#the amount of times i think about the final scene of hamlet is just the amount of times normal teenage girls do the ending of r&j i guess

[mizukiko-kun]

Productions of Hamlet where Hamlet downs Horatio’s poisoned wine himself, my beloved. Drinking the poison meant for your best friend to save their life must have felt so intimate…

#bonus points if horatio realises how decisive hamlet is being and just watches him do it with a very broken-hearted look on his face #i prefer that to the struggling and very visibly sobbing horatio. he’s more suited for silent tears. to me. #the rational stoic guy breaks down on the inside and you can see it #ALRIGHT ILL CONFESS that’s just my fav production of hamlet #it’s a musical and it’s in japanese so i don’t think the shakespeare girlies know about it but one day ill write up a post #and in that post ill be so obsessed with it. as i constantly am. #hamlet #also hamlet drinking the poisoned wine also means to me that he gets to kill himself even if he’s going to die from the poisoned blade first #and that makes him as many times killed as claudius. i haven’t thought deep enough about this part #on the other hand it also enables him to die for the purpose of saving someone instead of the purpose of avenging the already dead #(if someone’s trying to produce hamlet with the main message being it’s better to die to save someone than to die for revenge #this would be the chance) #(although why on earth would you want to undermine hamlet’s grief… don’t make his entire story pointless c’mon #if anyone has a better way to fit this point into the story than i do pls tell me) #the amount of times i think about the final scene of hamlet is just the amount of times normal teenage girls do the ending of r&j i guess #also look at this bitch describing what happens in hamlet like it's a real historical event

[tall-glass-of-nope]

Let’s talk about “the lady doth protest too much,” because it’s a phrase I heard and used before I knew the actual context. And now, after I’ve finally gotten the context, I find myself continually thinking about its intent.

When I first heard it, (and pretty much exclusively how I still hear it) it’s been used to mean “it is suspicious that this person is denying something waaaay too hard.”

Ex. “The PR people keep insisting this chemical won’t harm the environment. They doth protest too much, methinks.”

And I never questioned that usage, because it makes sense.

Then I read Hamlet, and found that the line comes from a scene wherein Hamlet is trying to trick the people around him into revealing their guilt by having actors perform a thinly veiled parody play of his current predicament as he sees it.

In his actors’ play, the character that parallels his mother is solicited by her husband’s killer — who is also her brother-in-law. And the actress in the show denies her solicitor several times before succumbing to him.

When Hamlet turns to his mother and asks what she thinks of the show so far, he’s looking for her to see herself in the part. To react, or provide some kind of recognition of what she’s done. To condemn the clearly uncomfortable situation her character is in. But all she says is

“The lady doth protest too much, methinks.”

And I LOVE analyzing that, because my personal takeaway is like.

You know how you can write a whole poem or story about someone who’s wronged you, and they’ll read it and not see themselves in it? Yeah. (If you don’t know: this happens. A lot.)

So, whether or not she saw herself in the character onstage, My interpretation is that Gertrude (Hamlet’s mom) is revealing that her decision to marry Claudius (Hamlet’s uncle) was not a tearful and tormented decision made under coercion and duress. (Which is how Hamlet has experienced seemingly every major decision in his own life, and explains why he’d find this lack of passionate waffling to be offensive.) For better or for worse she’s revealing she just… didn’t say no to her brother-in-law.

And from there you can get into the why behind all that and her motivations and whatnot but that’s beyond the scope of what I’m trying to get into here.

“The lady doth protest too much” doesn’t read to me like condemnation of insincere delivery. Not exactly. The difference is kinda subtle, I guess.

A more parallel usage of the phrase is difficult to imagine, then, because there is some amount of self condemnation that it should invoke.

Me: “I baked you these cookies”

Them: “I shouldn’t; I’m watching my figure”

Me, knowing full well I ate five of the cookies before boxing the rest up to give: “The lady doth protest too much. Take the cookies.”

#hamlet #words #analysis #the lady doth protest too much #methinks #Shakespeare #am I making sense here? #anyone else think about this? #language #phrases #Gertrude #the mouse trap #context #on my mind #late night thoughts

[unnuevosoltransformalarealidad]

Hamlet

Summary: You’re having a difficult time and Tom uses his love for Hamlet to make you feel better Pairing: Tom Hiddleston x Reader Prompt: “There is nothing either good or bad but thinking makes it so.” (Hamlet, act 2 scene 2) Warnings: Fluff, Stress work-related, shitty coworkers, Tom being the sweetest, implied smut, reassurance of true love Word Count: 883

This was written for the @little-diable​ 2.0 Writing Challenge

^

It was a Friday late in the afternoon when you entered your house after work. The week has pretty hard and you were grateful it was Friday and you were ready to enjoy and relax over the weekend.

You entered your house and sighed while closing the door, you were comfortable entering the warmth of your home. It was almost overwhelming.

Bobby came running as soon as he heard the door closing. No matter what mood you had, that dog brought love and joy to your heart. It’s amazing how much love a pet can give. You gave the dog some scratches behind the ears and he gave you some welcoming kisses.

-Hey dove — Tom greeted you coming from the living room

You just hugged him and he kissed your forehead. You felt your body relaxed, you didn’t know how much you needed him until now. A few stray tears fell, you wiped them quickly before Tom noticed it. He could sense something was off with you, the way your body relaxed against him, said too much.

-Why don’t you go and take a bath while I get you something to eat? — you just nodded and went to your shared room.

When you entered the bathtub, finally getting the needed calm, you started to cry silently, you needed to let out all the stress you’ve been putting through.

After your bath, you put on some comfy clothes and went to the living room with your computer. You signed up again for school to finish your degree and you needed to get some work done because you were already behind.

You were seated on the floor, with the computer on the coffee table and the paper all scatered around you on the floor. From where you were seated you could see what Tom was doing in the kitchen, he was getting ready some snacks for you, but you were too focused on your homework to stop for a break, even if you’ve just arrived from an 8-hour shift. 

-Darling? — Tom called you coming from the kitchen with a tray — Are you still working?

-I’m just catching up on school work I’m behind — you explained

-But you’ve just arrived from work — he said concerned

-I know, but I...

-No, no buts — he interrupted you — Let’s eat something together, and then I’ll let you do some work while I get the dinner done, ok?

-Okay — you said closing your computer

You moved your things away from the coffee table so Tom and you could have the snack more comfortably.

You noticed the way Tom was looking at you, he knew something was happening to you and you weren’t able to express it. You decided to distract yourself with your homework and to keep eating so Tom wouldn’t be suspicious about what was bugging you.

-Sweetie — you hummed — stop thinking about school. I can hear your mind — you chuckled

-Sorry, babe — you said looking at your hands

-What is it? Is something bothering you?

-I’m fine, don’t worry

-I do worry because I know you and something is bothering you — he sat next to you

You sighed, not knowing if it was right telling him this

-Come one, dove. I’m here for you

You closed your eyes and took a deep breath

-People at work said that I’m not good for you and that I’m holding you back with my life choices

-Oh baby — He scooped you and sit you on his lap

Tom held you in his arms for a little, thinking, you were sure he was going to agreed with your coworkers and end up your relationship

-First, stop thinking that I agree with them. Second, there is nothing either good or bad but thinking makes it so, as my fellow Hamlet said

-So you’re saying…

-No, let me explain — he tightened the hug — What I’m trying to say is that those people think you’re bad for me because they can talk, and giving opinions is free and anybody does it. They don’t even care how affect us — he explained and kissed your temple

-But…

-I think you are the greatest good that happened in my life. You are the most amazing person I’ve ever met and I have the honor of calling you mine. I know that maybe I’m asking too much, but you don’t have to pay attention to what they say. Those people are cowards because they say it behind your back and not in front of you. It’s easier to hide rather than face it

-When did you become so wiser?

-The day I knew you were meant to be

-And when was that?

-The day I met you — he said and kissed you on the lips vigorously

You knew he was right, but the amount of stress you were going through from school and adding those shitty comments was the last drop. 

-I love you — you said

-I love you even more

-Can I ask you something? — Tom hummed — Now that you’re quoting your fellow Hamlet, would you mind helping me with my English Literature essay? — He just kissed you passionately.

Essays and dinner had to wait.

Tag List (is open)

@iguessweallcrazyithinktho | @thevelvetseries | @mrspeacem1nusone | @bitchy-witchy-post-mortem | @caplanbuckybarnes | 

#writing challenge #tom hiddelston x reader #tom hiddleston x y/n #tom hiddleston imagine #tom hiddleston fanfic

[pynkhues]

.... any succession fic recs? 👀

Yes!! I haven't read a lot for it yet, but some of the stuff I've read has been staggeringly good. I'm generally more into gen fic in this particular fandom, but have enjoyed some Stewy x Kendall, Gerri x Roman and Naomi x Tabitha too.

A few recs under the cut!

“I wanted to get out. From under all this. Take the money and run.”

Kendall tells Stewy even though he knows he’ll never get it, not like Naomi does. He’ll never understand the crush of it, the heart-stopping head-fucking fear of failing a tyrant. Kendall’s been ignoring the shape of it for a long time, putting pieces of it together in the back of his mind in total darkness like a blindfolded man. It doesn’t matter that one day his dad will die. It doesn’t matter about the money or the hostile takeover or the stolen files or any of it. There’s no running. Kendall’s Logan Roy lives inside his head.

Stewy laughs. Stewy laughs for a long time.

“There is no out, Ken, what the fuck are you talking about? You were born this and you’ll die this. You are what you are, and what you are is a fucking Roy.”

Kendall hates him, for a moment. Lightning-strike furious. What the fuck does he know about any of it, about his dad’s swinging dinner plate-sized hands, about getting 24% name recognition in reliable international polling, about puking every time you think about a car swerving off the road in the rain. About finding out that you can do something unthinkably, unimaginably terrible, and it doesn’t matter to anyone you know but you. There’s a scar on his arm that no one else who hasn’t already been told how it got there can ever know about, and he’s sick of it, and it’s not fair. He hates Stewy for a moment because Stewy’s right.

“I wanted to do the right thing, Stewy, for once in my fucking life.”

Stewy laughs again, more briefly, and the predator flash of his eyes in the neon of the motel sign is a torture all its own.

‘There is no right and wrong, Ken. How the fuck do you not know that yet? Not for people like you. Like us. There’s shit you get caught doing and there’s shit you don’t.”

“You don’t know what you’re talking about. You really, really fucking don’t,” says Ken, and fuck, there it is. The road less travelled, that only he has ever driven on. The path he’s down where Stewy can’t follow. That place beyond Stewy Hosseini where he never thought he could go.

“You’re not telling me something, and when I find out what that is, and I will find out what it is, Kendall, don’t you think I won’t, so I am warning you that when I do find out I am going to be righteously fucking pissed,” says Stewy, and if Kendall thought those were a predator’s eyes before—

“Yeah, you will,” says Kendall, because he knows exactly how perceptive Stewy is. Exactly how weak he is. Exactly, precisely what both of them are.

And treat this night like it’ll happen again by postcardmystery. 8k words. Kendall x Stewy. Post s2. (CW: internalised homophobia, some homophobic language)

I tried to pick a shorter excerpt, but I literally couldn’t, this fic is so. good. The voices are pitch perfect, and it’s got this incredible build to it overall that goes back and forth between time and point of views and just rips your heart out. The premise itself is pretty simple – after the press conference at the end of 2.10, Kendall calls Stewy, and they drive through rural America while Kendall has a breakdown, and it’s just - - unspeakably good. I love it so so so much, I have no words.

r/roysucks Connor’s gf just posted on Instagram (instagram.com) submitted two months ago by webbedscrum_2279 23 comments share save hide report

[–] DM_ME_SAMESMAIL 40 points two months ago I too like to escape to my yacht in the Mediterranean when my family and I are on trial for covering up rape and murder. permalink embed save report reply

AITA for accusing my father of multiple crimes on his own news station? By amleth 3k words. Gen fic. Post s2.

And now for something completely different – epistolary fic which is just reddit news threads of the Roy family drama. I love an epistolary fic and this is just totally charming, and made me laugh a lot out loud.

“You’re quiet,” she observes. “That’s a first.”

“Yeah, well, the Turks beat it out of me. Gave you a run for their money.” He waggles his eyebrows. “So what is this? Whips and chains? Are we doing the whole boat-sex thing? I heard Shiv and Tom are looking for a third —“

Gerri finds what she’s looking for: a black leather binder. She drops it on the bed and begins paging through it, and Roman cranes his neck enough to recognize that it’s just full of documents, not like, dick pics. “I’ve given some thought to what you proposed a few weeks ago, and I agree that we should make things official in some way,” she says, and he blinks.

“Uh,” he says. “Which — what part of it?”

“Take a look.”

Gerri closes the folio and hands it over. It’s deceptively heavy, and the print on these pages is way too fucking fine, he thinks, paging through it. “Is this some kind of, like, Fifty Shades of Roy sex contract? Because it’s not that I’m not into it, but I think there’s a strong argument for going paperless —”

“Strictly speaking, this isn’t legally binding,” Gerri says. “Just something I threw together with regard to our business arrangement going forward. But with no respect to the family — the past few weeks have really illustrated that no one should take anyone at their word right now. Give me a little more than your word.”

Evacuation strategies for a yacht on fire by devourthemoon. 11k words. Gerri x Roman. Post s2. Explicit.

After the events of s2, Roman and Gerri fake being married as a professional alliance, only, y’know, maybe it’s not so fake. This fic is just so, so much fun, and messy in the best possible way. The author nails all the character voices, and the sex scenes are just the right amount of hot and ridiculous, and I just love it all a lot too.

Kendall estimates it will take an hour for the first articles to go up. Some rapid-fire blog without oversight—the New York Post, maybe, or wherever those Vaulter hippies have skulked off to—will slap a catchy headline on it and report his words verbatim. Give or take a gif of his face when he switches to script number two. New York Times, Washington Post, AP, those fuckers take longer. They like to bleed the story like Middle Ages plague doctors for its marrow, fact-check and add context and analysis and as many backlinks as their servers can handle. Still, a couple of hours, and his face will be plastered on every major news outlet. His voice will play over the nightly talk shows. He’ll trend on Twitter. A few more days, and he’ll be the star of analysis segments, podcasts, weekly briefings. Maybe, fuck it, maybe he’ll trend on Twitter again.

It’s been years since Kendall read Shakespeare. But that shit sticks with you, gets under your skin and emerges when you least expect it, like eczema or Keynesian economics. He knows how the media will spin this. Kendall Roy Attacks CEO Logan for Years of Corruption. Prodigal Son Disrupts Family Legacy to Restore Credibility. That’s how Hamlet ends, right? And Macbeth, Lear, Othello, Romeo and Juliet, even Titus fucking Andronicus. The spilled blood sinks into the ground, the seedlings sprout forth from the soil, and a new castle is built on the bones. Order out of chaos, or at least close enough an approximation that the tabloids will buy it.

Legacy for profit by owlinaminor Post-2.10. Kendall Roy. Kendall through Shakespeare analogies – just - - ooooof. It's a beautiful, lyrical character study that weaves through Roy family history and teases at a future none of them are even sure they want. It's gorgeous writing.

For the next few days Shiv would have to keep the pressure on Kira like an open wound because there were other women, victims that Nate’s people were going to find one by one as soon as that phone call disconnected. Mo was her father’s friend, good friend, for a long, long time. Nate and Gil, Sandy and Stewy, too many sharks in the water and the share price probably dipped to a new low but she would never check a stock ticker. Her husband’s nerves fraying at the edges on national television. She had promised a woman she’d never met before that she would kill roughly one third of the top male executives of her family’s company. Her company.

The last look Rhea gave her before she shut the car door was concern close to fear—no longer the same woman who heard their pitch in the safe room, who laughed with her at Argestes. Rhea had only looked into the abyss; she got cold feet and she didn’t even know what it’s like to grow up in it.

Her family’s company is hers, will be hers. Even from a whale fall, new life would spring.

Feed his flesh to wayward daughters by reogulus. 2k words. Shiv Roy. Set during 2.09.

This entire fic is set around Shiv bribing Kira not to testify, and god, it is so good. It’s bleak and rough, and really hones in on the complex ground Shiv walks as a character. It's another brilliant study of what it takes to be a Roy, and the way they make the awful choices in order to fulfill this legacy that they don't even know they want.

Kendall sets down his fork. “So. Tell me. Is it everything you wanted? Is it what you thought it would be?”

Roman stills. He never does that. He’s constantly a menace in motion, slouching and fidgeting, worse even than Kendall at his amphetamine peak. “What? The view from the tippy-tippy-top?”

“His regard.” Kendall wipes his mouth with the edge of the white cloth napkin. It comes away pink from the steak. “Dad. He’s all yours now.”

