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smaidjor · 4 years ago

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and i pay for my place by the ring (Chapter 1)

Hey guys! Welcome to another angsty fic by yours truly, provider of flower husbands pain.

Some things you should know before you jump into this:

1. This is a companion fic to my fic "i know they're losing". You can understand it without having read the other one, since it's the same story from two different POVs but I think the overall experience is better with both!

2. The overall title of each fic is from the mitski song I bet on losing dogs. Chapter titles are from the Last Goodbye from the Hobbit films.

3. There is a lot of lord of the rings lore in both fics, and I mean a lot. You may be kinda confused if you've never read tolkien's works. It will all be explained eventually, though!

4. With the fact that it's a companion fic and a lot of people came here from Jimmy's POV in mind- this is a lot heavier of a fic. The content warnings are heavier and the angst is more intense. You have been warned.

(Obligatory disclaimer that this is about characters, not ccs, and do not ship real people, as always!)

Chapter Title: to these memories i will hold

Chapter Wordcount: 4000

Content warnings: suicidal thoughts, self-esteem issues, panic attacks, past death, very frank discussion of death. (In general, if suicide or death are triggering topics for you, this is probably not the fic for you. Stay safe and take care of yourself!)

AO3

Actual fic under the cut:

Scott didn’t expect to survive 3rd life. No one did, he thinks, but especially not him. Clever, clever Scott, who knew his fate too well for his own good. He could have chosen his allies carefully, he knows, could have played on their emotions to make them think he was loyal until the moment he turned on them to win. He knew who the strongest factions and warriors were, the most cunning and intelligent participants in this death game they were forced into. Instead, he chose Jimmy. Sweet, dopey Jimmy, who had the personality of a golden retriever and only a handful of braincells at any given time. Jimmy, who was worth more than all the stars in the sky to him. Who made him feel alive . No, Scott didn’t expect to win. Not when it was Jimmy by his side- when it was Jimmy by his side, winning didn’t matter. All that mattered was Jimmy’s blush when Scott pressed a kiss to his cheek, the way his hair looked like gold in the sunlight and his smile lit up Scott’s whole world.

After Jimmy died, Scott stopped wanting to survive 3rd life. What was the point? The stars can shine on without the sun, but all life on Earth would wither and die. The same happened to Scott’s broken, bitter heart, he found. Jimmy was the first person in years to love him truly, wholly, with no strings attached; it was terrifying how quickly Scott fell for the first person to look at him and not expect him to be anything but what he was. Scott’s world, which used to be mountain peaks and endless blue sky, narrowed to warm brown eyes and a grin like sunshine quicker than he could comprehend. Jimmy, Jimmy, Jimmy, it all came back to him. What was Scott without Jimmy? The unwanted twin, the unloved child, the un-elven elf. Because who cared if he was a good shot with a bow or good at organizing teams or building pretty little houses? He would always be second-born, second-best.

It was fitting, really, that when Scott died, he died alone. Some might find it ironic that the man who knew enough people to fill the roster of a championship held by a god every month died without a single person to witness it save his enemies, but in the end, it was always going to be like this, Scott knew. He hadn’t been there to see Jimmy die, he hadn’t been able to hold him in his final moments and soothe the agony of death. Maybe this was his punishment. He wouldn’t be surprised; the gods of this world did not smile on him and never would. Why should they, when he had failed the only person who had ever found him good enough?

When he woke up in Rivendell, he was almost disappointed. Almost. He considered ditching the rest of the elves, up and leaving to somewhere that didn’t make it feel like the noose of immortality was slowly tightening around his neck. If nothing else, Noxite would let him crash at the MCC server for a bit until he found somewhere to go. And yet, in the end, Scott’s stubborn sense of duty won out. The elves needed a ruler. Xornoth had disappeared to god knows where, and though they had been braver, wiser, better in every way, Scott was the one who had stayed. Who was willing to take up the crown that weighed so heavily on its bearers. So Scott, who no one ever expected to rule, took up the burden of leadership.

Now, he tries and fails to get out of bed and wonders what the point of that even was. He’s fading, and worse than that, he’s fading over a human. His ancestors are probably rolling in their graves. Rivendell will be leaderless within a decade, and this time there are no heirs to take control. Not even a ‘spare’ like Scott used to be. What a mess.

There are footsteps on the stairs. They’re unfamiliar, meaning they could be a threat, but he’s too tired to bother sitting up. If he dies, well- it’s inevitable, really, in the same way watching the mortals he loves dies is.

The person comes around the corner, and Scott realizes with no joy that he won’t be dying today after all. Katherine looks both curious and concerned, but her voice tilts towards the latter when she asks “Scott?” and then, more hesitantly “Lord Smajor?”

He blinks at her, exhausted. “Hi, Katherine.”

