#A line between act and real

[teratomatica]

you always land on all fours

[cloudinal]

Happy birthday to the Deep Rivers Society guy!

[brionysea]

i love this image

jason carver: *saying people (HOPPER) died horribly so that his team could win a high school sports game*

dustin: what. the fuck

mike: im going to kill him for real

max: if someone brings up my dead brother's fake death story one more time im going to sink through the floor and become one with the concrete

lucas, not pictured: no problems here 👍

everyone else in the room who has no idea what the actual circumstances behind all those horrible deaths were: wow this boy is so wise and true. go sportsball!

[shallowseeker]

There's feelings here: a LOT of mixed ones.

I am also always talking about the process of Rowena THAWING, because that's what she's been doing all this time, in so many ways. Here, I think it's neat that she's juxtaposed with the snowy landscape, and she's drinking something warm.

She's pensive, because she's resonating with the loss. After all, she held onto Oskar well beyond his time, just as Crowley held onto Gavin well beyond his.

But I think too that Rowena understands Gavin on a fundamental level. Gavin was actively prevented from learning and betterment, and his instinct/mode was to RUN AWAY to America.

Gavin even left his loved one (Fiona) behind! Rowena did the same, in pursuit of a better life. She's probably thinking about how her life might be different if she could go back. Hundreds upon hundreds of choices are flashing through her mind. Could she be like Gavin? Given the choice, would she go back to Fergus, even if they'd have died in the much together?

Would it be right? Would it have even made a difference?

But Crowley assumes the worst. "A low, even for you."

Wow. Yeah. I'd be mad, too.

He's the King of Hell, and in so many ways, she made him into what he is, but he's also responsible for SO MUCH of his own behavior. He's certainly also King of Never Considering his own Wrongs (not even when Dean practically asks for a verbal apology in season 10's Inside Man).

Crowley tends to, as a rule, consider only his own hurts and emotions...

...and Rowena is more than happy to stoke those short-sighted hurts.

Ah, yes.

This scene where Crowley happily goads Rowena to kill the SON she loves more than Crowley. It's the Luciferian mate to the finale of 13x23, where Lucifer happily watches as he goads Jack to kill the FATHER he loves more than Lucifer.

All the while pretending that he's giving a "fair choice." Crowley says, "It's only cruel if you go through with it," as Lucifer coos, "You choose."

How messy!

What Crowley doesn't know is that for her, it's very likely both. Rowena is the queen of sundering her own feelings, the queen of dissociation.

This is just another loss in her long life of losses.

But it's a loss with a silver lining. A warped cry for empathy... and a cruel one.

Anyway, it's here that Rowena throws her drink to the ground and the sound of it doesn't feel warm. It feels SCALDING. She literally pours out any WARMTH she might've been feeling and prepares to go cold.

Because for Crowley to pretend their scenarios are in ANY WAY equal... is laughable.

This is revenge.

(Aside// How neat it is that Lily Sunder is a foil to Rowena here! Because later, she chooses to save Jack Kline despite Castiel having a hand in May's death..)

///

And so, Crowley is left staring. He doesn't move against her but seems to just... sit there, in stunned silence.

Empathy for his mother had never occurred to him, at least not when it came to Oskar.

As usual, he was too wrapped in in the volatility of his own emotions all this time.

//

"Feel what I feel, see what I see" indeed.

(((script via the blessed @spnscripthunt-inactive as always.))

[koterkot]

i'm probably a system but i have a job so idrc about that rn

[freakinator]

yknow with tthe whole cc!kab rping an actual character rather than just being herself with extra steps thing i should prbs talk about her character in a different way compared to other lsers cause it feels wrong to talk about her in the same way that i do for the others when she plays in such a significantly different way

[blazingblorbos]

The 3rd act of that Saurian Companion event (the one with Milray the little Tepetlisaur) was fucking amazing

[ineffablydelighted]

[My humble contribution to the meme mania surrounding @neil-gaiman having pyromaniac tendencies]

Featuring: the reference you SHOULD understand, it was not that long ago, folks 😂😂😂

Also featuring: me, late to the party but here I am with my zero to none Photoshop abilities

(Hi, by the way 👋)

Just came by to drop this and disappear as quickly as I popped.

