seen
A polycule with Joan of Arc x Mulan x Thor x Achilles but they’re all genderbent/trans
The Velveteen Rabbit x fashion icon Coco Chanel if she was a lesbian with a gun
Frankenstein’s monster x a different sapphic Cleopatra bc baby gays <3333
Okay okay that black cat from Poe’s, well, The Black Cat x Poe’s Eulalie is cute yes
But I actually really REALLY love Poe’s Eulalie x Poe’s Berenice bc they’re “me and the bad bitch I pulled by being autistic” personified
The Snow Queen with mega daddy issues x Robin Hood if he was a socialist lesbian I SAIDDDD ITTTT
Imma say it historical figures JFK x Confucius were adorable bros
Aesop’s Fisherman x Odin’s other bird Munin you will always be famous my tragic old man yaoi <////3
Y’all will really have to hear me out here when I say Cinderella if she fucken snapped x ice cream Mad Hatter because couples who are terrible to each other but in a “only I’m allowed to be a horrid to them” way can be so funny
And I could go o n fer ages but the point is imagine explaining these ships to someone like 30 years ago with ZERO context their heads would explode and it’d be so funny
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AU where Thalia and Luke find Leo as well as Annabeth.
Annabeth and Leo, traumatized besties. They get to be Annoying Children together.
Hephaestus is still a dead beat, and doesn't claim Leo.
He ends up in the Hermes cabin, even though he's pretty sure where he's meant to go.
But this makes it easier to hide his fire.
He still sneaks into the forge to tinker and Beckendorf takes him under his wing.
It's not unheard of for the children of other gods to be interested and good with machines, but Charles is pretty sure Leo is his brother.
But the kid isn't saying saying anything for a reason, is staying in a crowded cabin for a reason, and Beckendorf has a guess.
He leaves it alone and just looks out for the kid.
Luke and Annabeth don't know about his fire. At least, he didn't tell them.
The closest he came to was when the cyclops was after them and he asked if fire could hurt them and Grover told him that they were immune.
Leo slumped, because that was his only way to help his friends.
He either never visits Thalia's tree or is there all the time, but only when no one else is around.
He like. Doesn’t get Annabeth’s longing for a quest. He doesn’t want anything to do with the dangers of demigod life.
They’re best friends but this causes the worst arguments between them and after one, Leo runs from camp.
Annabeth thinks that she’ll have to be allowed a quest to look for Leo, but that doesn’t happen.
They originally aren’t going to look for him, figure a satyr will likely find him, but Beckendorf pushes for one.
He eventually finds Leo and Leo doesn’t want to come back. He tries to give the older demigod the slip but Beckendorf just keeps finding him and it stirs up a lot of Emotions(tm) for Leo.
Eventually Leo snaps and breaks down for the first time in years and his brother holds him asks him to come home. Leo relents.
Annabeth doesn’t know how to apologize when Leo comes home, and Leo doesn’t know how to ask for one or give his own. But from what he’s seen of actual siblings around camp, siblings usually don’t make big productions out of saying sorry, and he guesses that can work for him and Annabeth too.
He manages to keep his fire powers a secret for years and then Percy Jackson shows up with his water powers and Leo scratches the back of his neck and thinks “Damn, I can’t afford a narrative foil.”
Leo was never as close to Luke as he was with Thalia so his betrayal doesn’t hit him quite as hard, and he’s better able to see him for who he is.
Cue years of Annabeth and Leo growing apart as she gets wrapped up in all of the quests.
Things between them are tense when Thalia comes back to life. None of their relationships are what they used to be, but Leo is so happy his friend is back, and feels such a pang of grief for his mom that he can’t breathe.
He bites his tongue but wishes he could bring the Fleece to the ashes of her shop and revive her too.
When Annabeth goes missing, and the Hunters of Artemis go on a quest to find her, Leo is ready to sneak after them, but runs into Percy, who says he’s planning on doing the same thing.
Then Nico di Angelo finds them both and this just isn’t going to work.
He asks them both to stay, because they don’t have any experience with quests.
Percy was just trying to be logical but he accidentally hits on Leo’s feelings of inferiority, because it’s true, there’s nothing Leo can do out there to help Annabeth, except his fire, which only ever hurts people.
Suddenly Percy’s got two people he doesn’t know well asking him to bring back their loved ones.
He pulls Leo aside and asks him to keep an eye on Nico. Leo is not in favor of this idea because 1) should a twelve year old be watching a ten year old (irony oh irony), 2) Nico is annoying and reminds Leo too much of himself, though he doesn’t yet recognize that’s what’s bothering him about the other boy and 3) Leo is. Bad with people. He is bad with emotions. He should not be left with a kid he doesn’t know who is feeling Big Emotions while Leo is also feeling Big Emotions.
But he eventually agrees.
It’s bad for a while. Leo doesn’t know what he’s doing. The older campers are helpful but Leo doesn’t let them do everything because he gave his word and he’s going to keep it. Leo and Percy made a deal, and he isn’t going back on it.
It’s not fun though because Nico is chafing at being given a babysitter. He eventually blows up because he’s been under so much stress and Leo remembers how he did the same thing once and how Beckendorf stayed with him through it.
So that’s what he does.
When Nico’s calmer, they talk about how they’re both worried and tell each other about their sisters, though Nico seems a bit sour about hearing about Annabeth’s adventures with Percy.
And it’s better from there.
Until Percy and Annabeth come back to camp.
Leo isn’t there for what ever happens, knows that Nico’s run off and… Chiron seems fine with that?
Leo isn’t though, and taking another page from his older brother’s book, he goes to find Nico.
Leo’s no good at goodbyes, and after just getting Annabeth back, and learning that Thalia is taking a different path that means they’ll only see her a few times before they die and she goes on living-
Well, he can’t bring himself to say anything in person. He leaves a note for Beckendorf, knowing he’ll understand and tell the others.