“I came to talk to you about some empires stuff, but, I mean, if this is a bad time, I can come back later…?” She sounds so thrown off by his state that Scott almost feels bad.

Whatever it is, it must be important if she’s come all the way here, though, so he gestures her to a chair. “No, no, stay. I can muster the energy for a meeting, just don’t ask me to get up.”

Katherine takes the seat. “I came to talk about the corruption on the server, but- are you okay? Are you sick?”

Nothing about the question is funny in any way, but Scott laughs regardless. “In a way, yes.”

“What do you mean?”

“Take my hand.” He offers it out, knowing the unnatural cold is unsettling no matter if you’re elven or not. Katherine does as he asks, the concern on her face only growing as she grips his icy hand.

“Elves don’t get sick like mortals do,” Scott explains. “Nor do we die of old age. But we get...heartsickness, you might call it. We call it fading in our tongue- the cold hands are a symptom of that. Our souls are fragile, and the grief of the mortal plane can be overwhelming. If an elf is too struck by it, they fade away and die.” The words taste bitter on his tongue, a frank reminder of the slow and painful death that awaits him.

Katherine gasps, and Scott knows he’s alarmed her.

He goes on, though. “It usually happens to old elves, world-weary.” Ironic, it’s ironic that he’s saying that as a young elf explaining his own death. “Those who are tired of existence. But any elf who has experienced enough grief is at risk.”

Her face is nothing short of horrified. “You’re- fading? But doesn’t it usually happen to old elves? Wait, are you old?”

“I’m fifty-five.”

“Is that old?”

He has to laugh. “Fifty is the elven equivalent of eighteen for humans, the age of maturity.” Though he feels so much older than that, both in elven terms and in human.

“Oh.”

There’s a moment of silence, then, “How can you be so calm if you’re dying?”

“I’m tired, Katherine. The world tore me away from the people I loved, and..I’m tired of fighting it.” He’s so, so exhausted. So sick of having to claw and scrape and struggle for the barest scraps of happiness.

“Is there a way to reverse fading- to fix it?” Katherine sounds so hopeful that the question seems almost naive even though she’s far more capable of a ruler than he is. Naive in the affairs of elves, maybe, much as she’s intelligent in so many other ways.

Scott tries not to flinch at the innocent inquiry, thinking about the deaths from fading that he’s watched. “Technically, yes. If an elf recovers enough emotionally, it’s reversible. But whatever caused them to fade the first time can- and often does- cause it again.” And again, and again, until there’s nothing to be done but let them die , he finishes in his head.

Katherine nods, a look of determination overtaking the hope. “We’ll just have to reverse it, then.”

“That’s sweet, Katherine, but I’m dying.”

“No. You’re not going to die. Now come on, you can show me your empire while I fill you in on what’s happening on the rest of the continent.” She sounds so firm that he doesn’t dare disobey, though his exhaustion makes a fair effort at convincing him to. Will this really fix anything? Unlikely. But it’s worth it to try, if only to humor Katherine. At least this way she’ll have the comfort of having tried to save him when he inevitably fades away into nothing

Scott takes her hand, though it brings him little warmth, cold from her trek here. “Alright.” He swallows the bitter grief in his throat before it can seep into his words. “We can try.”

He leads Katherine around Rivendell, taking some pride in the way she oohs over the decor. If there’s one thing he can do right, it’s building. While some elven rulers might see it as below themselves to help build houses for their citizens, Scott finds building soothing. It’s one of the few skills he picked up during his time away that people really appreciate; no one wants to live in a shitty house.

As they walk, she also tells Scott about the demon, Xornoth. “The demon’s already visited a lot of people, I think. Gem and Shubble for sure, and Fwhip and Sausage. That’s not even mentioning the corruption that’s been spreading.”

If Scott said that the name Xornoth didn’t make him flinch, he would be lying to himself. It’s not your sibling , he tells himself. It’s just a coincidence .

It’s through the virtue of years of lying that his voice comes out steady. “There’s corruption in Rivendell too. Likely Xornoth’s work. And given that Jimmy still has Vilya-” his heart doesn’t ache when he says Jimmy’s name, it doesn’t- “well, I haven’t been able to do much.”

“Vilya?” Katherine asks.

“A ring of power. My inheritance from the Noldor.”

“Why does Jimmy have it?”

He doesn’t answer. He won’t- can’t talk about Jimmy, not without remembering how he looked with an arrow through his throat, bright smile gone and face frozen in fear. How does he explain how much Jimmy meant to him? How much he’s now giving up, knowing he’ll have to lose it one way or another?