[wundrousarts]

I was going to save this until I reread Hollowpox, but that last ask reminded me that I should share this here, so I present:

Musings on Maud: Why is she considered so powerful, how does this affect her dynamic with Squall, and why is he so scared of her?

(Bonus: How can I connect it to Silverborn?)

Two disclaimers: I haven't reread Hollowpox in ages, so if there's anything that could prove or disprove stuff in this post, send it my way. Honestly send any discussion my way. I love discussing theories. Second, this was originally a reply to a Reddit comment on a post, to which you can find here. The comment discussed Maud being a signatory for a Squall safeguard, so since this comment is copied verbatim, it references that.

---

If it’s not outright stated, it’s at least heavily implied that Squall helped create/build up the Republic. It’s only existed for about 90 years, and Squall has been exiled for about 100. He mentions in Hollowpox how he knows that Maud’s plan is to take over Nevermoor/The Free State, because the Republic took over the other states in the realm and he “helped them do it.” However, unless Maud is immortal and also 100 years old, she is not the one who started the Republic from the side of the Republic. Also, no clue how long it’s been around, but Squall Industries has likely been around for awhile as well (this is how he gets his connections and power in the Republic), with Squall just constantly grandfathering himself in with the vampire trick or something.

Interestingly, Squall says two things in this scene (Chapter 34 of Hollowpox) that stick out to me:

“I made the so-called Hollowpox,” he raised his voice above hers, “because I was asked to. Because I was compensated handsomely for it. And because when the most powerful person in the realm asks for a favour, even I don’t refuse.

And

“But you’re a Wundersmith.” Morrigan was utterly baffled. “Why can’t you just stop them if they’re such a problem? I don’t understand!” “Do you THINK I HAVEN’T—“ Squall shouted, then cut himself off abruptly.

He also mentions how the Hollowpox was initially meant for the Republic, but Maud snuck in an infected otter across the border into Nevermoor— “That was never part of our deal.”

There’s definitely a business relationship between the two of them of likely consistent deals, one favor for another, quid pro quo. However, we also see that Squall can’t really go against her, something he seems to have tried before. Two chapters before this scene (Chapter 32), has this moment:

“Yes, shush. Maud said the Wintersea Party might help if there was a squid crow po.” “Quid pro quo?” “Right, one of those. She said they won’t do something for nothing, but if we could convince Prime Minister Steed to meet with her, just to have a conversation, then she would try to convince her party to share their cure.”

While it could be easily explained as part of her job, Maud seems to get most of her power and do things by extracting deals from other people. Maybe she’s knackless, or maybe she has some sort of connection to Puppeteering or a knack related to that. Not Mesmerism, but something that allows her to be persuasive, manipulative, convince people of things, and get them to do what she wants. A sort of parallel or companion to Squall’s connection with Puppeteering that we see in Wundersmith.

It’s interesting that when we first meet Maud, there is this exchange directly after she tells Mog that the Wintersea Republic would only agree to help the Free State if there was some sort of deal:

“But they’re your party,” Morrigan pointed out. “Aren’t you the one with the power? Maud stiffened slightly and cast her a wary, calculating look.

And then soon later she says this:

“Even if I could persuade my party to do the right thing – and I’m not saying I won’t try – there’s no guarantee Steed and his government would come to the table.”

The whole exchange seems very manipulative, like, “oh, I’d LOVE to talk and get this figured out, but I can’t…” There’s a big focus on conversation. Maud is wary when Mog mentions power— she thinks she means a magical power, something secret that gives her an advantage, when really she just means politically— so I wonder if she was worried for a moment that Mog realized she had some sort of coercive power.

I wonder what exactly her power is that makes Squall so scared of her, and why it possibly makes it so that he can’t fight make and overthrow her. Aside from their business relationship, which allows Squall access to Wunder and being a Wundersmith, there’s this other layer as well.

As for safeguard: I don’t know if Maud would be a signatory for a Squall safeguard, as that seems to just be for Wunsoc students, but I think that whatever their deal is and whatever her power is allows her to keep him in check. Jess said that we will learn more about safeguards in Silverborn, and I think it would be interesting if Mog learns more about them from Squall instead of Jupiter— and maybe it does end up being similar to whatever he has going on with Maud, who knows! I don’t really have any safeguard theories myself, but I will keep an eye out for what you add to your comment.