Roman still hasn’t moved. Finally, he lurches, like corroded machinery come uncertainly to life. “Yeah, man. It’s fucking tight as hell. I love every beautiful daddy and me moment I was a good enough little boy to earn.” He snorts. “Fuck you.” His face goes curiously slack then, like something Kendall’s own face would do. An intermission in the performance, an energy cut. Something genuine finding its way to the surface. “Why don’t you tell me. When you got everything you wanted, how the fuck did that make you feel?”

Nauseous, is the first word that springs to mind. Sick. Scared. I’ve never had everything I wanted, there’s that. I’ve never once had a single fucking thing I wanted. There’s that, too.

Interim leadership by arbitrarily 2k words. Roman + Kendall. Post s2.

I love Roman and Kendall scenes generally, but this one which features Kendall and Roman meeting for the first time a few months after the press conference in 2.10 is just a bit magic. The push pull dynamic that's just inherent to them mixed with the genuine affection and brotherly love is really special, and arbitrarily embraces both in equal measure. It's a great little fic.

There are lots more of course, and I'd also recommend checking out other works by these authors, but I hope this is a good place to start! :-)

#hbo succession #succession fic #fic recs #welcome to my ama #kendall x stewy #gerri x roman

[2manyfandoms2count]

I love you (not) - Chapter 9

Tackling two prompts of @marichatmay again ('take a break' and 'cuddles'), it's probably not going to help much with catching up on the schedule but it's okay.

We are now a little over a third into the story, and... Are those real feelings that are emerging in the fake relationship? Perhaps... Still quite a bit of oblivious dumbassery to go, though, else it wouldn't be fun :D Hope you enjoy!

First | Previous | AO3 | Next

---

Chapter 9: In which Marinette gets mixed up in her checklist

"I'm sure I'm missing something…" Marinette mumbled as she read through her extensive to-do list of the day, tapping her pencil against her chin.

School

HomeworkFrench: Dissertation Maths: exercises 5,9,12 p.132 Science: Lab report English: Act III, scene 1 Hamlet History: revision test Extra last minute?

ALYA’S BIRTHDAY PREP: coordinate surprise party + finish gift

Kitty section: costume prototype for single 2

Art project: finish dress

Picnic Alya, Nino, Adrien

“I swear there was a seventh thing I needed to do today.” She squinted, scanning her surroundings in the hopes that it would jog her memory. There was so much going on these days that things kept piling up, but today she was determined to catch up with everything. She didn’t have much of a choice, anyway; most of the items on her list had a set deadline, and it was coming at her faster than she liked. She preferred not to get hit by the truck head on.

Her eyes landed on Chat Noir’s blanket, which she’d draped over the back of her chaise after he’d left on the night of his birthday, over a week before.

“Right! Chat Noir - Ask Chat Noir to take a break, ” she mumbled, scribbling down the last point, before setting the list down next to her computer keyboard. She'd abandoned the idea of full on breaking up with him given how their relationship was dragging on; a break seemed softer to ask for first, and it could easily be followed up by a breakup.

It was going to be a long day, but with a bit of rigour, and thanks to her early start, it would all work out.

“Don’t you think that’s a bit much for one day, Marinette?” Tikki peeked over her shoulder, letting out a small yawn.

“Well, maybe for a normal girl, but not for Ladybug.” She yawned reflexively, and her kwami shot her a pointed look. “I know, I know. I have to power through, though - it’s not my fault I got sidetracked so much these past few days. I honestly wonder what Hawkmoth does as a living, the man has too much time on his hands.”

“Are you sure you don’t want to get a tiny bit more sleep? To help with your productivity?” Her Kwami asked, looking slightly worriedly at the bags beneath her eyes.

“It’s 6am, Tikki, not the crack of dawn. I’ll have to be up by the time I fall back asleep again.” She waved her concern away. “I’ll just let the stress adrenaline work its magic. It’s going to be fine, don’t worry.” Tikki pouted doubtfully. “Now, would you mind reading me the Hamlet scene while I finish sewing up my project?”

---

This is a disaster , Marinette thought as the formulae she read on the page danced in front of her eyes. It didn’t matter how many times she went through them, they just didn’t compute.

She looked at the time: 6:45pm. She had fifteen minutes before her picnic, and she had to finish her maths homework, her dissertation, her History revision, the Kitty section prototype, and send out individual messages to remind everybody of their tasks for Alya’s birthday so it wasn’t too short notice for the weekend.

She tried to ignore the palpitations of her heart; maybe she’d overdone it on the coffee during the day. It wasn’t like she had a choice, anyway.

She’d discovered as she'd walked into class that she had a class president meeting with Mr. Damocles over her lunch break, which had been when she’d planned to squeeze in some of her work.

Then, while she’d been packing her bag at the end of her classes, ready to leave, an Akuma had emerged. It had been a tricky one, too; Chat and her had spent about an hour chasing it around Paris before finally catching it.

Adding to that the fact that her 6am rising had left her exhausted by the second period of the day, she really hadn’t been the most efficient anyway.

“I think you know what you need to do, Marinette,” Tikki said apologetically, as if reading her mind, floating up to her with her phone in her flippers. Alya’s number was already dialled on the screen.

Marinette sighed and took the phone from her, pressing the green button before lodging it between her shoulder and her ear.

“Hey girl!” Alya’s excited voice sounded on the other end of the line. “Nearly ready to go? We really picked the right night for a picnic; the weather’s super nice.”

“About that…” Marinette winced. “I’m so sorry, I won’t be able to make it.”

“You’re kidding, right? You ’re passing up on an opportunity to have a picnic with Adrien? Are you ill?” Alya said after a small beat.

“Trust me, I surprised myself.” Marinette pinched the bridge of her nose. “I just feel like I have a bit too much on my plate right now, and I wouldn’t be great company if I came. I hope we can find another time to go out again, but I think studying and going to bed early is what’s best.”

“It’s true that you’ve seemed kind of out of it lately,” Alya said compassionately. “Don’t worry about us, take care of yourself! I promise I’ll take loads of pictures, it’ll be like you were here. And I’ll bully Mr Agreste with you after our exams to get Adrien out again if needed.”

“Thanks for understanding Alya.” Marinette smiled.

“That’s what best friends are for!” She could almost see her wink. “Now, get back to work and then go to bed! We’ll see you tomorrow.”

There was a bit of chatter on the line before Alya hung up, as she met up with Adrien and Nino.

“Wait, Marinette isn’t coming?” Adrien’s almost disappointed voice was the last thing Marinette heard before the communication ceased.

She found herself quite immune to it. She decided not to dwell on it.

---

Adrien enjoyed the picnic very much, as he did any opportunity to hang out with his friends, but his eyes kept drifting to the empty space next to him, where Marinette would undoubtedly have been sitting, were she with them. He hoped she was alright; Alya had told him that the reason why she wasn’t coming was because she was studying, which was fair considering the amount of homework they’d been given in the past few weeks, but he did feel like she was overworking herself a bit.

He didn’t doubt her ability to take on all of her projects, but he wished she’d slow down a little, for the sake of her health. What would he do if his everyday Ladybug burned out?

He wondered what Alya’s curious gaze meant when he voiced his thoughts about the situation. He panicked a little when she said that maybe a boyfriend could help get her mind off of work - firstly, because Marinette technically had a boyfriend, which he was surprised Alya of all people didn’t know. He thought the two girls told each other everything. Was Marinette keeping their relationship a secret on purpose? Was she confused about their status, which, he had to admit, he wasn't sure was himself? Was she (the thought scared him) ashamed of him?

Secondly, he found his heart squeeze peculiarly at the thought of Marinette having a boyfriend other than him . He decided not to dwell on it.

He couldn’t help but take the long way home, passing at the bottom of her building, after the picnic, though. And, seeing that there was still light in her room at past 11pm, he decided that he should probably do something; for her well being, not as an excuse to see her, of course.

He transformed in a back alley, then extended his baton so he could peek through the window closest to her desk. Maybe she was already asleep, but had forgotten to turn her lights off.

The sight of her bent over a sheet of paper, hands buried in her hair as if ready to tear it out of her scalp made him knock.

Marinette jumped at the unexpected sound, and looked up, looking quite haggard. Her features softened when her eyes met his.

There was a hint of a smile on her lips as she opened the window. “Hey Chat, what are you doing here?” She yawned.

“Bedtime patrol, just making sure that citizens are going to bed at a reasonable time,” he smiled, stifling his own yawn.

“That’s nice of you. But, does that mean that I’m in trouble?” she drawled out, leaning forward to boop him on the nose. Her exhaustion was clouding her better judgement.

“Depends, are you nearly done with your studying?”

“When will I ever be nearly done,” she snorted, turning around to take a look at her checklist.

Her feet caught in the straps of her backpack and she wobbled forward, but Chat pounced inside in time to catch her before she could tumble down.

“Woah there, little lady… Your spatial awareness is worse than ever,” he said fondly as she clutched his arms. “Sorry, but I’m not letting you get back to work.”

“But I need to finish something…” Marinette protested.

“What you really need is to take a break.”

Marinette paused to think about it. Taking a break with Chat Noir… she seemed to recall that was on the list.

“Okay.” She shrugged.

“Good. Come here, then.” Chat Noir sighed in relief at her lack of resistance and started to lead her towards her bed, but before he’d let out his whole breath, Marinette was already trying to make her way back to her desk.

“Wait, I actually still have so much to do…” She reached for her flashcards, which tumbled at their feet.

“Okay, tell you what.” He kept hold of one of her hands as he picked the flashcards up to avoid her escaping. “Why don’t you take a small nap, and I’ll stay here and keep an eye on the time. I’ll wake you up in an hour, and when I leave I’ll turn a blind eye on your choice between going to bed and getting back to work.” She looked at her doubtfully, and glanced at the cards in his hands. He took a closer look at them; their content was that of the test they had the next day. “I can read you these while you fall asleep so it’s not too much of a waste of time, if you want.” He waved them in front of her face, hoping she’d say yes. He really needed the revision, too.

Marinette nodded and he led her to her chaise, helping her lie down on it. He started draping his blanket over her and was about to go and sit in her desk chair when she grabbed his free hand and pulled on it, a lot more strongly than he would have expected from her, especially in her exhausted state.

“Take a break with me.” She shifted to her left and patted the newly formed space. “Please?”

Her pleading bluebell eyes were difficult to deny.

“Okay,” he said as he sat next to her. Marinette snuggled up against him and sighed contently.

Chat’s heart skipped a beat. He wrapped a tentative arm around her and cleared his throat before starting to read. “The Hundred Years’ war actually lasted one hundred and sixteen years, from 1337 to 1453…”

His own tiredness hit him like a truck after a couple of pages, when he heard her soothing, gentle snoring. He lowered the flashcards to watch her sleep. She looked so tranquil, a peaceful smile drawn on her lips as her body slowly followed her breathing.

He felt his eyes close, and soon the both of them were breathing in sync, holding on to each other.

Needless to say, Chat left a little later than anticipated the next morning, woken up by the rising sun. Neither of them complained, though; both had had one of the most restful nights in a while, and both aced their History test.

Each wondered if they weren’t onto something in terms of revision technique.

Adrien almost gloated to Alya about how maybe Marinette didn’t have a boyfriend who took her mind off of work, but she had one who took care of her while she studied. Almost.

#marichatmay2021 #marichatmay #miraculous ladybug #the miraculous tales of ladybug and cat noir #ml #miraculous fanfiction #miraculous fanfic #ml ship month #marichat #marinette dupain-cheng #chat noir #day 11: take a break #day 12: cuddles #elle writes #love you (not)

[twdmusicboxmystery]

Deer Theory - Tractor Add On

Okay, I’ve wanted to post this for a while and am just now getting around to it. This is actually something I owe to @frangipanilove​ for figuring out. She has a whole theory about the Finlandia song and flags and tons of stuff. But I’m just taking one of the things she said that REALLY gave me a lightbulb moment concerning the deer symbol.

First off, let’s recap the deer theme. I’ve always believed that dead deer = live person, and live deer = dead person. The deer carcass Daryl saw in Them represented that Beth lived. We can trace this pattern back to Carl in S2. The deer died, and while it was touch and go for a while, Carl lived.

On the flip side, in 4x14, The Grove, Mica and Lizzie both died, but the deer lived. We specifically see Carol staring at the live deer after she kills Lizzie. This is the deer that she tried to get Mica to shoot, but Mica refused. The idea, I think, is that if Carol could have toughened Mica up enough to shoot the deer, maybe she could have defended herself against Lizzie. But Mica was too sweet and innocent, and therefore had no chance against a homicidal maniac, right?

Some things I’ve struggled with about the deer theory: Carl’s death. There is what looks like a deer underneath him when he gets bitten. The deer is dead, which means Carl SHOULD live, but obviously he didn’t. So, I didn’t so much doubt my theory so much as struggle with how to interpret that particular instance. I figured there was an explanation, but I didn’t know what it was.

Well, @frangipanilove has finally given one to me. In order to explain, I need to briefly switch gears for a minute.

I want you to remember 7x05, Go Getters. In this episode, the Saviors push a green gremlin into Hilltop with music blaring from it. They do it so walkers will go in and get the Hilltoppers. Maggie and Sasha jump into action, and Maggie ultimately crushes the Gremlin with a huge, green and yellow tractor.

So, we automatically saw tons of Beth symbols here. Green gremlin. Which is pretty much a music box on wheels. There was even a metal flip-off finger on it. And for various reasons, it could represent Beth (the music box) being left or trapped in a car.

The thing I struggled with was how to interpret Maggie crushing it with the tractor. If the Gremlin represents Beth, it’s almost like Maggie killed Beth. And I truly don’t think that’s what the writers are going for here. But, much like the deer at Carl’s death, I simply struggled with how to interpret it.

Well, @frangipanilove pointed out that this tractor is probably meant to be a John Deere tractor. No, we don’t see that logo anywhere, but that may be because of legal/copyright issues. If TWD didn’t have permission to use the logo, they’d get sued for doing so. But the colors are right and many TWD sites list it as a John Deere tractor because that’s so obviously what it’s meant to be.

So…tractor = deer. This tractor is a representation of the deer symbol, and the two are probably synonymous.

Why is this important? Well, Maggie used the tractor (deer) to eliminate the threat. She crushed the Gremlin. And what was the threat? Walkers. The music was drawing them.

This was my massive lightbulb moment. Because it put me in mind of 7x12, where Rick falls from the carnival ride, Michonne assumes he’s dead, but he escapes. Why/how did he escape?

Because of the deer.

The walkers munched on the deer, which allowed Rick to escape. 

In fact, as I write this, it makes me think of the Glenn/Nicholas situation in S6. Both Glenn and Nicholas fell into the walker horde, but the walkers munched on Nicholas, allowing Glenn to escape. 

And heaven knows there were RIDICULOUS amounts of Beth symbolism around Glenn. It was a template for what happened to her. So was Rick’s in 7x12.

Another example of this, that doesn’t actually involve a deer, but rather a horse, was with Buttons in 5b. The walkers ate Buttons, rather than focusing on Daryl and Aaron.

Now, I think the whole Buttons situation can be interpreted on about twelve different levels. This is only one of them. But it does make me wonder if horse and deer are somewhat synonymous. 

We’ve seen horses show up to save people multiple times. In 9x05, the white horse allowed Rick to lead the horde away from the communities, saving his people, much like Maggie used the tractor to save Hilltop in 7x05. Morgan found a white horse in 6x16 and used it to save Carol’s life after she was shot by taking her to Hilltop.

But I digress.

So, what does this whole deer = how people are saved from walkers thing mean? Where Beth is concerned, I think it means there will be a deer involved somewhere that allowed her to live. Wherever they left her (probably in a car), how she got away probably has to do with a deer, which distracted the walkers, and allowed her to escape. Just like with Rick.

We’ve always wondered how, exactly, Beth would escape the horde. If she was in the car/trunk and got out, but was surrounded by walkers, how does she get away? 

And it doesn’t really matter. That question doesn’t keep me awake at night or anything. Because it’s whatever the writers came up with, right? Maybe someone saved her. Maybe she climbed a tree. Crawled under the car (like in the Daryl/Aaron/wolf trap situation). 

But I’ll bet there’s a deer involved somewhere, such that the walkers turned to eat the deer, allowing her to escape. That would line up with Rick in 7x12, and also with situation in 7x05 with tractor = deer being the thing that knocked out the danger (coming walkers) and saved everyone.

And THAT means that the deer Daryl saw in 5x12 has much deeper symbolic value than we ever realized. He saw a dead guy near the carcass of the deer, with what looks like bullet wounds to the forehead. This guy is dead, and the deer is dead, but that means that somewhere else in Atlanta, a deer was actually saving Beth.

How about Carl’s death? What does this mean for him?

Well, the deer was already dead when he and Siddiq arrived on the scene. If it had been alive, it probably would have distracted the walkers and Carl wouldn’t have died. He and Siddiq probably wouldn’t have even needed to fight the walkers at all. The walkers would have been occupied and they could have just walked right past them (much like Aaron and Daryl did in 5b when the walkers turned on Buttons).