Katherine drops the topic, seemingly sensing that she’s stumbled on something sensitive. When she has to go home, she leaves with a friendly goodbye and a promise to visit, and Scott believes neither. Who would put the effort into visiting him? He’s not a good friend, he’s not a good king, and god knows he’s not a good husband. In fact, he’s actively avoiding his husband. He may have kept the pufferfish Jimmy gave him, but that doesn’t mean anything. He can’t fall in love with Jimmy again. Loving Jimmy will kill him. (Scott ignores the small voice at the back of his head that whispers that he’s still in love with Jimmy and it’s already killing him just as he always knew it would.)

To his surprise, Katherine does come back next week, and the week after that. He’s ashamed to admit it, but there’s some part of him that’s pathetically grateful when she shows up at his doorstep. It’s a chance to not be alone . Much as he dreads the day when she finally gives up on him, it’s nice that someone cares enough to try and save him from himself.

The third week, Katherine doesn’t show up. Instead, the footsteps on the stairs are familiar in a way that makes Scott’s heart twist painfully.

He takes a deep breath. “Hello, Jimmy.”

“How’d you know it was me?” Jimmy asks. Scott can tell he’s startled by the way his voice goes up, almost frightened.

Scott steels himself, taking a deep breath before rolling over to face his ex-husband. “Do you think I could ever forget the sound of your footsteps?” He forces himself to not get distracted staring at Jimmy, instead going on before Jimmy can open his mouth. “What are you doing here?”

“Katherine asked me to visit, I’m not sure why, but...here I am. Say, why is she visiting every week?” Jimmy’s so curious. So naive, as always.

Scott laughs, bitter. “Katherine thinks she can save me.”

“Save you from what?”

Scott hears the concern in Jimmy’s words, and he can’t bring himself to break the news. It’s not as if it matters. It’s not as if Jimmy would care; he came here because of Katherine. Maybe he cared at the start of Empires, but Scott’s been nothing but rude to him since. There’s no reason for him to care. (He cares. Scott’s lying, like always. Jimmy cares and Scott knows it.)

“Save you from what?” Jimmy asks again, more insistently.

He refuses to say it. He needs Jimmy out, out of his room and out of his life before he does something he’ll regret. “You should go.” To prove his point, he tries to stand, finding himself too dizzy to quite pull it off. Jimmy rushes to catch him, and Scott hates himself just a little for how that still gives him a warm feeling.

“Scott, what is going on?”

He brushes Jimmy off, letting go of his arm and hurrying for the stairs. He can’t let Jimmy work his way into his heart again; Scott won’t be strong enough to let him go this time.

“Scott, seriously! Answer me, are you okay? What’s happening?” Jimmy sounds almost angry, but Scott can hear the distress under it and that’s what breaks him.

“I’m fading, alright?” His voice nearly breaks at the concern on Jimmy’s face when he whirls to face him. “I’m dying, now leave me alone!”

Jimmy sputters, seemingly caught off guard. “You- what- but elves don’t die, right?”

“We do. From poison, from swords-” Scott thinks back to third life- “from arrows through the throat, from grief.” The words come out more raw than he intends, leaving him scrambling to recover his composure. He takes a deep breath in and out, forcing his voice to steady again. “Come on. If you’re not going to leave, I might as well show you around.”

“You can’t just drop something like that on a man, you know!” Jimmy calls after him, although Scott can hear his footsteps following as well.

“You did ask, to be fair.” Scott replies. His voice is calm. He’s fine.

“I guess so, but- but still, dude.”

Scott pushes open the side door, holding it for Jimmy. “Here.”

Jimmy nods and slips through the door. “Thank you.”

“Don’t mention it.”

Scott starts towards the bridges, intending to show Jimmy the enchanting tower and then the door. He doesn’t care about how fast he’s walking, Jimmy can keep up. He’s taller than Scott and probably has better balance at the moment too. Scott’s struggling not to fall, honestly, but his pride won’t let him go slower.

Jimmy breaks the awkward silence with the question Scott least wants to hear. “So, uh..are we going to talk about 3rd life?”

“No,” Scott says firmly.

“Why not? We need to talk about it some time-”

“I said no .” He can’t talk about it.

“It’s literally killing you to not talk about it!”

The words strike right at the raw wound of Jimmy’s death, and Scott freezes. Inhales. Exhales. Tries to keep calm.

“Tell me I’m wrong, Scott!” Jimmy cries. He sounds so upset, Scott’s heart aches. “I dare you, tell me I’m wrong! Tell me you never cared about me, tell me you didn’t bother to bury me, tell me it didn’t hurt even a little when I died! Tell me I was just stupid little Jimmy, a toy for an elf who’d live far beyond my lifespan! Tell me whatever, just tell me the truth! ”

Scott takes a deep breath. “Fine. You want to know what happened after you died?” He can’t think straight through the rage clouding his head, the desperate need to prove that Jimmy’s wrong , that Scott loved him so much it’s killing him. “You want to hear about me screaming until my throat went raw? You want to know that I kissed your face and sobbed and begged you to wake up, over and over until I couldn’t speak at all? You want to live with the knowledge that Grian had to physically pull me away from your body? Is that what you want to hear, Jimmy? ” His voice damn near breaks on his husband’s name, and Scott thanks the gods he stopped believing in a long time ago that it doesn’t.