A Silverborn “silver” side note: A “silver tongue” means that someone is persuasive when they speak….. perhaps this idea, theme, power, etc. will be expanded upon in the future 🤔

[light-wrath-paradise]

Merry Christmas, Please Don't Call is super vague and as such it can be anything you want, which is why it's nothing, but if it's anything I gotta say it's definitely a BDEF Will song.

Perhaps even a BDEF Mike song.

Could be BDEF Charlie if you squint.

[thereareeyesinsidethetrees]

heart of glass is a ford song but specifically the cover by mini mansions

[izzy-b-hands]

Didn't think the 1989 version of The Woman In Black would be scarier than the one with Dan Radcliffe in it

I was Wrong flkjdsafkldsja, but I'm delighted to have been wrong. I had missed getting scared with more practical effects/careful timing of things in the background of shots appearing and disappearing, and this one scratches that itch well.

[charmcoindied]

the one continuous shot thing makes it feel like a one act play which is such an amazing choice. it's so intimate and engaging i loved the camerawork so much in this movie

[humanafterall]

the kind of love that started when you were kids. the kind of love that wasn't said outright but was found in every moment you shared together. the kind of love that meant no matter what you were fighting the same fight side by side even when it felt like there was no way out alive. the kind of love that unshackled a mind from decades of corruption and pain because he saw you. And they fucking put it in a marvel movie

[tyrantisterror]

Fuck it, I didn't want to make a post on this but it's bugging the hell out of me so let's exorcize the thought.

Lilo and Stitch is an extremely good children's movie. I've been working at a daycare for over five years now, and out of all the children's movies I've shown to an auidence of twenty or so school-age kids (i.e. between the ages of 5 and 12), the only movie that's held their attention as well as Lilo and Stitch is The Emperor's New Groove, and the only one that's held it better is An American Tail. Of those three, Lilo and Stitch has won the vote of "what movie we will watch" the most. It not only entertains kids, but emotionally captivates them from start to finish, because it very thoroughly understands how to engage children on their level. It's a smart, tightly written children's movie.

The feat of story-telling genius it pulls of lies in its ability to reach both where children's imaginations want to go and where their lived real-world experiences lie - most children's movies focus on one or the other, but Lilo and Stitch dives deep into both. On the imagination side, there's Stitch's whole plotline of being a little alien monster being chased by other weirdo aliens onto earth because they want to stop him from running amok and causing havoc (which, of course, happens anyway in fun cartoony comedy/action spectacle). On the real-world side, you have Lilo's plotline of being a troubled little girl who has an abundance of very real problems that, like an actual child, she struggles to comprehend and deal with, as well as the many adults in her life that care about her to some degree but all struggle to fully understand her. Kids want to be Stitch and run amok and cause cartoony havoc. Kids, even the least-troubled kids, relate to Lilo, because all of them have been in a similar situation as her at least once in their lives.

Balancing these two very different stories, with very different tones and scopes to their respective conflicts, is a hard writing task, but Lilo and Stitch manages to do it in a way that seems effortless with one very powerful trick. The two plots are direct mirrors to each other, complete with the characters involved in each having foils in the respective plot. To break it down:

Stitch, the wild and destructive alien gremlin who everyone has labeled as a crime against existence, is Lilo, the troubled young girl who's viewed as a "problem child" by all the adults in her life. In both plotlines, Stitch and Lilo are facing the threat of being "taken away" from the life they know because they act out, and in both plotlines, we see that this is an unfathomably cruel thing to do to them and will not actually solve the problems they have.

Dr. Jumbaa, the mad scientist who made Stitch because making monsters is what mad scientists do, and who had no intentions of ever being nurturing or parental to anything or anyone in his life, is Nani, Lilo's older sister whose parents died when she was young and now is forced to act as a parental substitute despite not being mentally or emotionally prepared for that responsibility yet. Both Dr. Jumbaa and Nani are trying to get their respective wild children in line with what society wants them to be, and both are struggling hard with it because they in turn have a lot of growing to do before they can actually accomplish that.

Pleakley, the nebbish alien bureaucrat who ends up being assigned to help Dr. Jumbaa despite being mostly uninvolved in creating the whole Stitch situation, is David, the nice but mostly ineffectual guy who's crushing on Nani and wants to help her but doesn't really have much he can provide except emotional support. Ultimately Pleakley and David prove that said emotional support is a lot more helpful than it seems on the surface, as they give Jumbaa and Nani respectively a lot of the pushes they need to become better in their parental roles.