The idea is, the thing that would have saved Carl was already dead. (A very Shakespearean/Hamlet theme: the only thing that could have saved you already being long-dead, which means you have no hope of triumphing over the situation.)

Okay, I know this is very thematic and cerebral. Sorry about that. But this is the first thing I’ve found that makes the deer at Carl’s death make TOTAL sense to me.

It doesn’t really change any of our Beth/TD theories except to say that I think a deer will be involved somewhere in Beth’s escape. 

Of course, it’s always possible that for her, the deer could be symbolic rather than literal, but I kind of doubt it. It was literal for Rick and Carl and in most of these other situations. Not so much in Go Getters, but if the tractor and the deer (and possibly the horse) are all synonymous symbols anyway, then it hardly matters. Thoughts?

#beth greene #beth greene lives #beth is alive #beth is coming #td theory #td theories #team delusional #team defiance #beth is almost here #bethyl

[realisaonum]

book meme

thank you, jen @det395​ !! i feel like this meme got away from me a bit, but no shame! i love talking about books and writing so onward ~under the cut~

1- how many books are too many books in a series? 

mhmmmmm i guess it depends on the objective of the series, right? is the plan to have x number of books in the series and if so, when we finally get to the end will it be satisfying considering all the books we’ve read leading up to it? OR is the objective of the premise / characters just to exist doing whatever? both can be done well. i would say a lot rides on how much i trust the author.

2- what do you think about cliffhangers?

so this is meant for cliffhangers in a series like between books? i don’t really care if there’s a cliffhanger as long as i have the next book sitting right next to me. otherwise uh, only if the wait between books is tolerable, because at that point you need to know that the author can clear this mess up, right? there’s this other thing, like you know how if the entire series was already written, then they might release the books a month apart or a quarter apart - that could be alright too. but years in between? not especially a fan. is anyone a fan?

3- hardback or paperback?

jen, you and me are complete opposites here. paperbacks stress me out. i will go out of my way to buy a used hardcover if given the choice. of course, there are some publications i don’t mind in paperback —thinking poetry and super indie books that don’t have a hardcover release OR books where the spines are thin enough they won’t break and i won’t be holding them long enough for them to wear. hardcovers are sturdy and i don’t have to worry i’ll accidentally bend the cover in some damaging way. I am invested in keeping my books nice to the point that i create covers for my books out of kraft paper or brown grocery bags while i am reading them. this is something i started when i was in college and didn’t want these books i was hoping to probably resell get thrashed coming in and out of my bag for all these classes. My home library is probs more half and half paperback/hardcover but if given a choice usually it’s hardcover.

4- least favourite book?

i think it’s good to at least attempt to meet a book on its level. there are lots of books i didn’t like, but i wasn’t meeting them on their level and i know that so we’re ignoring those. i do however have a shelf on my goodreads dedicated to books that i have beef with so i’ll just go off on two of them.....

tana french’s the likeness for being plagiaristic shit. it is essentially poorly concealed alternate universe OC insert fic of the secret history. you’ve got french’s dublin murder squad folks and then this group they are investigating who bear a STRIKING resemblance to the greek students in tsh 🤔. this would be one thing. it is pretty well acknowledged that nothing is original and there are enough changes to The Likeness that MAYBE i could let it slide if not for this other thing: french’s book, the likeness, has lines that are just basically reworded quotes from the secret history and french positions these lines so they are said by the counterpart (essentially same!) character that gave them original life in tsh. i cannot stress this enough: you can HEAR how similar the sentences are and their core intent is always the same. it’s thinly veiled theft! it astounds me that French hasn’t been sued frankly. it is one thing to want to capture some of the genius that tartt’s debut novel holds, but it is completely lazy and disgusting theft to go about it in the way French did with this book. and YES the secret history was published before french’s book. if i could stomach how fucking goddamn boring the likeness was to read it a second time and cite every one of these offenses i would, but that’s yet a third strike against it—it’s too boring to be worth it. 

T. Kingfisher’s second book of the Clocktuar War duology : The Wonder Engine. this is a book that i feel violated the contract between writer and reader. the first book feels almost like a YA book. the stakes while described as very high are treated, as actions unfold, as very low. nothing truly irreparable happens until the climax of the second book and the fallout of that action is so off-tone of everything that came before i felt deeply betrayed. no, like, completely betrayed as in it ruined the rest of my afternoon, i am still viscerally angry eight months later, and i will never trust this author again. sure, maybe none of those actions that led to the climax were out-of-character, but there was nothing NOTHING in the proceeding action that even came close to that level of consequence. it’s a pity because right up till that point i was having a really good time. the entire vibe of the rising action to the climax of book one all the way through the rising action of book two was just a quippy fun version of roadtrip/quest - it felt like a comfort read. the abrupt tone shift had all the subtlety of dropping a graphically, brutal murder into Blue’s Clues. you don’t do that - this is a basic tenet of a writer / reader relationship. i’m not touching this bitch’s shit again.

5- Love Triangle, yes or no?

not so much. i like jen before me will scream ‘just be poly.’ love triangles that lead into poly relationships? yes, awesome will be glad i read. but i am at a stage in my life where your standard will-they-won’t-they-love-triangle is just fucking pointlessly frustrating to me. an example: i read a Nic Stone’s book Odd One Out a couple years ago and something about the synopsis or the hype made me think that it would resolve the love triangle that way, so when that did not happen i was incredibly frustrated and immediately wanted to resell the book. it’s the potential of the thing. stone’s book could have been the perfect vehicle for opening up the concept of polyamory to a ya audience but instead just really squandered that potential with weak floundering — in my opinion!

6- the most recent book you just couldn’t finish

uhhhhh i’ve got two and i’m not sure i’ve entirely given up quite yet buuuuuuuut 

fucking dune. i got really pissed off with this book. So just…setting aside the whole vaguing at a pedophilically inclined queer coded villain - it’s done so poorly, that it's almost funny? like it doesn’t (as of half way through) actually have any consequence on…anything at all and is tacked on like an afterthought to the end of his scenes. honestly it all could just be cut out entirely with no recourse to the larger story. So my actual beef with this book is the pacing is ATROCIOUS. like yo, not only do you expect me to give a shit about these Atreides cunts, when we just met them and we spend the same amount of time with them IF NOT MORE with the antagonist? but you also expect me to believe Paul was able to just convince the leader of the Arrakis people —the leader of an entire planet!!— with a single fucking sentence??? yeah, not so much. it was not set up for me to believe that Paul could do that! maybe if Kynes hadn’t died immediately after—or at least not died at that moment? baring the fact I thought he was by far the most interesting character, IF he had been convinced by Paul in that scene, it would have been great to see some actual work done around that - with a transfer or a liaise of power between Kynes and Paul and the Fremen. By not having any substantive scene that does it - it begs the question of what the fuck was the point of the character in the first place? unplumbed potential!!! over all there seem to be some key scenes missing to get the reader to where the narrative expects us to be? but the choices made of the characters we spend time with and the moments we see with them, the benefit to the larger story…is not always there. hey herbert, these words you have written aren’t doing what you want them to?? i feel like i should finish it but i reaaaaallly don’t want to :) the only thing i can say is it looks like from the trailer, villeneueve is giving space to these moments so that the viewer can foster a genuine connection with the characters? radical concept.

our lady of perpetual hunger - i started this one optimistically bc i like chef memoirs, but i am at the point where she has just given birth to her son and honestly DON’T CARE. i still haven’t officially given up on it yet since i actually fucking bought it like a dope. i certainly would not have if i knew how much NOT about working the line this was gonna be

7- book you are currently reading

Aside from the failures mentioned above, I am working on the second book in B. Catling’s Vorrh trilogy, The Erstwhile. Also very close to finally finishing Iain Sinclair’s The Last London - there’s a review of his work from the LA Times that goes “One of Sinclair’s greatest skills has always been his ability to take diverse if not chaotic source material and refashion it in a way that sometimes seems downright alchemical” which captures some of the wonder I experience when reading his work. His style and how he creates atmosphere and setting is just unique and astounding.

8- last book you recommended to someone

The Secret History by Donna Tartt. Before that I told my brother to read Eat a Peach, as we both love Anthony Bourdain and David Chang talks about him a bit here, plus it’s just a fucking great book. any book that gives insight into Chang’s methodology and paradigm is worth a shot.

9- oldest book you read

I think it might have to be Shakespeare’s Twelfth Night (which apparently according to wiki premiered on the stage a whole four months before Hamlet so that’s what we’re going with) and if plays don’t count, I don’t care. I think they count and that’s what we’re going with.

10- the most recent book you read ?

Given the previous question, the most recently published book, right? It’s gotta be the one I just finished: The First Collection of Criticism by a Living Female Rock Critic - Revised and Expanded edt., which like just came out this summer. I watched Jessica Hopper’s promo zoom, curtesy of my local indie bookstore, and went ahead and bought it. This was a great decision! It was just what I needed to read these last couple of weeks. i love there’s lots of short pieces that made the read quick and the fact that it’s non-fiction so there was no pressure of a plot or the emotional weight of character investment when I had a lot of big stressors dragging me down irl -it was such a relief. Hopper’s criticism is fun to read and there’s some real art in her appreciation of music here.

11- favourite author?

These are the top in a kind of order but not really: Donna Tartt, Jeff VanderMeer, Megan Whalen Turner, Flannery O’Conner, Chuck Palahniuk, Anthony Bourdain

Other faves very much worth mentioning: Emily O’Neill, Richard Siken, Brandon Sanderson, Warren Ellis, Nathan Englander, Stephen King, Eddie Huang, Carl Hiaassen, Anne Carson, and Iain Sinclair.

12- buying books or borrowing books?

Depends on if my library has it, of course! I nearly always see if my library has a copy first if i have never read it or the author before. If i’ve read the book before or trust the author, I’ll buy it. Like I’ll straight out buy new stuff from Jeff VanderMeer even though with him it’s either this-hits-exactly-and-is-my-new-fave or i-really-disliked-this-but-admire-the-boundaries-you’re-pushing-my-dude - so it’s always a gamble but a worthy one.

12- a book you dislike that everyone else seems to love

a little life (just bc it's torture porn elevated to art doesn’t negate the fact that it’s torture porn. Yanagihara’s project here is repugnant and the fact that this book is lauded as moving lgbt fiction makes my skin crawl)

sharp objects (good writing, compelling story, BUT typographical scarification doesn't work like that - i am not going to get into it but i know from first hand experience how Flynn described it is not accurate)

nesbø’s the snowman (what kinda dumbass detective would think THAT when a woman finds her missing father’s corpse? absolute idiocy - so obviously reverse engineered with that end in mind)

the raven cycle (fuck ronan lynch to start and then fuck him to end as well - there’s some other stuff but mostly he’s a total CUNT and if i don’t say that once a day i have probably died)

14 - bookmarks or dogears?

Bookmarks and sticky notes. Then I can place it pointing directly to the paragraph I last stopped on.

15- The book you can always reread?

This is my question because I reread all the time. ALL THE TIME. Books I reread often: The Secret History, Medium Raw (especially chapter 17 The Fury), Crooked Kingdom, The Violent Bear It Away, and The Goldfinch. Every year like clockwork (since it came out apparently) I will reread Stephen King’s The Outsider.

Other books I feel the urge to reread: VanderMeer’s Acceptance, Englander’s Dinner at the Center of the Earth, Frazier’s Nightwoods, Fresh Off the Boat, the Mr. Mercedes trilogy, the Peter Grant Series (which is queued up for another go here soon I think), any of the stories from A Good Man is Hard to Find, Sanderson’s Wax and Wayne Mistborn books, simon vs the homosapiens’ agenda, and there are two of Alan Morinis’ books on Mussar that I am technically always revisiting—when i need a reminder, i’ll jump around and read specific sections to get centered again.

16- can you read while listening to music?

Yes, but only ambient or near ambient (only usually one track on repeat) or a soundtrack I am extremely familiar with. No new music. I do usually need some audio stimulation or my mind will wander terribly.

17- one POV or multi POV?

Multi pov can certainly be done well (looking at the soc duaology and VanderMeer’s Acceptance) but working a multi-pov means there are more plates spinning, it’s more of a challenge, and some authors pull it off better than others.

18- do you read book in one sitting or in multiple days?

I don’t really do this anymore. that might have something to do with me picking up thicker books? but also i have a full time job now and let’s be real the book has to be hella good if i don’t want to put it down. the last book i attempted to shotgun was the final installment of my favorite series and it still took me two days so....i can get through a lot of books but none of them are ever in one sitting anymore.

19- who to tag:

@sybilius​ @mouth-rainboy​ @iwonderifthatisart​ @phereinnike​ @magnificentmoose​ @wambsgangs​ @moriarteaparty​ and anyone else if you feel so inclined!

Bonus Question: What’s on your to-read shelf? 

As for me, I am excited about one i just picked up, Danforth’s Plain Bad Heroines, which i might start tomorrow and I will be taking Paul Madonna’s Come to Light on my trip to see my brother this coming weekend. 

#this took a while but was fun #thanks again jen #very excited to read other folks responses #also like a general content warning? i mention/refer to things in the books but nothing's unpacked here #still to be cautious reference to mature themes #the narrator feeling posthumous

[exciting]

As requested, books / series I read in 2020 in the order I read them, with a few brief thoughts. (This took me a hot second because there are a few and also I moved cities) Should I keep a consistent goodreads? Yes I should but I didn’t think of that at the time, so bone apple teeth & sorry if I offend you abt your faves x

P.S. I can’t figure out how to do a read more on mobile so long post ahead!

A Court of Thorns and Roses by Sarah J Maas - This is one of the most vivid published fantasy books I have ever read... I read it twice in rapid succession. The fandom POPS off. I must say I have issues with certain aspects e.g. fae lore completely ignored à la Twilight, all love interests 500+ years old and technically a different species, etc (I’m not going to deconstruct the entire series here but just know that I could... Nesta deserves better)

Cruel Prince by Holly Black - This fucking slaps, HB clearly has done her research, the lore is near immaculate, and it explores the Fae in such a unique way, tying it to the modern world subtly and seamlessly. My only qualm was that the books felt quite short; truly wish there had been more content.

Throne of Glass by Sarah J Maas (6/7) - So basically I read this in one single, hyperfixated fit which meant I literally locked myself in my room for three days straight and read all six books back to back in a row from morning to the wee hours. Which is not to say it was spectacular; although it was a VERY rich world, sometimes it was too much... this felt like 6 stories in one. Ik she was young when she wrote this but it is my humble opinion that SJM needs a better editor & I personally think Rowan is a grade A asshole / straight up abusive (& personally think the ACOTAR Tamlin plot was born from that?). It’s good but not as good as ACOTAR. Skip-read the last book. 

Grishaverse (Shadow and Bone) by Leigh Bardugo (3) - This is essential to read before SOC but was very much simply a YA fantasy book, although the world was cool and the way the love plot played out was, imo, a subtle middle finger to the fantasy trope. Felt very much aimed at younger readers though? Really liked the sandwhich structure of the Proluge and Epilogue, especially in #2

Six of Crows series by Leigh Bardugo (2) - INCREDIBLE continuation of Grishaverse, better than the original series by a mile. It has the range, the diversity, the representation (the male lead is a disabled asexual and still the most cunning of the entire cast of characters), the plot is phenomenal, and it manages such a well rounded plot in only two books which means nothing is stretched out or squeezed in more than need be. Deserves all the praise it gets.

King of Scars series by Leigh Bardugo (0.5/1) - Personally I don’t consider this book canon, and while it’s nice to see the rest of Nina’s journey & the world again & everyone else, I don't like it. I will, however, be reading book 2 when it comes out, so shame on me, I suppose.

Ninth House by Leigh Bardugo (1/1) - this was incredibly cool although it went off in a completely different direction than I thought it would based off the first few chapters? One of my favourite YA-author-debuts-New-Adult novels in 2020 though!

Crescent City by Sarah J Maas (1/1) - This was supposed to be SJM/s New Adult debut, although personally I would put her other series in New Adult, and I can’t say a remarkable amount was different with this except they said “fuck” and “ass” a lot. WHY is the romantic interest 500 years old AGAIN. I just... don’t... I just don’t think it was necessary... the world was cool though, and the last half of the book was riveting, but the beginning was quite slow and I thought the sword thing was predictable. I am interested to see where this goes though.

A Darker Shade of Magic by V.E. Schwab (3) - This world is so fucking cool... four Londons aka parallel universes & the one in ‘our’ world is set in industrial era London. Magic, girls dressing up as boys, thieves, pirates, royalty... it all just slaps. Schwab is an incredible writer & I was completely immersed.