“No,” Jimmy says. His voice is soft, gentle, almost as if Scott is a wounded animal that needs a delicate touch. “That’s not what I want to hear, not at all. I’d rather you be happy than love me.”

The words punch the air from Scott’s lungs, raw and soft and real. Scott is an excellent liar. Jimmy isn’t. Scott knows that Jimmy is telling the truth. What he doesn’t know is how to handle that level of devotion. He wonders again how Jimmy- sweet, genuine Jimmy who wears his heart on his sleeve and is hopelessly devoted to an elf who can’t be fully his- chose Scott of all people. Scott, who’s as bitter as Jimmy is sweet, who’s sarcastic and snarky and hasn’t been good enough for just about anything in his life. He certainly wasn’t good enough to save Jimmy, Scott thinks bitterly.

He shakes off the thought. “I buried you on the hill above our houses. I planted a poppy over your grave.”

“Oh.”

“Grian came over the next day. I didn’t want to see anyone who wasn’t you, but I let him in because I had to. He helped me do the straps on my armor and asked me if he could do anything else to make things easier. I told him to bury me next to you.”

“Did he?”

Scott almost laughs at the innocent question. “How would I know? Grian was honorable enough, though, loyal to his allies. I like to think he did.”

“He was a good guy,” Jimmy agrees. “A little bit bloodthirsty, I guess, but good. I don’t suppose he survived any better than the rest of us, though maybe being bloodthirsty helped.”

“Maybe.”

“Can I- can I ask you why you hate me so much now?” Jimmy’s tone is uncertain, hesitant and it hurts . “I mean, if you mourned me in third life and all.”

Scott looks away from his earnest gaze, but he can’t stop the truth slipping out. “I don’t hate you.”

“You don’t?” Jimmy asks, seemingly bewildered. “But you burned the pufferfish-”

“I didn’t. I kept it.” Scott doesn’t want to think about this, wants to say it even less. “I never hated you. I don’t think I’m capable of it.”

“Then why do you keep avoiding me?”

“I’ve been kind of busy dying,” Scott says wryly, unable to resist a bit of morbid humor at his own expense.

“Scott! That’s not funny!”

“It was a little funny.”

“No!”

Jimmy sounds genuinely distressed, and Scott drops the wry smile. “Jimmy, I’m an elf. I won’t live far beyond you, but only because I’ll fade without you.” It’s a simple statement. The truth, as much as he can give.

“So your solution is to isolate yourself and fade now?” Jimmy’s outrage is justifiable, but Scott just shrugs.

“It does sound stupid when you put it like that, doesn’t it?” It really does. “But I lost you once, and I don’t think I could bear it again.”

A hand lands on Scott’s arm, and he turns, startled. Jimmy doesn’t give him time to react, throwing his arms around Scott and pulling him close. Scott almost lets out a very undignified squeak at the sudden contact, though he slowly relaxes into Jimmy’s hold.

He should pull away. He shouldn’t give Jimmy false hope like this. But Jimmy is so warm , and Scott is so unbearably cold. Every fiber of his being is screaming that this is what’s right; screw Rivendell and obligations and too-heavy crowns, Jimmy is home to him. He’s warm for the first time in months, and the most heartbreaking part is that it can’t last. He can’t do this again.

He pulls away, ignoring the painful hope on Jimmy’s face. “I’m sorry, Jimmy.” For the first time all conversation, his voice well and truly wobbles. “I can’t. Not again.”

“But-”

Scott shakes his head. “Losing you will destroy me. We dared to love, and now all we can do now is lessen the pain when it all comes crashing down.” The words are like glass in his throat, but he forces them out anyways. They have to be said.

Jimmy’s silent, and it hurts more than if Jimmy had yelled at him.

“Goodbye, Jimmy,” Scott manages, turning away before Jimmy can see the way his face twists in pain. He makes his retreat as quickly as possible, stumbling and nearly taking a tumble just before he reaches the door. Unlike before, there’s no helpful ex-husband there to catch him, to make sure he’s alright and ask a million questions until Scott’s forced to admit that he’s not okay and hasn’t been in a long time.