Kronos forces somehow learns about his fire and use that to try to convince him to join their side. How the gods cursed him with this awful power and then just left him without any acknowledgment. That they must have something terrible planned for him, that’s the only reason they want heroes in the first place.
How his father, god of fire, stood by while his mother died in a fire and did nothing.
That one gets to Leo.
But he’s got a mission, and doesn’t have time for the problems the titans have with the gods or the gods with the titans or whatever. He can’t change big, lofty stuff like that, is no child of prophecy but he can pay forward the kindness shown to him in the past.
That's what he can do.
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The Saga of the Bowler Hat: In Four Acts
Sep 30-Oct 15, 1961: Paris trip
We planned to hitchhike to Spain. I had done a spot of hitchhiking with George and we knew you had to have a gimmick; we had been turned down so often and we’d seen that guys that had a gimmick (like a Union Jack round them) had always got the lifts. So I said to John, ‘Let’s get a couple of bowler hats.’ It was showbiz creeping in.
Gustafson happened to bump into them the day they left, Saturday September 30. “They both had bowler hats on, with the usual leather jackets and jeans. They said they were off to Paris, so I walked down to Lime Street station with them and watched them go. They were an incredible pair: always great fun, irreverent, and so close.” [x]
We still had our leather jackets and drainpipes – we were too proud of them not to wear them, in case we met a girl; and if we did meet a girl, off would come the bowlers. But for lifts we would put the bowlers on. Two guys in bowler hats – a lorry would stop! Sense of Humour. This, and the train, is how we got to Paris. [x]
March 2-4, 1964: Filming A Hard Day’s Night train scene
The specially-hired train was destined for Minehead and back, where for the next three days scenes were filmed in the suitably cramped setting. There was a dining car for The Beatles to eat in...[their] dialogue was recorded using microphones hidden inside their shirts, but numerous retakes were required due to sound problems.
The first we did was the train, which we were all dead nervous in. Practically the whole of the train bit we were going to pieces.
I’m sure it’s less noticeable to people watching in the cinema, but we know that we’re dead conscious in every move we make, we watch each other. Paul’s embarrassed when I’m watching him speak and he knows I am. [x]
March 29, 1967: With A Little Help From My Friends day
At two o’clock in the afternoon John arrived at Paul’s house in St. John’s Wood. They both went up to Paul’s workroom at the top of the house...John started playing his guitar and Paul started banging on his piano. For a couple of hours they both banged away. Each seemed to be in a trance until the other came up with something good, then he would pluck it out of a mass of noises and try it himself. They’d already established the tune the previous afternoon. Now they were trying to polish up the melody and think of some words to go with it.
“Are you afraid when you turn out the light,” sang John. Paul sang it after him and nodded that it was good. John said they could use that idea for all the verses, if they could think of some more questions on those lines.
“Do you believe in love at first sight,” sang John. “No,” he said, stopping singing. “It hasn’t got the right number of syllables. What do you think? Can we split it up and have a pause to give it an extra syllable?”
John then sang the line, breaking it in the middle: “Do you believe—ugh—in love at first sight.”
“How about,” said Paul, “Do you believe in a love at first sight.”
John sang it over and accepted it. In singing it, he added the next line, “Yes, I’m certain it happens all the time.”
They both then sang the two lines to themselves, la-la-ing all the other lines. Apart from this, all they had was the chorus: “I’ll get by with a little help from my friends.” John found himself singing “Would you believe,” which he thought was better.
Then they changed the order, singing the two lines “Would you believe in a love at first sight/Yes I’m certain it happens all the time” before going on to “Are you afraid when you turn out the light,” but they still had to la-la the fourth line, which they couldn’t think of.
It was now about five o’clock. [x]
The Beatles began by recording the rhythm track in 10 takes, the last of which was the best. It had Paul McCartney on piano on track one, George Harrison’s rhythm guitar on two, Starr’s drums and cowbell played by John Lennon on three, and George Martin playing organ on track four.
A reduction mix, numbered take 11, made free some space on the tape for further overdubs. Starr then added his lead vocals to tracks three and four, with backing vocals by Lennon, McCartney and Harrison. This session ended at 5.45am, and recording for the song was completed on the following day. [x]
1967-1968: Paul’s favorite artist inspires Apple Corp name and logo
We were discovering Magritte in the sixties, just through magazines and things. And we just loved his sense of humour. And when we heard that he was a very ordinary bloke who used to paint from nine to one o'clock, and with his bowler hat, it became even more intriguing.
René Magritte, The Son of Man (1964)
One day [Robert Fraser] brought this painting to my house. We were out in the garden, it was a summer's day. And he didn't want to disturb us, I think we were filming or something. So he left this picture of Magritte. It was an apple - and he just left it on the dining room table and he went. It just had written across it "Au revoir", on this beautiful green apple...So it was like wow! What a great conceptual thing to do, you know. And this big green apple, which I still have now, became the inspiration for the logo. And then we decided to cut it in half for the B-side!
René Magritte, Le Jeu de Mourre [The Game of Mora] (1966)
The title was found by Magritte's friend, the Belgian poet Louis Scutenaire, and is probably a play of words on Les Jeunes Amours [Young Love] (1963), the title of a work by Magritte showing three apples. The game of mora is "a game in which one of the players rapidly displays a hand with some fingers raised, the others folded inwards, while his opponent calls out a number, which, for him to win, has to correspond to the total of the raised fingers.” [x]
Epilogue
Paul McCartney’s 1989 My Brave Face single cover
My Brave Face lyrics, written early 1988 with Elvis Costello
January 1988: The Beatles are inducted in the Rock and Roll Hall of Fame
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