Midnight Sun by SMeyer - I didn’t think anything could possibly detract even further from the Twilight story but I was sorely mistaken... seeing the stalking from Edward’s POV - and it was worse than depicted in Twilight, for the record - completely obliterated any sort of romance the first half of the original book may have portrayed. I still hold the opinion that the entire series would have been better if some kind of vampire lore had been abided by, if only to see all of the villains thwarted by someone dropping a bag of rice on the ground, forcing them to have to count them all.

An ember in the Ash by Sabaa Tahir  (3/4) - This was just a very stereotypical ya fantasy series, emphasis on the YOUNG... it wasn’t anything to write home about but I remember quite enjoying it at the time. 

The Power by Naomi Alderman - This book is FUCKING incredible and EXCEPTIONALLY thought provoking... essentially women alone develop a power of electric shock etc. and then take over the world from men, and it explores feminism and the balance between equality & tipping the scales in the other direction. Written by a friend of M.Atwood in a similar tone to handmaids tale, I would say? Content warning; there are some exceptionally graphic scenes in the latter half of the novel. 

Hamlet by Wllm Shksp - I can’t believe it took me this long to finally read it but Ophelia is my favourite name in the entire world & we love to see a woman go batshit (although she didn’t deserve that). 

Catherine House by Elisabeth Thomas - this was unsettling in the best sense of the word... it was a little slow & honestly more of a concept than a big reveal, but I couldn’t stop thinking about it after I finished it? A Secret History vibes but make it blurry like the memory of all those dystopian novels you read when you were young?

The Invisible Life of Addie La Rue by V.E. Schwab - This is without a doubt my book of the year, and probably the best book I read in 2020? I stayed up all night on a friend’s couch reading it, got a book hangover and reread the ending, and then thrust it upon my mother who doesn’t usually read but read this, and loved it just as much. HIGHLY recommend and you HAVE to read it, it’s beautiful and endearing and just plain wonderful.

Captive Prince by C.S. Pacat (3/3) - I went into this knowing it was going to be terrible, because I had received a blow by blow telling me as much; although I must say that it did learn a remarkable amount of new words, the books did get better as the series went on, and it did have a rather charming ending? BIG content warning for almost everything.

Sapiens by Yuval Harari - mind-expanding & must recommend for everyone, there is everything in this and I daresay everyone should posses this kind of knowledge? I listened to it as an audiobook (which I recommend because it’s rather hearty) but will be buying this in hardcopy & rereading it with annotations. 

Song of Achilles by Madeline Miller - Without a doubt, one of the most beautiful novels I have ever read, and certainly the most beautiful portrayal of the story of Achilles and the battle of Troy I have ever seen. Patroclus deserved the justice that was given to him in this book; indeed, all of the characters were written with justice and grace. Highly recommend.

Trials of Apollo by Rick Riordan (3/5) - Apollo is my favourite Greek God, and the sexiest greek god, and Rick Riordan’s writing slaps, as always. It did pain me to see Apollo, the sexy immortal, have to be forced back into a 16 year old’s body but everything else? Whimsical & wonderful, as expected. 

These Violent Delights by Chloe Gong - a retelling of Romeo and Juliette, except it’s set in Shanghai in the 1920′s, and the protagonists already have a history. Very well done, characters are incredibly diverse in race, sexual orientation, gender, and ability / disability (and honestly, representation has never appeared so effortless and elegant). Also it includes a monster and possible magic. Incredibly underrated and highly recommend.

The Once and Future Witches by Alix. E Harrow - this was such a unique concept, and truly captivating, the story was charming, and felt like the kind of beautiful fairytale you would read as children but with more grit? ABSOLUTELY recommend this one

The Pisces by Melissa Broder - I hated this so much, not my vibe at all. Mermaid smut x therapy but make it cynical and judgemental (I know there was a moral in there but that’s not my point) also the dog dies.

Library of the Unwritten by A.J. Hackwith (1/2) - really interesting & unique concept (all unwritten novels / ideas reside in a special library that is part of Hell and then sometimes the books can come to life) however, my first thought upon reading this was “this reads as if it’s stemmed from one of those writing prompt tumblr posts” bc of the tone and whatever and as it turns out I was somewhat correct, it did stem from a short story (not bad just obvious). It did kind of settle down as it went on but I found reading it kind of a drag, and I don’t think I will read the second one.

Abandon by Meg Cabot - 1. Meg Cabot’s writing always fucking slaps 2. Hades and Persephone but make it modern & very 2000′s & somehow kind of unique 3. I literally loved this, sue me

Medusa Girls (Sweet Venom) by Tera Childs - Like Percy Jackson except they are descendants of Medusa so they are Gorgons and have fangs & venom (hence the title). Gave me very 2000′s vibes? Quite cool but tbh I found the books quite short (like two hours each, if that)? Do NOT read the GoodReads description of the book before you read it, you will spoil it for yourself.

Bring me their Hearts by Sara Wolf - In my opinion, this is one of the most underrated YA series I read in 2020. The heroine is endearing, self aware, witty, and loves to look pretty even while kicking ass which in my opinion is an incredibly underrated trait. Also, immortality without being hundreds of years old? VERY sexy. HIGHLY recommend. 

A Deal with the Elf King by Elise Kova - High commendation to be given for the fact that it is a standalone and yet manages to fit in the plot of what would usually be a full fantasy trilogy without cutting corners or being a million miles long? Also sweet storyline & beautiful ending? If you liked ACOTAR you should read this as a “what would have / could have been had SJM had a different editor” (No shade I promise).

The Iron Fae by Julie Kagawa (4/4 + novellas) - Incredibly detailed faerie set around the modern world & our current use of technology & iron in it. Very neat adventure-style series, by the time I read the last novella I was well and truly done with the world (aka provided enough content to be fulfilling). Was definitely aimed at a younger audience though, NO smut / smut was brushed over.

The Modern Faerie Tales by Holly Black (3/3 SS) - This is technically the prequel to Cruel prince, set in the modern world, but with the fae world inside it as it traditional? All I have to say is that it is excellent & I highly recommend it.

Bridgerton series (The Duke and I) by Julia Quinn (9/9) - I read this after watching the Netflix show twice through and I am obsessed, although the books were not quite as elegant as the show, and some parts that made me cringe either by their portrayal (it is very firmly set in the 19th century and thus some things are not handled with tact or grace), the characters were exceptionally loveable and I am so excited to see where the show takes them! Lovely language & an abundance of words I had never seen before (always a plus). 

#the number of these which I hate with a passion now #fuck my life #HATE SJM #MAD about grishaverse #ASHAMED of bridgerton and the feminism leeched from my soul after reading this

[nat-20s]

I WANT THE GERTRUDE THESIS

time to demonstrate  my superhuman inability to SHUT UP here u go

*cracks knuckles* Okay so part of the enjoyment of Hamlet and what, I think, makes it a classic and intriguing play is the amount of ambiguity in it. Is Hamlet ever actually mad? Is the ghost real? If it is is it actually his dead father or some other vengeful spirit? Is hamlet like 19 or like 30? etc.

I personally love the ambiguity and how much is left up to interpretation, because even beyond staging and prop work and setting, it makes seeing multiple versions of the play immensely satisfying rather than repetitive. You get to watch each version and see what choices each director and actor made, which interpretation they decided to go with, how they wanted the characters to shine, whether they wanted to keep a lot of the ambiguity or eliminate it. For example, because the David Tennant version was the one I most recently watched, it seemed like it very much wanted to enforce the ghost is real by, even in the scene where only Hamlet can see it, having the ghost brush Gertrude’s hair and having her react to it. That little choice creates a huge amount of context.

“Nat,” you may say, “this is supposed to be about Gertrude, could you stop prattling on about why Hamlet good?”

Yes I can hypothetical You.

To me Gertrude is one of the most variable/ambiguous but also FASCINATING characters in the play. There’s SO MUCH you can do with her character, and it’s fascinating how the morality of other characters can be so deeply influenced by how you choose to portray Gertrude that it would almost work better as like, a flow chart, than a mini essay, but whatever.

The first place to start with her to me is with with how Aware of King Hamlet’s murder Gertrude was, ranging from the mastermind behind it to completely oblivious.

If you pick the first option with mastermind or at the very least co-conspirator, then you still have a sliding scale of whether or not you want to make her sympathetic or fully villainous. What’s interesting about that is that the more sympathetic you make her in the “in on it” scenario, the morality of both king hamlet and baby boy hamlet are likely to have to worsen in response. In a sympathetic scenario, Gertrude would be in on the murder of her husband but NOT on the murder of her son. In order for this murder to come across as sympathetic- you HAVE to make King Hamlet a bad man. If you’re going for tragic angle, you can make him abusive to Hamlet, and then you have a Hamlet that still worships and grieves for a man who was cruel to him. If you make him abusive to Gertrude but not to Hamlet, which she’s kept hidden, then it turns makes Hamlet look worse when he treats her incredibly poorly, grieving for a man he thinks is great but she knows better.

ON THE FLIP SIDE if you want to make Gertrude villainous you can a: have her in on the plot to kill Hamlet as well and/or B: make King Hamlet a kind man that she was having an affair of and decided to dispose of. In turn, by choosing either of these options, if Hamlet is aware of these things, you can make him seem more justified in his anger towards her.

Now lets loop back round to an Innocent Gertrude: if she is unaware of Claudius’s villainy, she becomes instantly more sympathetic to the audience, but it takes away much of her agency. King Hamlet can be a good man who she’s grieving or a bad man who she has conflicted feelings over her own relief towards his death. Her decision to marry Claudius may seem more abrupt, but it also becomes less costly to her morality: she is doing what she thinks she must and simultaneously trying to deal with her grief AND trying to help her son who she does genuinely love. You can even have her be so innocent that it results in her death- she drinks the final drink without knowing it’s her doom.

I personally prefer the Innocent Gertrude that becomes increasingly aware of Claudius’s true nature and tries her best to stop the oncoming fate but can’t fully- she’s into this too late, she’s waited for too long, her doom becomes inevitable. and it makes her story parallel Hamlet’s, and it makes her final sip become incredibly heavy. There’s also something more eloquent than i can manage right now to be said about her choosing death with open eyes (in order to try and save her son and or out of despair) as her only true act of agency- similar to how Ophelia’s likely suicide was hers. Kinda fucked up, but very much in line with the world created by Hamlet.

(note: no matter how you choose to play Innocent Gertrude, it does make Hamlet come across as a bigger prick. Just a fun little side note)

OKAY

tldr: Gertrude’s characterization alone has massive ramifications on how a hamlet telling goes, to the point where it almost makes hamlet a directorial choose your own adventure, and she’s a fascinating character to look at for innocence vs agency, especially with female characters both in the broader context of Shakespeare and the time period.

#hamlet #gertrude #hamlet meta #moody dane #sensicalabsurdities #replies

[venmomejoy]

The Lucky Ones

Idk if this has been done before but it's an actors au! All characters and relative plot belong to Nora Sakavic!!

Read it on Ao3 here

part two / part three / part four

Neil would never get used to the attention. The small amount of fame afforded to him as the lead character in the small town's production of Hamlet was stifling.

For him, it was instinctive to duck, to hide, to run at the first sign of recognition. Making himself unnoticeable was a habit beaten into him in childhood, his mother's fists compelling him into inconspicuousness when her warnings could not. Her lessons lingered in his mind even months after her death, urging him to grab the first ride away from here he can find and run every time he stepped onto the stage. He could almost hear her screaming at him, almost feel her phantom fists as she punished him for disobeying her. She had made him promise he would never act again, and he had broken his word. 

If this even counted as acting. Theater was fine, but Neil longed for the screen. He had tasted screen acting as a child and fallen in love with it, and no matter how she tried, his mother could never entirely curb his craving. She would beat him black and blue every time she caught him taking a second look at a poster for a new movie or lingering when he heard people discussing a favorite show, but he could not help himself. 

He hadn't planned on acting again, but when his mother died, he had felt stranded. He didn't know how to go on without her. Through all the years of running, of moving to a new city every few weeks, of fake names and boxes of hair dye, she had at least always been with him. Now that she was gone, he was entirely alone, and he did not know how to do it by himself. He found this town, got a new ID, and let himself drift. He knew it was stupid and reckless and all kinds of dangerous, but the acting was the only thing that felt real. So he let himself stay here for a few months, let himself audition for the play, let himself stand in front of the crowd and be seen. He promised himself he would be gone as soon as the show closed.

He hadn't anticipated that day coming so quickly. Despair started to creep in; he wasn't sure he was ready to let go of Neil Josten quite yet, although it seemed he had no choice. Tonight was the final showing, and all of the seats were full, although there couldn't have been more than fifty. Neil knew that most people in the audience had probably already seen the show- nearly all of them came to see family members perform or to "support the community"- but it still didn't lessen his nerves. He scanned the crowd for the tenth time, checking for any familiar faces, any sign he needed to bolt to the nearest exit. His father and his men hadn't caught up to him since they killed his mother, but that doesn't mean he is in the clear, especially since he's stayed here far too long. Yes, a move was overdue. 

Neil let himself get lost in the performance, immersing himself in someone else's life, someone else's story. His eyes still constantly flicked to the wings, to the crowd, to the catwalks, anywhere someone could be concealed, waiting to catch him off guard, but he let his brain shut off beyond the basic actions to confirm his safety, so customary they hardly took a second thought. Adrenaline thrums through his veins as he recites his lines, as he contorts his features into rage and despair and grief. He morphs himself into his character, allowing himself a reprieve from existing inside his own mind for a few hours. 

The performance ends far too soon. As Neil runs out for his bow, the cheers rise to screams. He knows he is a good actor, if a little out of practice. He smiles, taking it all in for the last time. He knows he won't be acting again. He already took too big of a risk by staying here this long.

Neil can't bear to see the set torn down, the theater cleaned and closed, so instead he sits in the dressing room, waiting for everyone else to leave so he can change out of his costume. The brutal scars marring his chest would draw too much concern, so every night he waited until the cast cleared out before changing into his street clothes. Some of his castmates tried to make idle conversation with him, but most knew he was not much of a talker and leave him alone. He watches them all leave, a couple inviting him to some sort of afterparty, which he promptly declines. If going up on stage was stupid, going to an unfamiliar location and getting engulfed in a large crowd was even stupider.

When his last castmate left, Neil basked in the silence as he quickly changed and then waited for the crew to finish as well. He needed to shower and brush his teeth before he went back to the house he was squatting in, but he did not need anyone to know he was utilizing the theater's facilities. It would raise too many questions. 

The sound of the door swinging open had Neil raising his head, eyes tracking his director's movements closely as he strode over to him. 

"That was a great performance Neil, one of the best I've seen from you." He took a seat on the couch next to Neil, causing every muscle in his body to tense. His director was one of the most even-tempered people Neil had ever met, but he'd seen enough aggression from middle-aged men to not trust a seemingly calm demeanor. 

"Thank you, Mr. Hernandez," he replied stiffly.

"Your talent is promising. Would you ever consider making a career in the arts?"

 Neil just shrugged, casting his gaze to the floor. Telling Hernandez that acting was not an option for him would open up a can of worms that Neil could not afford. He couldn't tell him that he would be leaving first thing tomorrow, taking his meager belongings and heading to another state, becoming another person, so his best option was indifference. 

"Well, maybe this will help you make up your mind. There's someone here who wants to talk to you."

Neil's eyes shot to Hernandez, alarm bells sounding in his head. This was his worst nightmare. He had been found, he had been found, he had been found-

He pulled his duffel bag over his shoulder as he stood, already making his way towards the nearest exit when someone cleared their throat loudly from behind him. It was too late. 

Neil turned around, hands still gripping his bag as he stood poised to run, and met the eyes of the stranger. The man was tall, likely in his late thirties or early forties, with honed muscle visible where his arms were crossed over his chest. His face was hard, but his eyes were searching as he scanned Neil from head to toe. He was unfamiliar, but that didn't mean he was harmless. Perhaps his father had gotten a new lackey. "Who are you?" Neil asked. 

"He's a director, Neil. He wants to recruit you," Hernandez said. 

Neil scoffed. "Please, the population of this town is barely five hundred. No one recruits here."

"He sent out an open call, looking for someone to cast in his show. You fit the description pretty well, so I sent him some videos of you during rehearsals. He came to watch you tonight, to see if you were good enough for the show. I didn't mention it to you because I wasn't sure anything would come of it."

Neil couldn't believe what he was hearing. He hadn't even seen anyone take any videos of him during rehearsals. His panic was steadily rising. "What?"

The man stepped forward, and Neil unconsciously stepped back. He noticed, his gaze hardening as he looked Neil over again, searching for something different this time. "I don't have time for this," the stranger said. "We start filming in three weeks, and the actor we had set up for this role fell through. You have talent, kid. All you have to do is sign the contract and your set for two seasons with us. If we get renewed again, likely more."

Neil did not know what to say, so he just stared at the man, assessing the sincerity of his offer. The director just stared back, unfazed by Neil's blatant scrutinization. 

After moments of silence, the man sighed. "Look kid, The Foxes is a incredibly popular show. Signing with us could jumpstart your career.”