He fumbles with the latch, hands shaking and vision blurring. Finally, it clicks, and Scott stumbles inside and slams the door shut before sliding to the ground. He won’t cry. He won’t . He doesn’t love Jimmy, he can’t love Jimmy anymore. Jimmy was never meant to be his. They might have carved out a few precious moments, stolen them from the universe and giggled like kids with their hands in the cookie jar as they kissed amongst the flowers, but those brief moments were all they were ever going to be allowed. It was always going to end this way, Scott tells himself. There’s no use crying over a mortal who will be dead in the blink of an eye to an elf. What would his parents say? That this was typical of him, probably. Typical Scott, always wanting what he would never be able to have. Typical, predictable Scott, loving a mortal who shouldn’t be worth anything to him.

He’s crying. There are tears spotting his cyan robes, splashing onto the wood floors he worked so hard on. Scott rubs at his eyes furiously, but that only makes it worse, sobs shuddering through him and leaving him hollow and aching. He’s so cold . The ache in his chest has returned tenfold, stealing away his breath, and he curls further into himself, struggling for air.

He’s going to die. He is going to die , alone on the floor of his house because he fell for someone he couldn’t have. For all that he’s spent every minute since Jimmy’s death in 3rd life wishing for some way out of this cruel world, he’s terrified now that it seems inevitable. He’s scared in a way he hasn’t been in forever, breath coming quick and shallow. He's scared, and he is so, so tired of this ache that haunts him, the chill that he can never get rid of.

“Jimmy,” Scott whispers. There’s no way for the human to hear him, but the name brings him some comfort. “ Jimmy .” He wants his husband. He wants someone to hug him. He doesn’t want to fade away freezing and alone, no one there to hold his hand or reassure him that the pain will be over soon. Internally, he begs for someone, anyone who cares to come looking. To find him, even if they’re too late to save him. Someone. Anyone. Please.

No one comes, and Scott lays on his floor until his breathing steadies out again. His head spins when he forces himself to his feet, and he has to lean against the wall for a few moments. There’s no time for dramatics, he tells himself sternly. He has a kingdom to rule. He cannot afford to break over a mortal he never should have fallen for in the first place. He doesn’t love Jimmy anymore, he can’t .

(He’s lying. But Scott has always been an excellent liar, even when it’s to himself.)

#scott smajor #jimmy solidarity #empires smp #i maintag my fic because i dont fear god or scott smajor #my writing

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onebadwinter · 4 years ago

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The Joker Tropes

Taken from Here

0% Approval Rating: Apart from Harley (and even then, only when their on-off relationship is "on"), Gaggy and Punchline, no one likes or supports the Joker. In any way, whatsoever. Damn near every other member of Batman's Rogues Gallery hates his guts, mostly because not only is he completely sociopathic and unpredictable, but also they are all scared shitless by him. The only reason why he's even allowed in teams such as the Legion of Doom is because of that fear: if they exclude him from the lineup, then chances are that dead bodies will be lining the streets in their name. Trickster spells it out in "Underworld Unleashed." Trickster: Great going, Neron, bring in the one guy no one wants to be in the same room with. When super-villains want to scare each other, they tell Joker stories.

Abusive Parents: One common tactic for the Joker to garner sympathy is claiming he was ill-treated by his parents. Given his propensity to spew out different and sometimes contradictory backstories, nobody knows if they're true.Harley Quinn: Joker told me things, secret things he never told anyone... Batman: What did he tell you, Harley? Was it the line about the abusive father, or the one about the alcoholic mom? Of course, the runaway orphan story is particularly moving, too. He's gained a lot of sympathy with that one. What was it he told that one parole officer? Oh, yes... 'There was only one time I ever saw dad really happy. He took me to the ice show when I was seven...' Harley: (crying) Circus... He told me it was the circus. Batman: He's got a million of them, Harley.

Acquired Poison Immunity: In many continuities, he's immune to his trademark Joker Venom/Smilex. In a crossover comic with Captain America, he also proves to be immune to Red Skull's "Dust of Death", as their trademark poisons are too similar to each other.

Ambiguous Disorder: He's undeniably insane and Ax-Crazy, but has no official diagnosis. If anything, he can just be diagnosed with "Being the Joker". However, it’s possible he’s perfectly sane and just The Sociopath, and is using his manipulation abilities to continue his reign of terror.

Ambiguous Start of Darkness: Related to his Multiple-Choice Past; the only thing consistent is that he was a low-level crook who got dunked in chemicals to become the Joker. C While some origins (most notably The Killing Joke) have him being forced into crime, others have him as already a sinister criminal beforehand. Batman (1989) and Batman: The Animated Series choose the Evil All Along interpretation.

Appropriated Appellation:

Arch-Enemy: A classic example to the Batman, and not just in the comics - they are pretty much the iconic gold standard when it comes to this trope. The two of them are the page image for a reason.