The Grand Councilwoman, who runs the society of aliens that is trying to banish Stitch forever for his crime of existing, is Cobra Bubbles, the Child Protective Services agent who is in charge of deciding whether or not Lilo needs to be taken away from her home forever for, ostensibly, her own good. Both are well-intentioned and stern, with a desire to follow the rules of society and do what procedure says is the most humane thing to do in this situation, but both lack the understanding of Stitch/Lilo's situation to actually help until the end of the movie.

Finally, we have Captain Gantu, the enforcer of the Galactic Council who is a mean, aggressive, sadistic brute but is viewed as a "good guy" by society because he plays by its rules (well, when he knows can't get away with breaking them, anyway), who is the counterpart of Myrtle, the mean, aggressive, sadistic schoolyard bully who is viewed as a "good kid" by other adults because she plays by the rules they established (well, when she knows she can't get away with breaking them, anyway). Both Gantu and Myrtle are, in truth, much nastier in temperament than Stitch and Lilo, but are better at hiding it in front of others and so get away with it, and often make Stitch and Lilo look worse in the eyes of others by provoking them to violence and then playing the victim about it - in fact, both even have the same line, "Does this look infected to you?", which they say after goading their respective wild-child victims into biting them.

The symmetry of these two plotlines allows them to actually feed into each other and build each other up instead of fighting each other for screentime. The fantastical nature of Stitch's plot adds whimsy to the far more realistic problems that Lilo faces so they don't get too heavy for the children in the audience, while the very real struggles of Lilo in her plotline bleed over into Stitch's plot and make both very emotionally poignant. When both plotlines hit their shared climax, they reach children on a emotional level few other movies can match - the terror of Lilo being taken away from her family, and the emotional complexity of that problem (Cobra Bubbles pointing to Lilo's ruined house and shouting at Nani, "IS THIS WHAT LILO NEEDS?" is so starkly real and heart-breaking), is matched and echoed in the visual splendor and mania of the spectacular no-way-this-is-going-to-work chase scene where Stitch, Nani, Jumbaa, and Pleakley all team up to rescue Lilo from Gantu.

The arcs of the characters all more or less line up. Nani confronts her own failures to be a guardian and parent to Lilo and resolves to do better and learn from her mistakes. Jumbaa, who through most of the movie protests to be evil and uncaring, nonetheless comes to not only care for Pleakley, but more importantly for Stitch too, and ends up assuming the role he never wanted but nonetheless forced himself into from the start: he is Stitch's family. Hell, the moment that reveals this is really clever - Stitch goes out into the wilderness to try and re-enact a scene from a storybook of The Ugly Duckling, hoping, in a very childish way, that his family will show up and love him. Jumbaa arrives and, coldly but not particularly cruelly, tells Stitch that he has no family - that Stitch wasn't born, but created in a lab by Jumbaa himself. But in that moment Jumbaa is proving himself wrong - because Stitch's creator, his parent, DID show up, and did exactly what happens in the story by telling Stitch the truth of what he is. It can't be a surprise, then, that later in the movie Jumbaa ends up deciding to side with Stitch, to help him save Lilo, and to stay on Earth with his child.

David and Pleakley go from being pushed away by Nani and Jumbaa respectively to essentially becoming their partners in the family. The Grand Councilwoman and Cobra Bubbles finally see how cruel their initial solution of isolating Stitch and Lilo from their family would be, and bend the rules they are supposed to enforce to protect and support this weird found family instead of breaking it apart. Gantu and Myrtle are recognized for the assholes they are and face comeuppance in the form of comedic slapstick pratfalls. And most importantly, Stitch and Lilo both get the emotional support and understanding they need to thrive and live happy lives as children should be allowed to do. It's like poetry, it rhymes.

It's a very precise, smartly written movie. It's a delicate balancing act of tone and emotions, with a very strong theme about the need for family and understanding that hits children in their hearts and imaginations. It's extremely well structured.

...

So it'd be kind of colossally fucking stupid to remake it and start fucking around with the core structure of it, chopping out pieces and completely altering others, with no real purpose beyond "Well, the executives thought it might be better if we did this."

[creature-once-removed]

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