Deafening silence rings through Neil’s head as that name hit him. He thinks his heart has stopped beating. "You direct The Foxes." 

The man- who he now recognizes as David Wymack- only nodded. Neil knew all about The Foxes. The first season of the show was a hot mess, barely scrounging up enough support to get renewed for a second season. But it did. And when esteemed actor Kevin Day joined the cast, the show started rising in popularity. 

Kevin had been raised in Hollywood, adopted at a young age into the Moriyama family, one of the most powerful names in filmmaking. Tetsuji Moriyama was arguably the most famous director on the scene, so when he took in Kevin and his nephew Riko, he raised them to be formidable actors. The two were as close as brothers. Tetsuji gave Kevin and Riko small roles in his productions when they were children, and as they grew older, the two starred in almost all of his work. Most notably, the two were costars on Evermore, an immensely popular fantasy show. Riko played a young boy who was adapting to his new life as a vampire, while Kevin played his best friend, still a human, who helped him adjust. The show had a huge fanbase- it was easily the most popular show on television right now. But in the middle of filming the fourth season, Kevin and Riko vanished from the public eye. No one knew what had happened to them, what they were doing, but when they resurfaced, it was discovered that Kevin had shattered his hand in a stunt gone wrong. Tetsuji decided the show could not halt production to wait for Kevin to heal, and instead wrote him out of the rest of the season, saying he would return for the fifth season when he was fully recovered. Kevin all but disappeared, not saying or doing anything while he recovered. Until Kevin decided not to renew his contract. Two months ago, Kevin had announced that he would not be returning to Evermore, and was instead signing with Wymack on The Foxes. His fans were devastated. Many were angry at him, feeling betrayed at his leaving. Others were intrigued by this new project, his first apart from Riko. Either way, the move brought a lot of attention to The Foxes. Kevin not only brought a fanbase with him when he began the show, but he pushed his costars to work harder and hone their acting skills, making the following of the show grow exponentially. 

Neil hadn't seen Kevin since he was ten years old. Neil had started acting lessons when he was four, had even been in a few small productions in his childhood. He assumed it was his father's attempt at getting him out of the house while he did his business, and Neil was happy to go- every time he was present during his father's dealings he ended up with a beating. One day, his father took him to rehearse with some kids. He had never met Kevin and Riko before, but Neil was happy to make some friends. He had never really been allowed to have any friends, so he was excited to finally have some kids to interact with. With the help of an older man who guided them, the three spent a few hours going over scenes, trying the lines with different emotions and figuring out how they all worked together on-screen. But their rehearsal was cut short when they were forced to watch Neil's father tear a man to ribbons. His mother had taken him and left the next morning.

There was no conceivable way Neil could accept Wymack's proposal. He had garnered too much attention as it is performing in a small town's theater production. The last thing he needed was his face to be broadcasted all over television, his name tacked on to a credit list. Beyond that, the media is up The Foxes's ass, what with Kevin on the cast. He cannot afford that kind of notoriety. His father would find him in an instant. And if Kevin recognized him? He could not risk Kevin giving him away.

"Please leave me alone," Neil said. 

"We need to fly you out tomorrow if you're going to be halfway prepared when we start production. It would be best if you sign tonight," Wymack pushed.

"I'm not signing anything. I'm not working with you."

"Why?”

"I won't work with Kevin."

"Aw, hear that, Kev? The rookie doesn't like you," a sardonic voice drawled from behind him. 

Every bone in his body seized at the implication of that statement. If Kevin was here-

He whirled around to meet the dark green eyes of Kevin Day. He was significantly taller than Neil, at least six-foot to his five-three, with a good fifty pounds of muscle over him. And he was blocking the only other exit. Neil had not noticed Hernandez leave the room until now, acutely aware of his compromised position. There was no way for him to escape. Neil just stared at his old friend, barely breathing as he waited for recognition to kick in, for the realization to dawn on him. But nothing came. Could it be possible Kevin didn't recognize him?

It made sense, he supposed. Neil had seen Kevin grow up, his face plastered on every magazine and television screen he saw, but Kevin had not seen Neil since he was a child. That, coupled with the brown hair dye and the brown colored contacts he wore may have been enough to slip under Kevin's radar.

"Jesus, Andrew, can't you be polite for ten minutes? We're trying to sign this kid and you're going to scare him off," Wymack's incensed voice sounded from behind him.

"Oh, come on, Wymack, he doesn't look like the type to be scared of little old me now does he?" Neil broke his stare with Kevin to look at his companion, only to find Andrew Minyard's eyes already boring into his own, a manic smile plastered on his face. He would have recognized the blond actor anywhere; he had made quite a stir in Hollywood. 

Andrew was the first person to turn down a role with the Moriyama's. Riko and Kevin had found him, had seen his work in other projects and knew he had potential. When they approached him with a part on Evermore and a chance to join their little clique, they had never even considered he would say no. Working with Tetsuji was a straight shot to stardom. But Andrew instead signed a contract with Wymack, who had agreed to cast his twin brother Aaron and his cousin Nicky as well. 

Neil turned back to Wymack. "I'm not signing anything. I'm leaving now."

"I'm going to let you reconsider." The first words Kevin spoke to Neil in eight years sent chills down his spine. 

Neil turned towards him again. "I've already given you an answer."

"Why won't you sign?" Wymack questioned. "From what your directer said, you've got nothing keeping you here. In the three months he's known you, he said he's seen no friends, no family. Said your parents never answer his calls, something about them having a long commute to work, that they barely even see you. Why not join The Foxes?"

Neil couldn't very well tell him the truth, so he told him the first plausible lie his mind provided. "I'm not near good enough to work with Kevin. And I'm only used to stage acting, I don't know how to perform for television." 

The first lie would have been reason enough, but the second one needed to be thrown in to keep his story believable. He had told Hernandez he had only done a few plays previously, not wanting to raise any suspicion. If Wymack had spoken to his director about him, he had likely been told this. And anyone who had only done a few plays would be concerned about switching to screen acting, so Neil played the part. 

"Both unimportant," Kevin said. At Neil's surprised look he continued, "You may be inexperienced, but we saw your performance tonight. You have talent. Now stop wasting our time and sign the contract."

How had he missed Kevin Day in the audience? He must have been hiding in the back, trying to avoid being recognized by any fans. Still, the misstep unnerved Neil. "There are plenty of actors with talent who would be thrilled at this offer. Why not ask them?"

"Like I said, we've seen you perform. We knew you had talent from the videos your director sent us, but it's not just raw ability. You throw yourself into your role like it's all you have left. You don't just channel the emotions, you become the character. Actors with that kind of passion are rare, and are the only kind worth bothering with."

Neil couldn't stop the pull in his chest, begging him to accept, no matter how foolish an idea it was. He was not ready to give up acting, but pursuing it would bring him closer to the man he had spent his entire life running from. Signing with Wymack was as good as signing his death sentence. But it was a shot at living, at truly living for the first time in years. The acting was the only thing that felt solid now that his mother was gone, and he wasn't sure if he could survive without a tether. 

If Kevin didn't recognize him, perhaps he could indulge himself, just for a little while. He didn't have to stay for the full two seasons; at the first sign of trouble, he'd run. Perhaps he could base his plan off of Kevin- at soon as Kevin started remembering, started asking questions, Neil would know it was time to go. Because if Kevin remembered, if he started digging into Neil's past, he would clue in the whole host of people after Neil on his whereabouts. If they didn't discover them on their own. 

"An answer tonight, Josten." Wymack clicked the pen, holding it out to Neil in offering. Neil stared at the pen, every ounce of self-preservation screaming at him to be smart, to take his bag and get the hell out of this town, to blend back into the shadows. But another voice, a voice he had been repressing for far too long, was making itself heard: desire. Desire to act, desire to be settled somewhere, desire to be real. 

He could always run. That's what he told himself as he took the pen from his new directors proffered hand. That what he told himself as he signed his name along the dotted line, the name of a person who didn't really exist, but was going to try to for as long as he could. That's what he told himself as he felt his throat closing in as he realized how he had disregarded everything his mother had worked for, died for, with the quick stroke of a pen. 

"Perfect," Wymack said. "We'll pick you up here tomorrow so we can fly to L.A. and get started." Neil couldn't think of anything to say, so he stayed silent.

Kevin handed him a thick stack of paper with "The Foxes: season three, episode one" printed across the front. The script. "Start reading it now. We have a lot of catching up to do if you're going to be ready by the beginning of production."

With that, he strode from the room. Andrew followed him, stopping only to flash Neil that same grin, raising his hand in a two-fingered salute. Neil couldn't contain his eye roll.

After the two actors had left the room, Wymack held back for a moment. "You made the right choice, kid." 

Neil almost laughed. If only he knew how wrong he was.

Notes: Hello everyone!! I’m not completely happy with this but I'm publishing it anyways because bad writing is better than no writing, or at least that’s what I’m telling myself :) I’m going to write more chapters on this fic, so I hope that someone likes it!!

#andreil #neil josten #andrew minyard #aaron minyard #nicky hemmick #kevin day #matt boyd #allison reynolds #renee walker #dan wilds #david wymack #abby winfield #betsy dobson #riko moriyama #andrew minyard/neil josten #alternate universe #actors au #angst #fluff #slow burn #slow build

[recurring-polynya]

Bollywood Review Time!

Today, I am going to talk about Om Shanty Om, a very good movie that was Not For Me.

Let me back up. People recommend stuff to me a lot and I try to watch it and talk about it, and I always feel bad when I don’t like it. This one was recommended to me by my friend @serene-faerie​ I want to make it very clear that you, reader, may like this film very much! It was a strange perfect storm of Things I Don’t Care For, and I actually rather enjoyed the experience of picking apart what I didn’t like about from what I did, because honestly, I am always interested in the ways stories are told and what stories say about themselves.

Cut for spoilers and also length

First off the bat-- this is not a film for the Bollywood beginner. It’s sort of a meta-narrative, with a ton of cameos from famous stars and jokes about Bollywood tropes and directors and such. There’s a ten-minute dance number in the middle that’s just famous people showing up to get down and everybody cheers every time someone new rolls in. I have only actually seen a handful of Bollywood films, mostly made after this one (it was made in 2007), and I could tell that there were a ton of gags and references that flew over my head. I got the sense, both from watching it, and from reading reviews, that this was all very well done and funny, I just didn’t have the proper frame of reference to appreciate it.

The main character, Om, is played by Shah Rukh Khan, an incredibly famous Bollywood star whom I had never heard of before watching this film. In the beginning, Om is a somewhat-bumbling movie extra, dreaming of stardom, flipping his hair, and falling in love with a beautiful starlet on a billboard. I… was not taken in by his charms. I feel like I really missed out by not knowing who Shah Rukh Khan was ahead of time. That was sort of an interesting thought to me-- that a famous actor brings the good will of all his previous roles to a movie with him, and that it was very interesting to me to watch a film stripped of that context. I was literally shocked when halfway through the film, he rips off his shirt and had killer abs, I was absolutely not expecting it.

The deal of the movie is that, through a series of coincidences, Om meets Shanti, the actress of his dreams (from the billboard). She is played by Deepika Padukone, who I fell for immediately. She is gorgeous and had a ton of charisma. This movie seems like it’s going to be a love story, but it really isn’t. Shanti is charmed by Om’s sweetness, but she’s already in a doomed secret marriage with a scumbag director, Mukesh, who ends up murdering her when she wants him to publicly acknowledge her, which is kinda time sensitive, because she is pregnant. Mukesh had planned to have her star in a lavish movie spectacle called Om Shanti Om, but when she forces his hand, he burns the set down with her locked inside. Om witnesses all this; he tries to save her and dies in the process.

Om happens to die in the same hospital where a famous director’s child is being born, and he is reincarnated as the baby, and grows up to have the life he always wanted-- that of a Bollywood superstar. His name is still Om, but his nickname is O.K., so I am going to call him that to distinguish between 1977 Om and 2007 Om. He meets Mukesh again who is now a super-successful Hollywood producer. O.K. gets all the memories of his past life back, and decides to Get Revenge by proposing to do a remake of Om Shanti Om. He finds a wanna-be actress, Sandy, who looks exactly like Shanti, and has her haunt the set in order to make Mukesh think he is going crazy (and maybe also confess? It’s not a terribly clear-cut plan). You might think that Sandy is the reincarnation of Shanti, but Shanti’s ghost shows up in the grand finale of the film, so I guess she wasn’t?? You also might expect O.K. and Sandy to have some romantic feelings, but they really don’t, and in fact, O.K. is actually pretty mean to Sandy, even though she is extremely sweet and I don’t see how anyone could possibly be mean to her.

The movie is lush. The costumes are elaborate, the sets are lavish, the dance numbers are many and long. There is not a single scene without an off-screen fan to dramatically tousle the actors’ hair. I actually rather liked the last act of the movie where they were gaslighting Mukesh and it was over-the-top, scenery-chewing, Hamlet--play-with-in-a-play madness. A chandelier falls on someone. A lot of the end doesn’t even make a lot of sense or exist in any sort of linear time, cutting between the film-within-a-film and dance numbers and what’s “really happening” and I really had no problem with any of this. I actually really liked the amount of meta that was happening and the breakdown of boundaries, and I found the end to be reasonably satisfying.

So what didn’t I like about it?

The entire film relies on you being charmed by Om and I did not care for him. We all have this set of trope personality types that we enjoy and fall for, and “young person who dreams of making it big on the stage/screen” is a huge swipe left for me. Give me a stolid second-in-command who has been stationed at an ice wall for 30 years to protect his homeland. A incredibly tired dude muttering “fuck” as he wades into a swamp to fight a bog zombie, because who else is gonna? My dude turn-ons include duty and self-sacrifice and really good posture. I couldn’t watch Naruto because everyone spouted off about “their dreams” too much, and I thought Om should have cut his losses and gotten a real job. I am who I am.

There’s a weird fine line between “meta,” that is, stories about storytelling and presentation and media, and movies about being in love with making movies. I like the former a lot and I do not care for the latter one bit. I did stage crew for a high school production of 42nd Street and I have a very distinct memory of thinking “this is a play about putting on a play. Why on earth would anyone who is not an actor want to watch this?” I also hate books where the main character is a writer (yes, Stephen King, this is a call-out). I also hate biopics about musicians and actors. I honestly do not care about the craft, and the “magic of cinema” has never been a thing I have found remotely compelling. 

What I love about reincarnation storylines is the period where the characters recognize the feelings and memories that are tied to their previous lives-- where they see someone and can feel their old emotions for this person, but without knowing why. This is where I live. I eat this with a spoon. I want this to prolong the emotional burn, because the characters don't know what are their own feelings and what comes from their past lives, and that there are conflicts that must be resolved for both lifetimes. Alternatively, you can also use a reincarnation storyline to skip the emotional burn entirely, by just having the character “get all their memories back in one fell swoop.” This is… the opposite of what I want. This is what Om Shanty Om does. I felt deeply cheated.

Relatedly, the entire theme of the movie was "When you want something badly, the whole universe conspires to give to you", a sentiment I wholeheartedly disagree with. I love stories about the conflict between agency and destiny, I think this is a really meaty subject, but once again, the movie used it as an excuse to let the characters sit back and do nothing and have a solution to their problems drop into their laps. I am sure you could make an argument for the charm of this viewpoint, but it is not for me.

I like dance numbers all right, but they are not why I watch Bollywood films. This movie is over two hours long and a lot of it was dance numbers. I was very tired of dance numbers by the end. That being said, the titular song was a bop and I had it stuck in my head for days. “Disco of Distress” was my second favorite.

I do not really feel a lot of nostalgia for the late 1970s, which is when the first half of the film takes place. If noisy patterns and kitsch and big winks and goofy hair is your period aesthetic, you will enjoy this part a lot!

Here’s what I did like!

Sunglasses. There were so many good sunnies in this film. So many. A parade of excellent shades.

Deepika Padukone. She is so adorable, for one, and she charmed me in every way that Shah Rukh Khan did not. I loved her both as the melancholy starlet Shanti and the doofy, gum-chewing Sandy, and also the Angry Revenge Ghost at the end. I would say this movie is 75% Om and 25% Shanti, and I would have liked it a lot better if it were the other way around. Sandy had basically no agency whatsoever; the second half of the plot was basically about O.K. getting revenge on Mukush... mostly for himself? I liked that the first half of the movie didn’t make Shanti fall in love with the puppy-like Om just because he was devoted to her, but it would have been a nice reversal if the jaded O.K. had softened toward Sandy more in the second act, and that there had been a bit of a love story to temper the revenge plot.

The idea of the plot. The plot described in words is very cool to me, and there was a period of about 3 minutes in the film when O.K. recognizes Om’s mother when I got real excited about where this was going, and then I realized it wasn’t going where I wanted and was sad again. I think I might have liked it better if the movie started out with O.K. and revealed Om’s story slowly, through flashback, but nothing about this movie catered to my narrative aesthetic, so I eventually gave up with ways of trying to fix it.