Attention Whore: A big part of his motivation in various continuities. He even admits as such at one point, while denying he's not behind one particular crime.Joker: Do you really think I would stir up so much trouble and not make sure you knew it was me?

Ax-Crazy: One of his main characteristics is his willingness to psycho on anyone, including his own henchmen.

Bad Boss: Willing to casually kill his own henchmen for any reason, be it part of a plan, for amusement, or simply on a whim.

Bad People Abuse Animals: Defied by The Joker in at least one story (Emperor Joker). Evil Jimmy Olson kills Superman, who has been turned into a dog, by crushing him underneath a fire hydrant. The Joker is simply annoyed, because he doesn't know how to make something as pointless as beating a dumb animal funny. Jimmy Olson is then beaten to death by two giant robots who appear out of nowhere.

Believing Their Own Lies: He sometimes believes his Multiple-Choice Past, Depending on the Writer of course. One issue of the Robin Series had the Joker actually in tears as he told the psychiatrist of his abusive childhood, only for the psychiatrist to coldly point out that it's the seventh story he's told now.

Berserk Button:

Black Comedy: This is one of Joker’s specialties. To normal people, killing would be a terrible thing, but to Joker, it’s hilarious, especially if he does it in a way that amuses him.

Bond Villain Stupidity: In a "Detective Comics" story written by Paul Dini, the Joker (while impersonating a stage magician he had previously murdered) shot Zatanna in the throat so she couldn't recite a spell to save herself, then locked her in a tank of water while strapping Batman in an electric chair. He didn't shoot her in the head because he wanted Batman to watch helplessly as she died. This didn't go so well because first, he's BATMAN! and second, Zatanna was able to write a healing incantation on the lid of the tank using her own blood, which made the spell even more powerful.

Boring Insult: While the Joker has used it a few times on others, he mostly does it to hear the sound of his own voice as the people he usually slings this insult at don't really care whether or not they're boring. On the other hand, this is Joker's Berserk Button when others use it against him. Most notably, he reacts poorly when Terry deliberately exploits this flaw with glee and even rubs it in his face in Batman Beyond: Return of the Joker. After all, the natural enemy of a comedian is The Heckler.

Breakout Villain: The Trope Codifier for comics. DC's initial intention was to kill him off in his second appearance. Fortunately, editor Whitney Ellsworth convinced DC to spare him, a panel was hastily added to show that he'd survived, and the Joker rapidly became not only Batman's Arch-Enemy, but arguably the most iconic example of an Arch-Enemy in all of fiction.

Break the Comedian: A sure way to determined if things have gotten real, even for the Joker, is if he isn't laughing or joking. A famous example involved the Joker being frightened during the events of Alan Moore's Swamp Thing run, when he was horrified by Arcane's actions.

Clear My Name: The Brave and the Bold has him framed for several murders and he must use Batman's help.

Collective Identity: As revealed in Darkseid War and DC Rebirth, the Joker has been used by three people, though Batman: Three Jokers clarified it as this: The Criminal (the original "Golden Age" Joker from the character's debut in Batman #1), The Clown (the "Silver Age" Joker, strongly implied to be the one who killed Jason Todd), and The Comedian (the current "Modern Age" Joker, who kidnapped and tormented Jim Gordon).

Combat Pragmatist : While his fighting prowess varies from remarkably proficient to extremely weak Depending on the Writer, the Joker is a consistently dirty fighter, striking enemies when and where they are most vulnerable. Besides his myriad of gag gadgets, he often carries concealed weapons, gases and acids on his person, and won't hesitate to brandish a wrench or smash a chair over your head in a pinch. He is usually adept with knives and, unlike Batman, rarely has any reservations about firearms. He has no qualms kicking an opponent when they're down, and will employ deception, feigning surrender or defeat to get Batman to lower his guard.

Comic-Book Fantasy Casting:

Confusion Fu: This is often his last line of defense when Batman corners him, especially in the animated television shows. Effectiveness varies.

Cop Killer: Sometimes police officers are among the Joker's victims:

Create Your Own Villain: Most stories posit he was chased by Batman through a factory with No OSHA Compliance, which caused him to be exposed to acid, discoloring his skin and hair and driving him insane when he sees his reflection. Often he claims Batman is responsible for turning him into The Joker.

Creepy High-Pitched Voice: In voiced roles, he usually has a high-pitched voice to contrast Batman's Badass Baritone.

Crossover Villain-in-Chief: In DC's Crisis Crossover events that involve a lot of villains, like Salvation Run and Forever Evil, The Joker usually fills this role along with Lex Luthor.

Crouching Moron, Hidden Badass: Insanity aside, sometimes the Joker's plans and methods are so out there they just seem stupid. Despite appearances, he's usually very cunning, and always very dangerous. In fact, part and parcel of what makes the Joker's plans devastating is that he knows how to hide the punchline for lack of a better word. The plans are so innocuous, so disheveled and so utterly random that they usually have no sane MO, which makes it hard to see the bigger picture of the plan unless Batman pieces it together quickly.

Critical Psychoanalysis Failure: Happens frequently, though this may be an indication of the competence of the staff at Arkham. One such time was with Dr. Harleen Quinzel, who bought his story hook, line and sinker and declared him sane, then broke him out of Arkham and started dating him (of course, her exact analysis was that he was utilizing Obfuscating Insanity and it's implied that she was actually right, so perhaps she was the only good doctor at Arkham after all...)

Deadly Prank: He generally considers murdering someone for a joke to be morally no different than putting a whoopie cushion on their chair.

Depending on the Artist: His depiction varies a lot between eras and between different artists in the same period. Major differences are whether he can form facial expressions other than a grin, and whether he is average-sized or freakishly tall and thin.

Depending on the Writer: There are many huge variations, the most common and glaring being:

Depraved Homosexual: Not above invoking this deliberately to get under Batman's skin. Whether he means all his flirting and feel-copping varies slightly Depending on the Writer and heavily depending on one's own interpretation.

Diplomatic Impunity: In A Death in the Family, Ayatollah Khomeini appoints him the UN ambassador to Iran, giving him diplomatic immunity. This was later retconned to the fictional Syraq due to reasons of taste.

Dirty Coward: There is a common misconception that Joker has no regard for his own life and doesn't care if he dies or not. In actuality he does care, and the reason he keeps taunting morally good characters into killing him is because he's confident that they don't have the guts to off him. When he comes across someone who is willing to kill him, he shows his true colors as a sniveling little coward where he starts pleading for his life.The Punisher: I got all the therapy you need right here, comedian.The Joker: You're really going to do it.

Disproportionate Retribution: Has been known to try to kill people for minor slights, such as welshing on a bet on a sporting event for trivial stakes.

Domestic Abuse: This characterizes his relationship with his "henchwench" Harley Quinn to a T. Joker frequently yells at her, puts her down, humiliates her, and exposes her to all manner of violence ranging from "merely" slapping or punching her to outright trying to murder her. Such is her Mad Love that she ignored his abuse for most of her existence in comic history, with the two only separating in the late 2010s.

The Dreaded: Easily one of the most feared villains in the entire DC universe. Other villains are afraid of him; it's been said that when criminals want to scare each other, they tell Joker stories.

Driven to Madness: Doing this to others has become part of his MO. What triggered his own insanity and belief in nihilism remains unknown.

Early Installment Weirdness: Just take a gander at his earliest appearances:

Electric Joybuzzer: One of his signature weapons, a lethal variation, most memorably used in Batman (1989). He ended up Hoist by His Own Petard when trying to use it on Static.Static: That was fun. Let me try! (BZZZZT!) (Batman approves.)

Enemy Mine:

Even Evil Has Standards: Oddly enough, this trope does occasionally apply to him.

Even Evil Has Loved Ones: Completely averted with Harley. He physically and emotionally abuses her and tried to kill her on numerous occasions. They eventually break up in the New 52 continuity.

Evil All Along: Some versions, such as the DC Animated Universe and Batman (1989), go with the interpretation that the Joker was evil, if not outright Ax-Crazy, even before his fateful transformation, with the chemicals just making him worse.

Evil Cannot Comprehend Good: The Joker is Nihilism Incarnate: he believes that life is pointless and insane, and the only thing anyone can do is give into the madness. Life is a joke, and once he got the joke he never stopped laughing at it. One of the reasons he's obsessed with Batman is because Batman is The Anti-Nihilist: Batman also thinks, to some degree at least, that life is meaningless. But rather than embrace the madness, Batman fights against it, trying to bring order to chaos through his heroic actions. So Batman got the joke too, but he's not laughing, and the Joker doesn't understand why.

Evil Genius: Though rarely the focus of his character, Joker is usually an extremely gifted chemist, constantly creating new and better versions of his signature laughing gas. He's also (unsurprisingly) a skilled planner on par with Batman himself, in addition to being extremely charismatic and manipulative when he wants to be.

Evil Is Petty: Joker truly sees no difference between throwing cream pies, robbing a museum, and brutal, torturous mass-murder. To him, it's all just part of the joke.

Evil Sounds Deep: Jack Nicholson in Batman (1989) and Kevin Michael Richardson in The Batman both give the Joker a deep, sinister voice, contrasting his usual higher-pitched depictions in other works.

Facial Horror: His iconic "perma-clown" appearance (the green hair, chalk-white skin, and most of the time, red lips) is the result of being submerged in a tank of chemicals. However, there was times this has gotten worse.