Anyway, as I said, I can definitely see how someone could love this movie! If you are a big Bollywood buff and you love dance numbers and silliness and Shah Rukh Khan, I would recommend it in a second! It was strangely almost tailor-made to hit some of my pet peeves, and I was mad because I wanted to like it more than I did.

That’s my review! @serene-faerie​ I hope you still love me even though I didn’t like your movie. I am always trying to expand my movie knowledge and I learned a lot watching this one, and I don’t regret watching it, even though it wasn’t my fave.

#bollywood #om shanti om #reincarnation stories

[the-light-followed]

WYRD SISTERS (1988) [DISC. #6; WITCHES #2]

“‘No one would come up here this time of night.’  Magrat peered around timidly.  Here and there on the moor were huge standing stones, their origins lost in time, which were said to lead mobile and private lives of their own. She shivered.  ‘What’s to be afraid of?’ she managed.  ‘Us,’ said Granny Weatherwax, smugly.”

Rating: 6/10

Standalone Okay: Yes

Read First: Yeah!

Discworld Books Masterpost: [x]

* * * * * * * * * *

I’m just going to jump right in with this one: the best part about the Witches sub-series of the Discworld is that they are all, in their own way, stories about stories.  They’re stories that follow other stories, the tropes and archetypes and established narrative structure, but they’re also stories that subvert that structure at just the right moment to make something that feels much more truthful, and often, much more real.

Stories about stories.

This is sometimes very literal: Wyrd Sisters, for example, has very obvious Shakespearean roots, notably from Hamlet and Macbeth, and seems to gleefully delight in throwing around references—three witches meeting to cast spells, blood on the murderer’s hands that won’t wash away, the ghost of a murdered father begging his son to seek revenge, a theater called The Dysk that mimics Shakespeare’s Globe, etc., etc., etc.—that then get turned over on their heads.  We’ll see it done again with the fairy tale elements of Witches Abroad, and the Phantom of the Opera parody that is Maskerade. These books are, in a very real sense, skipping the setup and instead using cultural touchstones as framework. The books starring the witches are literally new stories being told about stories we, the audience, already know and recognize.

But sometimes it isn’t literal at all: witches, after all, work magic most often through psychology and metaphor.  “Headology,” as the witches call it, is the basis of witchcraft, and it’s all about the stories being told.  It’s in the things the witches do for respect, like their hats and black outfits and their out-of-the-way cottages they pass down from one witch to the next, or the way they bow instead of curtsey.  It’s in the things they call magic even when it isn’t, like using real herbs and medicines to cure illnesses, or waving their hands over a pot of tea and chanting nonsense before ‘reading the future’ in the leaves, all of it only for the look of the thing from the outside.

And it’s also in the things they tell themselves. For example, when Magrat’s broomstick stops working in Wyrd Sisters, she does what she calls a Change spell—which simply means that the rest of the world remains the same, but she changes the way she sees herself.  Before, she was a young woman on a broom rapidly falling out of the sky, and now she’s a confident young witch who can deal with any disaster that comes her way, so she’s therefore a lot less worried about it.  

And it works.  That’s the thing: Magrat is just fine.  Witches do magic in and on themselves, it’s all nothing more than a thought, and yet it works.

None of the Witches books are particularly subtle about the point they’re trying to make with the whole deal, either.  In Wyrd Sisters, it seems like everyone is talking about the power of words and stories, the way that the things we tell ourselves and each other can shape the reality of the world we inhabit.  There are some negatives you can pull out of that message—history is malleable and written by the victors, propaganda triumphs over the truth, etc., etc.  But there are a lot of more interesting, thought-provoking ideas to consider, instead. For example: just because narrative structure has already delivered us the broad strokes of the plot (anyone who’s studied any Shakespeare, which can reasonably be assumed to be any native English speaker older than about sixteen, can probably guess the general course of Wyrd Sisters by about page twenty), it doesn’t mean there can’t be originality and meaning in the specifics.

And that originality and meaning is what makes all the Discworld books work so well.  Pratchett is parodying, sure, but he’s also creating something very new and earnest and sincere, and that just doesn’t work if the story is an exact beat-for-beat retelling of an already-told tale.

Wyrd Sisters agrees with that idea. Destiny is all well and good—it’s nice to think that what’s to come is pre-planned, easy to predict, and impossible to subvert—but the world just doesn’t work like that.  The story isn’t plotted out in advance.

As Pratchett says later in the book: “Destiny was funny stuff…You couldn’t trust it.  Often you couldn’t even see it.  Just when you knew you had it cornered, it turned out to be something else—coincidence, maybe, or providence.  You barred the door against it, and it was standing behind you.  Then just when you thought you had it nailed down it walked away with the hammer.”

The witches certainly don’t truck with destiny.  Or, well, it may be a tool in their storytelling arsenal, but they don’t see it as a concrete thing.  Destiny is what you make of it, and Granny and Nanny are movers and shakers.  That makes it especially ironic that the book is called Wyrd Sisters—the word “wyrd” is an old Anglo-Saxon concept referring to fate or personal destiny, so the “wyrd sisters” themselves typically would be the three Fates, a la Greek mythology, rather than three women who tend to grab Fate and Destiny by the ears and twist until they decide to agree that the witches have the right of it.

Honestly, though, if Granny Weatherwax looked at me like that, I’d do whatever she wanted, too.

I just want to bring up something I really like about Pratchett’s writing style: despite the fantastical setting, despite how far from reality he can get, he’s not afraid to switch to Roundworld concepts or just flat-out break the fourth wall in exchange for better, more impactful descriptions.  I like to call this cinematic writing, and sometimes that’s actually very literal. There are quite a few passages in various Discworld books where he starts to write in an almost movie-script style.  After Moving Pictures, which is still a good four books away at this point, I think that becomes less notable.  Here, and in the previous few Discworld books (Mort, Sourcery, Equal Rites), when Discworld does not have any parallel equivalent to Roundworld’s Hollywood, it’s pretty damn unusual for an author to just outright throw aside their own fantasy setting to make a description in real-world terms.

My favorite example of this from Wyrd Sisters:

“It is almost impossible to convey the sudden passage of fifteen years and two months in words.  It’s a lot easier in pictures, when you just use a calendar with lots of pages blowing off, or a clock with hands moving faster and faster until they blur, or trees bursting into blossom and fruiting in a matter of seconds… Well, you know.  Or the sun becomes a fiery streak across the sky, and days and nights flicker past jerkily like a bad zoetrope, and the fashions visible in the clothes shop across the road whip on and off faster than a lunchtime stripper with five pubs to do. There are any amount of ways, but they won’t be required because, in fact, none of this happened.”

You can practically imagine the way that scene would look in a blockbuster movie, and it’s wonderful that Pratchett describes it crystal clear just to let us know that it is not, in fact, how it looked at all.

There’s a lot more to like about Wyrd Sisters, too, for all that it isn’t one of my favorite Discworld books.  It’s a far better introduction to the witches—specifically Granny Weatherwax—than Equal Rites is, even though Equal Rites is technically the first book in the Witches sub-series.  It introduces some characters we’ll see a lot more of later, like King Verence and the greater Ogg family, but also characters that will go on to become staples of the Discworld, like Nanny Ogg and Magrat.  We also have some lovely cameos from already established characters: notably Death and his interactions during the play at the castle, but there are some good Ankh-Morpork moments, like the Librarian’s appearance at a barfight.

And we get to see the good old Discworld humor really click—it’s all about that balance between absurdism and realism, or between established tropes and self-awareness.  One of my favorite examples of this comes right at the beginning of the book:

“As the cauldron bubbled an eldritch voice shrieked: ‘When shall we three meet again?’  There was a pause.  Finally another voice said, in far more ordinary tones: ‘Well, I can do next Tuesday.’”

Pratchett’s really got a sense for it by this point, and he can deliver zinger after unexpectedly delightful zinger.  Discworld books are always beautifully funny, of course, even though after a while you really get a feel for when a good joke is coming.  Some people might think that knowing the punchline is coming might make it less funny: it absolutely does not.  All it does is make the unexpected, sneaky moments—when the humor Pratchett has been secretly setting up for ages finally creeps up to smack you in the face—hit harder.  Maybe others disagree, but I can read Discworld novels again and again, and they always get me just as much as they did the first time through.  In my opinion, that’s real comedic talent.

Up next in the series we have Pyramids, our first unconnected one-off story, which is wonderfully weird even for a Discworld book!  Stay tuned!

* * * * * * * * * *

Side Notes:

Every time that oh-so popular Ankh-Morporkian dive bar, the Drum, pops up, it’s fun to note where it’s at these days: Mended Drum, Broken Drum, etc.  In Wyrd Sisters, Tomjon and Hwel go drinking in the Mended Drum.

There are several adaptations of Wyrd Sisters, including a 4-part BBC radio show, an animated film, and a stageplay.

As I go over my highlighted quotes and annotations from each book, putting these posts together, I learn more and more about myself.  What I like, what I find funny, what I care to notice.  For example, Vetinari shows up exactly ONCE in this book, and just in a footnote, and yet I still highlighted it and wrote a note next to it that contained mostly exclamation points.  There’s no real point to this; I just want everyone to know how much I love Vetinari.

Favorite Quotes:

“As the cauldron bubbled an eldritch voice shrieked: ‘When shall we three meet again?’ There was a pause.  Finally another voice said, in far more ordinary tones: ‘Well, I can do next Tuesday.’”

“Witches are not by nature gregarious, at least with other witches, and they certainly don’t have leaders.  Granny Weatherwax was the most highly-regarded of the leaders they didn’t have.”

“Now, just when a body would have been useful, it had let him down.  Or out.”

“‘No one would come up here this time of night.’ Magrat peered around timidly.  Here and there on the moor were huge standing stones, their origins lost in time, which were said to lead mobile and private lives of their own.  She shivered.  ‘What’s to be afraid of?’ she managed.  ‘Us,’ said Granny Weatherwax, smugly.”

“‘How many times have you thrown a magic ring into the deepest depths of the ocean and then, when you get home and have a nice bit of turbot for your tea, there it is?’ They considered this in silence. ‘Never,’ said Granny irritably. ‘And nor have you.’”

“His body was standing to attention.  Despite all his efforts his stomach stood at ease.”

“Back down on the plains, when you kicked people they kicked back.  Up here, when you kicked people they moved away and just waited patiently for your leg to fall off.”

“The Ogg grandchildren were encouraged to believe that monsters from the dawn of time dwelt in its depths, since Nanny believed that a bit of thrilling and pointless terror was an essential ingredient of the magic of childhood.”

“She gave the guards a nod as she went through.  It didn’t occur to either of them to stop her because witches, like beekeepers and big gorillas, went where they liked.  In any case, an elderly lady banging a bowl with a spoon was probably not the spearhead of an invasion force.”

“‘You’re wondering whether I really would cut your throat,’ panted Magrat.  ‘I don’t know either.  Think of the fun we could have together, finding out.’”

“Wizards assassinated each other in drafty corridors, witches just cut one another dead in the street.  And they were all as self-centered as a spinning top.  Even when they help other people, she thought, they’re secretly doing it for themselves.  Honestly, they’re just like big children.  Except for me, she thought smugly.”

“‘Man just went past with a cat on his head,’ one of them remarked, after a minute or two’s reflection.  ‘See who it was?’  ‘The Fool, I think.’  There was a thoughtful pause.  The second guard shifted his grip on his halberd.  ‘It’s a rotten job,’ he said.  ‘But I suppose someone’s got to do it.’”

“Granny’s implicit belief that everything should get out of her way extended to other witches, very tall trees and, on occasion, mountains.”

“Only in our dreams are we free.  The rest of the time we need wages.”

“Words were indeed insubstantial.  They were as soft as water, but they were also as powerful as water and now they were rushing over the audience, eroding the levees of veracity, and carrying away the past.”

“‘Witches just aren’t like that,’ said Magrat.  ‘We live in harmony with the great cycles of Nature, and do no harm to anyone, and it’s wicked of them to say we don’t.  We ought to fill their bones with hot lead.’”

“‘I shall haunt their corridors,’ he said, ‘and whisper under the doors on still nights.’ His voice grew fainter, almost lost in the ceaseless roar of the river.  ‘I shall make basket chairs creak most alarmingly, just you wait and see.’ Death grinned at him.  NOW YOU’RE TALKING.”

#discworld #wyrd sisters

[alwaysspeakshermind]

Top 5 Anti-Varchie Arguments & Why They Make No Sense

#3: “Varchie breaks up every other day/they’re so toxic.”

Yeah, so...to quote both Hamlet 3.3.87 and that one Bugs Bunny meme—NO. 

[Quick but serious question: is this whole “they break up all the time” thing a trying-to-be-cleverly-snarky exaggeration, or are people really just that unobservant? I want to believe it’s the first, but I see it so often now that I’m becoming horribly afraid it’s the latter.]

Over the course of three seasons and 57 episodes, Archie and Veronica break up three times—three!—and each of those times, the breakup is precipitated by outside events, no one is happy to be breaking up, and both parties make a concerted effort to remain friends while neither ever actually quits caring about the other.

Regarding the toxic argument: no they are quite obviously a safe and non-toxic ship. (Although they do appear to present the occasional choking hazard for children under the age of 13 who cannot seem to swallow Varchie’s happiness).  

“Toxic” is, however, a term I refuse to unpack and dissect at the length it deserves right now because I’m so incredibly sick of the misconceptions Tumblr and the rest of the internet perpetuates regarding toxic/abusive relationships that my exhausted frustration with this subject alone can fill pages and it’ll drag me off topic. So instead, I’m just going to point out that while none of Riverdale’s main ships is toxic (everyone’s just young; there is an actual difference), Varchie is the ship with the fewest elements the internet typically likes to designate as such (antagonism/aggression toward each other, childish/petty behavior designed to get under the other’s skin, resentment/bitterness directed at the other person following a breakup, etc.), so the frequency with which this argument is thrown around is extra-laughable. 

Especially considering how demonstrably willing both Archie and Veronica are to overcome their unfamiliarity with each other’s world, share each other’s concerns, support each other’s interests, and essentially serve as each other’s partner because they both consider all those things fundamental parts of being in a relationship (which they are).

**IMPORTANT NOTE: if you struggle to discern the difference between:

(1)  a healthy real-life relationship (which, sorry to be the bearer of bad news, will in fact include arguments because people are people and no human being who possesses a mind of their own agrees with another human being all the time)

(2)  a toxic real-life relationship (which can include arguments but doesn’t have to)

(3)  healthy and toxic fictional relationships (which are entirely different beasts, particularly in book or TV series as plot requirements frequently dictate that characters react in ways that no actual person would, because the narrative needs conflict or drama to function and publishers/networks still over-rely on relationships to provide that conflict or drama)

then you probably will believe Varchie is toxic, and you definitely need to do some research that goes a little deeper than Wikipedia/that one post with a bunch of notes that was written by a person who came out of their first college psychology class feeling like Sigmund Freud. Toxic relationships are no joke, and it’s a little frightening to see how many people on the internet are so confused as to what constitutes one in reality that they frequently interpret normal, healthy relationships portrayed in fiction as toxic, and borderline-toxic relationships in fiction as healthy. (Also, it doesn’t help that people who, for whatever reason, feel the need to paint their dislike of a certain pairing in homilectic terms, are in the habit of taking scenes that check off a few of the “toxic relationship” boxes and twisting them out of context so that they can pretend there’s an element of moral superiority to their prejudice.)

But, important reminder! Fiction and real life are not the same thing, so if you want to measure fiction by reality’s standards, you have to apply liberal amounts of common sense to your assessments of the goings-on in a fictional world and recognize that many developments are necessitated by things like plot advancement, network executives, deadlines, and your basic this-actor-got-sick or that-actor-is-going-leave-soon randomness. Playing judge, jury, and executioner on the toxicity of TV relationships is, if possible, even more complex than just judging the toxicity of real-life relationships because by arbitrary unwritten law, TV relationships must include some onscreen friction. 

In fact, one of the first things you’re taught about writing fiction is that no one wants to read/watch/hear about the thing that almost happened, so don’t waste valuable narrative time portraying that—yes, everyone likes to joke about how they would love to watch a show where the kids went to class everyday and everything happened normally, but it’s a joke. It’s not true. No one who’s done with high school really wants to go back again and listen to an hour of boring lectures week after week, and no one who’s still in school wants to come home and watch a show that’s a repeat of their entire day. TV shows (or books, or movies) expect you to understand that each episode/scene/chapter/whatever is a story they’re telling you about the time something did happen, and that expectation also extends to fictional relationships. Just because you happen to witness a couple’s every fight/argument/disagreement onscreen does not mean you’re expected to conclude that “OMG, this couple is so toxic! All they ever do is fight!” 

No.

That would be like concluding the only holidays in the town of Riverdale are Christmas and Labor Day because we haven’t seen them have Halloween or New Year’s yet. You’re expected to put two and two together and assume they’ve celebrated those holidays that logically must have preceded and followed Christmas, just like you’re expected to grasp the underlying implication that after weeks/months of happiness and fun and peace, these two characters who love each other are now squabbling/experiencing tension over something important that they disagree on. Archie and Veronica are shown working together, being happy, enjoying one another’s company etc. multiple times before conflict ever arises between them, and them figuring out how to navigate through that conflict is intended as a facet of the story’s plot and a developmental point in their character arcs, not a red flag denoting an unhealthy relationship.

But anyways.

Back to the “they break up all the time” argument and why its fallaciousness is so obvious that it needs to be retired with all possible speed. (And as a bonus, also back to its close relatives “they break up for stupid reasons and get back together in five minutes.”

The “Shouldn’t-Be-Necessary-But-Apparently-Is”Quick Guide To Varchie Breakups:

Breakup #1: The end of episode 2x08

Duration of breakup: Almost one whole episode (that spans the course of at least a couple days)

What leads to breakup: Archie, the comfortable-with-feelings person, drops the L-word and desperately wants to hear it back. Veronica, the uncomfortable-with-feelings person, isn’t sure she can say it back and doesn’t want to go on acting like it’s not a big deal when she can see how important it is to Archie.

The outcome: Neither Archie nor Veronica’s actual feelings change at all from the time of the breakup to the time of the reunion. (No, not even when Betty kisses Archie.) Veronica just finally realizes that what she feels for Archie is love, so she goes to see him and tells him face-to-face. Archie is happy to get back together right then and there, and they resume where they left off.

 “Breakup” #2: The end of episode 3x06

Duration of “breakup”: three +/- episodes (end of 3x06-beginning of 3x10)

What leads to “breakup”: Archie believes Hiram’s vendetta against him endangers everyone close to him, not just him, and decides running away is his only option.

The outcome: Once again, neither Archie nor Veronica’s actual feelings change. They both attempt to move on/forget (Archie with Farm Girl Whose Name Escapes Me, Veronica with Reggie), but don’t exactly succeed as evidenced by Veronica’s anger, Archie’s remorse, and how quickly they want to get back together when he returns to town. 

NOTE: This is the one I sarcastically refer to as “the breakup” because it was over the phone (which, as everyone who’s ever utilized this dodge knows, is the easiest way to keep yourself from going back on a hard decision you don’t want to make. It should be obvious to those with functioning sensibilities that Archie does it that way because he knows if he goes the in-person route he’ll have to see Veronica cry and won’t be able to handle it). Besides that, Archie tells Veronica that he loves her and she was “it” for him from the day he met her, and it clearly kills both them to say goodbye. So again, as any viewer with common sense can see, it’s a breakup in name only—their heads are forced to accept what their hearts can’t, and everything they think is resolved is really only postponed.

 Breakup #3: The end(ish) of episode 3x10

Duration of breakup: ALMOST TWELVE WHOLE EFFING EPISODES (end of 3x10-middleish of 3x22). COUNT THEM.

What leads to breakup: Archie has in no way recovered from his rough experiences over the past months, and is behaving erratically. Veronica observes his out-of-character behavior with a lot of concern, and Reggie (whether accidentally or on purpose) fuels the idea that Archie is no longer Archie, so when Hiram ends up shot the day of the PSATs, Veronica knee-jerk reacts due to all the stress, worries that Archie might be responsible for it, and doesn’t contradict Archie when he asks if they’re done.

The outcome: Once again (surprise, surprise!) neither Archie nor Veronica’s feelings for one another change. They again try to move on/forget each other by dating other people (Josie and Reggie), but it doesn’t work. They remain close, continue to look to each other for comfort/support, and as soon as they’re faced with a life-or-death scenario, they throw caution to the wind and tell each other the truth (“I love you. I don’t think I ever stopped loving you”/“My heart ached for you. Because I felt the same way.”)

 To recap: what do these breakups have in common?

(1) Each breakup is due to a legitimate concern involving the other person, i.e., they are breakups for mature reasons, not breakups for “How dare you not text me back within five minutes” or “I’m a free range pony that can’t be tamed” reasons (with all due respect to Fat Amy)

(2) Neither Archie nor Veronica wanted to break up

(3) Both Archie and Veronica continued to love each other

When you’re young, the un-fun truth is that you frequently make really bad decisions in love. (You also do it sometimes when you’re older, too.) Archie and Veronica breaking up because they mistakenly perceive certain issues as insurmountable, trying to move on with other people and then going back to each other to make things right and reaffirm the love they couldn’t pretend away the instant the opportunity arises isn’t them being fickle, or toxic—it’s just them being young and clueless and trying to recover from young and clueless mistakes as maturely as possible. 

And believe it or not, their relationship has been handled very well by Riverdale. There are few other TV couples who’ve been as steady as A&V, and none of them are teen couples (in fact, the only ones that even come to mind out of all the shows I’ve ever seen are married and/or background couples, not main couples, because main characters’ relationships are always put through more drama). It is basically unheard of for a teen show’s protagonist and their primary love interest (who, incidentally, is also another main character) to only go through three breakups in three seasons. It is rarer still for each of those breakups to have a justifiable concern at its core, and rarest of all for the characters to take the mature and difficult let’s-be-friends approach rather than the easy and childish let’s-personally-attack-the-other approach. 

That is not a back-and-forth and/or toxic relationship. That is a fictional teenage relationship handled more maturely than many a fictional adult relationship, and that is good. 

Postscript to the rant: 

Veronica does not break up with Archie in 1x01, because they are not yet together. 

Veronica does not break up with Archie in 1x11, because they are not yet together. 

Archie does not break up with Veronica in 2x01; he’s telling her he wants her to leave because he’s upset and lashing out. 

Archie does not break up with Veronica in 3x01, he just tries to soldier-heading-off-to-war her because he loves her too much to want her to waste her time waiting on him and Veronica refuses to agree to it because she loves him too much to back out because the going looks like it might get tough. 

I don’t know why all of these scenes are forever being cited as breakup scenes, but they are, and it’s so bafflingly incorrect that it makes me shudder. They’re not breakup scenes. End of story.

#varchie #archie x veronica #riverdale opinion #rant #my opinion #my post #three times #they broke up three times #on a teen show #on the CW #do people seriously not get how unicorn-like a concept that is?

[lonely-canadian-shrimp-universe]

Good Omens:A First Foray

The First Impressions of a Viewer with No Context

I knew a good chunk of the plot because at first I honestly wasn't going to watch it, so I didn't really shield myself from any spoilers on tumblr.

That being said, I was hooked right from episode 1. I went into it thinking I was gonna be all over Crowley (given my other favourite characters in most other franchises) but the first time Aziraphale smiled I M E L T E D. SO PURE AND SWEET Also when "Aziraphale" was said I had a moment of 'oh. that's how you say that' Also the earth and my mom share a birthday. When Nanny Ashtoreth showed up I KNEW I was gonna need more content of her. Wife 100%

The fact that, try as they may, Zira and Crowley are completely incompetent and really only matter in the last like 16 minutes before the end of the world is really great. It's like watching a show that's about the really interesting side characters you get to see for 2 minutes and WISH you got 6 hrs of. Thank you, Neil.

Ep 2 we get to meet Newt and Anathema and omg I love them. I need Anathemas wardrobe ugh. And newt??? disaster Newton Pulsifer??? he's a mood. Not totally sure how I feel about their relationship but I love the contrast of "hey we just met like an hour ago and we're dating now thnks" to "we've known each other for 6000 years but there's no way he likes me the same way? side note, isn't it funny how the world is always emitting a low buzz of love my dear?" "ngk"

Agnes is amazing and I love how sassy she is. 10/10. I love how Aziraphale is not at ALL concerned about being shoved against a wall by Crowley. Like not one bit. He's like "oh finally, it's only taken you 6 millenia" honestly same

Ep 3 gives us the 30 minute cold open who's only purpose is to show how these two kept coming back to each other for 6 millenia, no matter how the last meeting may have gone. Here are a few thoughts:

Crowley has very pretty hair. Also I could 100% see by this point how these two have been gay for each other since day 1. Er rather day 7? Golgotha Crowley is v pretty and learning later that those are traditionally female garments was a treat. That scene was otherwise hard to watch, and they definitely thought so as well. The globe theatre was really fun to watch, I love Shakespeare. Sadly, Hamlet reminds me of my awful 10th grade English teacher. she ADORES that play. So thanks,  Aziraphale.

Bastille= PEAK GAY LOOK

I'd seen the church scene and "you go too fast for for me in MANY a gift,  but hearing them was OOF. Michael Sheen didn't have to go so hard on that line but OH BOY DID HE EVER. I may have cried.

I honestly didn't realize that the intro didn't play until the middle of the episode until I rewatched it??  like that completely flew over my head.

THE BANDSTAND. THE E M O T I O N. AZIRAPHALE WAS SO HURT. he was so torn because so much of him still wanted to believe in the good of heaven, but his heart (or the angelic equivalent) had long ago sided with Crowley. When Crowley came back and asked him to run away to Alpha Centuri??? UGH. that dude instantly assuming they're gay? same. same random dude. same. And omg Crowley praying??? to God??? he cares about humanity and it SHOWS. By this point I was REALLY relating to Aziraphale. His reluctance to stray from what he knows and was told reminds me so much of myself. that A n x i e t y.

the end of episode 4 and into episode 5 HURT. the bookshop? "I lost my best friend"? The fact that Crowley was ready to give up and wallow drunkenly through the Apocalypse because continuing on or running away held no meaning if he didn't have Aziraphale by his side. I cried. On the other hand, defiant Aziraphale? "Angels can't posses people" "Demons can..." YES BBY STOP BLINDLY FOLLOWING ORDERS!!! FREE THOUGHT BABEY!!! Now: Shadwell and Tracy. Shadwell is hilarious and I love him, end of story. He's just so... out there. crazy dude. Madame Tracy on the other hand? AMAZING. her actress (I can't think of her name and I have a REALLY ONE TRACK MIND) absolutely KILLED it. AMAZING. The seance?  That dude who WAS JUST LOVING EVERY SECOND? Loved that so much. still cracks me up. When they first get to the airbase and Crowley compliments his dress and Aziraphales like OwO like fellas they gay.

1970s crowley... the mustache... "Can I hear a Wahoo?" Hastur... love him... "What's a computer" part of me wants to think he's just fucking with Crowley because who wouldn't but also he's so deadpan and yo I can't read expression AT ALL.

Love the fact that Crowley was ready to yeet off to a far off star system light-years away, but at the same times like "you expect me... to go to TADFIELD? In this weather??? Maybe I should drive but I mean, have you SEEN the TRAFFIC Angel? And now the M-25s on fire. Great."

Hastur going from on top of everything and tearing Crowley down to panicking because YOU'RE DRIVING TOWARDS A WALL OF FIRE.

snek eyes :3c

"Young man your CAR is on F I R E"

ALSO the horse people getting lost is peak entertainment. Honestly the horsepeople are great. War? Gorgeous. Famine? Love him. He's got style Pollution??? They're amazing, and also THEY THEM PRONOUNS BABEY. that made me v happy bc I just got used to usin em myself uwu. D E A T H. He knows his aesthetic yall. love it.

suppose nows a good a time as any: THE THEM.

I didn't really like Adam at first, he seemed a bit snobby. he's grown on me now but... ngk. Wenslydale was an instant fave. he's adorable. love him. Brian? total mess. super genuine. Great kid. PEPPER. she's great. she's sassy. she's gonna go far in life. all together, they're a tight knit group and I love them and they're all my children now thabks. and the parallels to the horsepeople? p e r f e c t

Alrighty Episode 6!!!

The beginning terrified me. All this time I was rooting for Zira and Crowley to finally get their happily ever after and yknow how most media is nowadays. There's a reason Fix-it Fics are so popular. So the beginning of the episode scared me. Also Beelzebub 💖

I love the Them vs The Horsepeople. "I believe in Peace, bitch."

I didn't even realize til later that that was Aziraphales sword. didn't even catch that line.

When Beez and Gabriel showed up? THAT DUMB SMILE OF GABES? I really hated Gabriel. The way he treated Aziraphale REALLY rubbed me the wrong way and I just did not like him one bit.

W I N G S. PRETTY WINGS. also didn't even realize that what Crowley did was STOP TIME. LIKE WHSOHDOEBE WHaT? ??

 "it burned down... remember?" uuggghhh kill me with how soft and gentle he's being!!! he knows that bookshop MEANT something to Zira hdoehekdn

T H E B O D Y  S W A P

the caught me COMPLETELY off guard... at first. I was completely unaware right up until "crowley" was attacked. I caught that little "Tickety boo" and I paused screaming like CROWLEY WOULD NOT SAY THAT IN THAT SCENARIO NO WAY THAT IS N O T ANTHONY J CROWLEY W H A T 

The heaven scene solidified my then hatred for Gabriel. I like him now but oof that scene he's still VERY punchable.

Crowley: Nearly threw hands with the Archangel Gabriel

The Hell trial. So Extra. Asking for a rubber duck? iconic! "Michael, dude!" oh mood.

when they switch back and it's all revealed? G l o r i o u s. They played each other so well!!! honestly props to Michael and David, their acting was PHENOMENAL.

The ending. A happy ending. The amount of love with which Zira says "to the world" killed me. I'm dead now thanks to that. I'm typing this from the grave,  that's how powerful that line is. Honestly, knowing next to nothing going in was kind of wild and my crazy reblogging spree actually got some of my mutuals to watch the show which is pretty neat. Going back through 3 more times now, Aziraphale definitely resonates with me the most. I actually have a small blurb I wrote on the positive effects he's had on my perception of myself in terms of stimming.

All in All this show hit me in a way I did NOT expect it to, and I'm glad I found it when I did. I was at a point where I was kinda feeling like I'd never really have a fulfilling relationship because of my asexuality, and then I found good omens. I def read the characters as ace while watching it and it was amazing seeing two characters who can love each other fully, without the need for anything explicit. The show was an instant fav and I'm trying to find a physical copy of the book (that I can afford) so I can read the original text. This is a story that's going to stay important to me for a very long time, I can feel it.

#was asked in a discord server about my first impressions #having only seen the show #this got WAY too long and i got scared to share it there cuz its a wall of text #so im putting it here #good omens #aziraphale #anthony j crowley #good omens tv #good omens prime

[mrsspidermanmaryjanewatsonparker]

Amazing Spider-Man: Renew Your Vows #20-23 Thoughts

Previous thoughts here.

Well I’m almost a year late but I’m finally here, the end of Renew Your Vows.

So did it go out on a high note.

...um...no....no it did not.

 Having finally read the entirety of Houser’s RYV run (but not yet her Spider-Girls work which I am expecting to be a kind of epilogue) there are three perennial problems.

a)      The discarding of the established, yet short live, status quo of issue #1-12

b)      The post-time skip status quo evoking memories and idea from Spider-Girl due to featuring Spider-Man’s teenaged daughter

c)       An over focus upon Annie herself at the expense of Peter and MJ

I’m of the belief that the first point wasn’t Houser’s fault, that the second point was partially Houser’s fault and the final point is entirely Houser’s fault and indeed exacerbates the problem of the second point.

This arc could’ve course corrected some of those issues but it didn’t, indeed it added to them and created yet more problems.

Now this isn’t to say issues #20-23 were a shit show. Dan Slott and BND provided too many shit shows for me to have the heart of lumping this arc with that dreck.

But it is a story arc that doesn’t work much more than it does work.

Let’s talk positives though.

Houser continues to write Peter and MJ in character and believably for an adult couple with a kid. Peter having his share of Dad jokes is very nice in fact. The scene where MJ and Peter discuss the situation in bed was simply wonderfully executed, short, sweet and simple as it was. It was an example of how you can write these characters with maturity in a mature relationship whilst making it interesting. A small but very nice bit was when the couple exchange a knowing look of suspicion for a second before swinging off, you could tell they both knew their daughter was lying to them.

Annie is also believable as a teenager and distinguished in her personality from Mayday. Her exchange with her parents at the start of the arc rang very true. In it Peter and MJ are believably concerned for Annie and want to know what she was doing; if you lived in a world of super heroes you’d be suspicious in that context too. Annie also understandably for a teen gets pissed off. Another nice touch in connection to this was how there were consequences for Annie after her last arc, seeing as she is very much grounded but also in more contact with Normie than she was before.

However the two biggest triumphs for this arc were in how it brought up Clone Saga continuity.

I know a lot of people have Clone Saga sore spots, but this issue addressed the topic in way that bypassed even haters of the story.

Peter and MJ’s pain and anger over losing Ben and baby May is palpable and poignant, entirely earned by the situation. More than this it’s just a wonderful source for drama Houser was brave enough to mine when nobody else wanted to touch the topic for something like 20 odd years more or less. The graveyard scene especially is easily the highlight of the arc.

Peter and Wolverine’s exchange at the diner was also done very well. Wolverine’s advise struck true to who he is and their dynamic here is immensely preferable to Houser’s first issue where Peter was played as something of a beta to Logan. In this series they are both seasoned heroes and fathers with a long history so them talking candidly and personally as they did added up. Peter over dramatically breaking a glass and being indifferent to the shards cutting his hand open though...that was just stupid.

Also for what they were the action scenes were decent enough, the first battle between Annie and her ‘clone’ in particular was well done.

That...unfortunately...is where the positives end though.

The single biggest problems with this arc specifically are that it’s overly focussed upon Annie and features Mister Sinister as the villain.

Now you might argue that there is precedence for this in Houser’s earlier work.

However precedence alone is not necessarily justification.

Clearly building up Mister Sinister as the final boss does little in the way of justifying why, in the final arc of this series about Spider-Man and his family our final villain is...an X-Men character...who’s motivations indeed revolve  around the X-Men. The X-Men taking up page time from the Parker family has been a running issue in this series and I don’t get why, of all things, the post-time skip RYV stories chose that  to be consistent about.

Sinister isn’t even an X-Men villain who’s immediately familiar with general audiences. He’s a complicated and somewhat cryptic character whom, if memory serves, has never (or at least rarely) crossed paths with Spider-Man in any continuity. He’s not like Magneto or anything so throwing him into this series, then not really explaining what his powers even are or much of his background is taking the audience for granted. It’s expecting the audience of a Spider-Man comic to have X-Men knowledge (not even simple X-Men knowledge at that) or worse that they should go do their own homework t find out who he is, which is just objectively bad writing.

It just feels like what we’ve been building to for 10+ issues was essentially an X-Men story that happens to involve the Parker family and Normie Osborn. At least the final pre-time skip arc involved the X-Men in a secondary role to the Parker family, it still revolved around them.

The second biggest problem with this arc is with Annie.

Annie and her relationship with her parents doesn’t really grow or develop much in this arc. Now that could be forgiven because she got a fair bit of development in the last arc. But maybe giving her that development was a mistake as her development in this story, the final  outing for the series as a whole amounts to her coming clean about her Spider Sense visions.

That’d be minor development at best, but what makes this worse is...Annie already told her parents about those.

Now maybe I missed something because I took such big breaks between arcs, but Annie told her parents of her visions back in issue #5!

So it’s just a massive continuity flub for Annie to be acting like she’s been keeping it a secret for eight years.

It wouldn’t be so bad if it was a throwaway line but her concealment of this fact is the crux of her arc in this story and of her relationship with her parents, playing into the resolution of the story and even the very last page.

It just breaks the narrative.

Now in fairness if you ignored every story before Houser’s run, Houser does a good job of realistically justifying how and why Annie kept it a secret and her reveal of it is humerous. But nevertheless...it doesn’t make any sense.

It doesn’t help that between Spidey’s teenage daughter have spider sense future visions and the plot revolving around a possible clone of said teenage daughter created in secret Osborn labs and her wearing a mostly blue outfit this arc is seriously evoking Mayday Parker’s adventures.

Possibly this was intentional as we find up subverting the expectation of clones when we learn that in fact the ‘clones’ are just...genetically engineered beings grafted powers from Annie’s stolen DNA.

Whilst this provides something different it’s also in truth kind of...less dramatic than if they had in fact been clones. That way you could’ve even shallowly touched upon themes of identity and said something about who the Parker family is. Instead they’re about as poignant as Blood Spider.

The arc is further hurt by not really properly explaining how or why Annie was able to see the future/see through the eyes of the mutates with her powers. In fact it tries to claim that this only happens when her ‘clone’ is focussed upon her and yet the first vision she has is when her ‘clone’ attacks some tourists. How/why was she focussed upon Annie in that moment?

The arc’s final major failing is, as I mentioned, with focussing upon Annie at the expense of her parents.

I thought given how Houser’s opening arc was more evenly divided between thee leads and then we got an Annie centric arc and then a Peter/MJ centric issue that we’d wrap up with another arc given over to all of them. But it’s still more Annie’s show than anyone else’s.

Yes we get some inner thoughts from MJ in two issues and a bit more than that from Peter. But it’s mostly there to spice up the scenes they occur in. They offer little insight into the thoughts and feelings of the elder Parkers and they are totally drowned out in comparison to Annie’s inner thoughts.

This is sad because the book isn’t supposed to be about Annie but the family as a whole.

But Houser’s approach in this arc tries to strike this weird arrangement wherein the scheme at play is about the X-Men, but the plot is focussed upon Annie’s side role within that plot, but also tries to give time over to Peter and MJ as severely beta leads to Annie.

And it consequently renders the arc as neither an X-Men story, nor a Parker family story and a weaksauce Annie story.

It’s like this arc is ‘Rosencrantz and Guildenstern Are Dead’ but if Rosencrantz got much more focus than Guildenstern....but then their story is a fleshed out side story in like Macbeth instead of Hamlet so they’ve got little reason to actually be involved in the central conflict but are anyway.

It’s such a weird creative choice.

Now I’ll still go to bat for Houser, and still argue she should do more Spider-Man work. Her problems on this book nevertheless show me she gets these characters. But I think now the series is wrapped up it’s fair to say she got the premise of Renew Your Vows but let her preference to write for Annie (the character who’s been around for less than 5 years and who as a teen is practically a blank slate) compromise the job she was assigned to do. Because as I said, it’s not like it’s just this arc. Annie got a lot of focus in every issue under Houser sans issue #19.

Other smaller problems with the arc include:

-          Annie’s dream might’ve been a something of a rip-off of ‘Fearful Symmetry’, an early episode of ‘Justice League Unlimited’ in which Supergirl witnesses the actions of her murderous clone during her dreams.

-          It’s made seriously unclear what Annie’s ‘clone’ did t the tourists she attacked or indeed why she attacked them at all

-          Annie’s ‘clone’ has an okay design but it becomes rather banal when you see it repeated with the other Parker ‘clones’

-          The names for the ‘clones’ are rather over complicated and dull. They do make a nice joke or two out of this though

-          There was little point in having Normie grow six arms beyond cheap tension and a dash of fanservice

-          The climax had some nice jokes about how Peter hated their family car, but it seemed out of place in context and also I find it hard to believe Peter would go quite as far as he did in wrecking the thing

-          The final moments of the arc and series as a whole feel very pat and uninspired. Like Houser had to wrap it up for the sake of wrapping it up because they needed to move onto the next thing

-          The art was a bit sketchy and felt unfinished

My kneejerk reaction was to give this a C- but looking back I gave the last major arc that too and that was definitely better than this.

So I guess...D+I hate sending this series off with that grade but it is what it is.

Hopefully Spider-Girls will be an improvement

P.S. I also just remembered Wolverine referenced Hank McCoy but...didn’t he die back in like issue #6 or 7? wtf

#RYV Thoughts #annie may parker #Annie-may parker #spiderling #Spider-Man #Peter Parker #spinneret #mjwatsonedit #MJ Watson #mary jane watson #Mary Jane Watson Parker #X-Men #Clone Saga #wolverine #jody houser #Mister Sinister

[same-sunsets]

Short Story Submission: Ophidia

“Ophidia”

The cold air ripped across the beach like a wraith lashing at exposed skin. Cold Harbor lived up to its name most days, but today especially so. The black waves slammed into the coast sending up a thick spray. Dr. Reid Clark stood near the road away from the biting spray. The sheriff had called earlier that morning asking for consultation on a death. He didn't know how a researcher could assist on a homicide, or how the sheriff knew his name. However, the sheriff's tone left little room for argument. The body lay close to the shore, with tarps protecting the scene.  The deputies milled about near the body, while the coroner and sheriff spoke. Sheriff Day waved for Reid to approach from near the body. He began to walk down the embankment and into the sand, sudden anxiety gripping his chest. The sand was wet and cold, some it spilled into his shoe filling him with discomfort and doing little to ease his growing fear. He hated beaches, the sand seemed to never come out of his shoes, and the spray always coated his clothes in salt. 

“Morning, Dr.Clark now I know you’re not an expert on animal attacks, but I thought maybe you could give it a try,” called Sherif Day over the roar of the wind. Reid quickened his pace and came to stand behind the sheriff. 

“Good morning, sheriff. I can certainly do my best, but I’m more of a scientific historian. I’m sure your coroner knows much better than I.”

“Well Dr. Clark I’m rather new here myself and a little help can’t do much harm.” 

“I’ll do my best, but again, I'm sure I won't provide much insight.” Reid wished that the man would let him leave. 

“That’s all I’m asking for,” The sheriff lifted the tarp off the body exposing a shocking scene. The fishermen’s body was mangled beyond recognition. Beneath the sternum, nothing remained, except for ragged strips of flesh that hung from the eviscerated torso. Reid stifled the need to vomit, hot spit filling his mouth as he turned away from the horror. 

“What you think could have done it?” asked the sheriff. Reid composed himself, blinking away tears from the corners of his eyes. The crescendo of panic faded as he straightened his jacket, and began to repeatedly clench his hands. 

“Maybe a shark, but I've never seen one do that amount of damage around, especially this far in the northern hemisphere.” 

a large grey truck pulled over onto the embankment near Reid’s small purple beetle. Its lights flicked off and a man climbed out of the truck. He was short and somewhat heavier set. He began down the embankment, stumbling in the sand. He wore an old flannel shirt over a once-white shirt. His stocking cap was torn and ragged in places giving him a disheveled look. This was compounded by the unkempt hair and beard that whipped about in the frigid gusts. 

“Mornin’, Sheriff,” called the man as he approached the scene.

“Paul, this is Dr. Clark. He’s going to be helping out also,” said the sheriff. Paul grasped Reid’s hand and gave it a firm shake.

“Nice to meet you, Dr. Clark.”

“Paul is a fisherman from down in Port Royale since we’re so close I asked him to drive up and give it a look, same as you.” Paul walked closer to the mangled hunk of flesh, wincing as he saw the full extent of the injuries. 

“That's a pretty mean bite, I’m not sure what could do that, but God almighty I hope I never meet it.”

The trio stared at the body, uncertainty painting their faces with a tinge of fear. 

“I’m going back into town guys, I'll let the Coroner and his men finish up. I’d appreciate it if you two could think about what could've done it and both meet with me in town later.”

“Would this afternoon be all right for you two? I'll be back around five,” asked Paul, glancing from the sheriff to Reid. Reid nodded but continued to wish that they would let him simply leave. 

“Sounds like a plan, see both of you later. Just come on down to the station and ask for me, Cindy’ll tell me you're there.”

As the three began to walk up the sandy hill a wave crashed hard into the beach sending up a chilling spray. Reid jumped, the cold surprising him. He turned, facing the ocean and thunder echoed as swells and black clouds writhed on the horizon. He glanced back at the poor soul that lay on the beach, but something then caught Reid’s eye. A piece of coral had washed ashore. It was discolored, a strange green spine jutting from the side of the tendrilled mass of white spines. He walked toward the fragment, lifting it from the sea. The coral had grown up around the green plate-like thing. He took the strange fragment and carried it with him to the road. 

“Hey Paul, you ever seen anything like this before?” He said handing the coral to him. 

“Oh yeah, I'm not sure what the thing is but every so often one will wash ashore. It’s funny that kind of coral isn't supposed to live around here. At least not near shore, it's from way down deep.”

“Yeah, that is funny… , oh thanks for the help.” Reid then took the piece of coral and walked to his car. He placed the coral on the passenger floorboard, on an old-college t-shirt. The car was a welcome respite from the frigid wind. He stared again at the odd coral formation puzzled by the mysterious origin. He drove into town, rain falling with a gentle patter against the windshield, the streams racing along the glass. The slate gray sky blanketed the world in a dreamlike monochrome. 

He drove into the small fishing town of Ophidian Bay. The town was small, home to only two thousand or so. The town had known better times. Once a hub for fishermen, now little commerce remained. Dr. Clark initially came to the bay in search of why the town had failed. The Smithsonian tasked him with discovering the cause for a piece on North American fishing. So far, he was uncertain why many of the fishermen abandoned the region. Ophidian Bay was well known for whaling during the first half of the century, but a series of terrible storms had ravaged the area. This caused the whalers to leave, but the fishermen left with them. Reid asked around the town for weeks, but everyone he met was tight-lipped on the subject. The behavior perplexed him, it seemed to only occur in Ophidian Bay. The fishermen forty miles south, in Port Royale, were quite friendly and answered his questions without evasion. However, this spawned another mystery. Why was Ophidian Bay struggling, while their southern neighbors flourished? Port Royale expanded in the past century from a minuscule village to one of the most frequented stops along the northwestern coast. 

Dr. Clark drove through the town, past the few remaining stores lining the main street. He took a left past the ancient bar lovingly called The Broken Oar. He continued down the aged, pockmarked road until he arrived at the only hotel in town. The decrepit structure seemed to lean with each gust of wind, the paint cracked and peeling everywhere. The shutters, what remained of them, hung loosely from the windows broken and flapped in the breeze. From its architecture, it appeared that it once was quite beautiful. He found it haunting it's lost beauty hung to the building like a burial shroud. Past decadence revealed itself in strange ways. His favorite was the massive chandelier in the lobby with string lights thrown about it as the wiring failed. The entire town mirrored this feeling. Once beautiful things now forgotten. 

As he gathered his things, standing in the overgrown parking lot rain continued to form an oppressive wreath of grey. In his hands, the sharp coral felt cool and wet. The emerald plate seemed to shimmer and warp in the light. He passed through the cavernous lobby, climbed the stairs, walked down the long hall of the second floor, and arrived at room 33. His door swung open, moaning as it went. The lights did little to illuminate the room, He had found that dim and grey was the go-to for the small fishing hamlet. Reid lay on the bed, thinking of the events from the beach, he still felt the man’s grey lifeless eyes staring up into him.

***

The fragment of coral rested on the small worn dresser in the corner of the room. For the past two hours Reid, researched everything he thought held relevance to the attack, and coral. The horrific wounds did not match shark attacks. While many sharks, including some quite large ones, did reside within the waters, none left wounds similar to those of the fisherman. That which had shorn the man in two left strange round indentations along what remained of the sternum. Reid still could not drive out the gruesome image from his mind. The coral he discovered belonged to a species that resided in the dark someone thousand meters below the surface. Reid could not fathom how such a sample had risen up from the depths. 

Perhaps it’s unrelated, I may just be grasping at straws, thought Reid, as he stared at the mysterious tangle of coral. The pale white coral appeared unremarkable, but the strange, angled plate still shone with that shifting, emerald light, that seemed to writhe and dance in the light. While the color and strange optical behavior appeared completely foreign, he felt some familiarity with the shape of the object. Reid reached into his bag, sifting through the contents. Finally, he found the pocket knife at the bottom. He pulled it free and flipped out the blade. Reid wedged the blade between a small gap in the coral and the mysterious plate. After a few minutes of prying, and some erratic stabbing, pieces of broken coral fell to the floor. Now freed from the coral prison, he saw the true shape of the thing.  The diamond shape was odd, and soon exposed the true nature of the object. While unlike any scale he had seen before, he recognized the sloped round edges that tapered into points. He set the scale back on the dresser and lay on the bed more confused than before. He rested his eyes and slowed his thoughts, letting sleep take him. 

Reid awoke two hours later unsure of the time. The eternal grey, of Ophidian Bay, prevented any determination of the time of day. He grabbed his phone from the nightstand, checking the time. He found two missed calls and a voicemail from the sheriff. He pulled up the voicemail and listened. 

“Dr. Reid, Uh.. you know maybe you were right. This was a bit of an overstep to ask you to help. I could tell that you seemed uncomfortable and you know I think it’s best if my department pursues this case on our own from here on out. Hope you understand. I just think it’ll be safer.” 

“Weird,” mumbled Reid to himself. This morning the sheriff ignored all his many protests, adamant on needing Reid’s help. The gruff man did not feel like the type to change his mind seemingly on a whim. His mind began to spin, what happened between this morning and now. Something felt wrong, he could feel his face growing warm, as the hairs along his neck stood on end. A chill ran down his arm, as Reid became aware that it felt as though he were being watched. The room felt still, but it was as though there was some shift in the air. He jumped out of bed grabbing his keys, dashing through the door. He left his room and bounded through the hotel towards his car, every few steps glancing about wildly. A blast of frigid Ophidian Bay air ripped at him as Reid stepped out into the crisp salty air. He climbed into the car, locking the door behind him. The heat began to warm him, melting away the cold from his joints. From the corner of his eye, a single curtain swung back into place in a second-floor window. Reid pulled out from the parking lot and began driving toward the police station, his heart pounding in his chest.

***

#short story #fiction #mystery #samesunsets