Fame Through Infamy: He's practically built a career on crimes designed more to spread his infamy than anything else. Perhaps his true illness is that he is an Attention Whore through and through...

Faux Affably Evil: Often addresses others in a polite and friendly way before he unleashes merry hell on them.

Flanderization: Over the years, his actions have become almost exclusively focused on causing as much carnage and chaos as possible or harassing Batman and his allies rather than performing any non-lethal mischief or practical crime.

Foe Romance Subtext: Sometimes will mess with Batman's mind by calling him by pet names or using innuendo. Or outright groping him. According to later writers, Joker regards their hero/villain dynamic as a very special relationship, and resents anyone or thing that gets in the way of it (like all those family members Bruce enjoys hanging out with), which is disturbingly like a jealous lover.

Foil: To Batman in several ways. If the origin offered in Killing Joke is to be believed, both Batman and Joker had one bad day that put them on very different paths.

For the Evulz: The usual motives of the Joker. Many of his crimes always involve sowing chaos and the schadenfreude of other people's misery.

Freudian Excuse: Even he isn't sure of his own history and will crop up multiple reasons for his insanity. The most accepted version is that he was a thug named the Red Hood who gets disfigured falling into a vat while trying to escape Batman. His backstory still remains a mystery.

Freudian Excuse Is No Excuse: Best displayed in The Killing Joke: Joker's "one bad day" is just an excuse, as he neither knows nor cares if it actually happened that way, and Batman confronts him on how his attempt to similarly break Commissioner Gordon failed.Batman: Despite all your sick, vicious little games, he's as sane as he ever was! So maybe ordinary people don't always crack. Maybe there isn't any need to crawl under a rock with all the other slimey things when trouble hits. Maybe it was just you, all the time!

The Friend Nobody Likes: Often plays this role among villain team-ups. It's implied that the only reason the other DC villains ever invite him to things is because they're terrified of what he'll do to them if he's not. Alexander Luthor Jr.'s death at the end of Infinite Crisis is brought about because, as Lex Luthor puts it:Luthor: You made one big mistake. You didn't let the Joker play.

From Nobody to Nightmare: The key thing about his Multiple-Choice Past is that nobody really knows who he was before he put on the Red Hood and fell into a vat of acid. As such, Joker was literally a nobody... who turned into the DC Universe's scariest villain, and who at times has upstaged even Brainiac or Darkseid.

Frozen Face: Most depictions have his face as such, with his massive rictus grin being something he can't really stop doing.

Gadgeteer Genius: While he seems to be a chemist first and foremost, the Joker has no trouble coming up with a range of tools and weapons of his own design and is easily as smart as Batman in this area. Other stories show that he has a solid enough understanding of such varied fields as engineering, computers and even robotics that he can at least hijack the sophisticated inventions of others and use them for his own ends with no difficulty whatsoever, and he is generally implied (though rarely outright stated) to have had a scientific background prior to becoming the Clown Prince of Crime.

Glasgow Grin: Heath Ledger's portrayal features very noticeable scarring from such wounds and tells two conflicting stories of how he got them. Sometimes, Depending on the Artist, the Joker has one in the comics, usually in out-of-continuity stories.

Gonk: Depending on the Artist, he varies from "disfigured, but still fairly handsome" to "barely passes for human", the latter cases usually feature him with a really long and narrow nose and a huge, exaggerated mouth with a permanent Slasher Smile.

Guest Fighter: After making appearances in the previous crossover and being a major player in NetherRealm's other big series, Joker shows up in Mortal Kombat 11 all on his own, freed from the restrictions of a Teen rating and able to showcase the true depths of his depraved bloodlust.

Handshake of Doom: Often kills unsuspecting victims by offering a handshake. When the other person grabs his hand, their palm is pricked by a device that resembles a joy buzzer, which injects deadly venom into their blood stream.

Hate Sink: Posthumously, his Injustice-verse incarnation is the primary target for audience scorn and gets saddled with this role by everyone in the game, its sequel, and the tie-in comics — the version from the Injustice-verse itself, at least. This is because he tricked Superman into killing his own wife Lois Lane and nuking Metropolis, then pulling a Strike Me Down with All of Your Hatred on the poor guy who that set him on the path to becoming a tyrant, all for the sake of doing it, and because he was tired of losing to Batman, so he decided to go after an easier target. His role as The Corrupter to Harley is explained to make her redemption feel more plausible, as even she has come to despise him for his actions. In particular, while Superman does terrible things, he is portrayed as a Tragic Villain due to the losses he suffered before becoming a bad guy, and as such, his killing of the Joker is always played for maximum pathos. Even villains as despicable as Brainiac, Darkseid and Gorilla Grodd openly despise him. This even continues into his Guest Fighter appearance in Mortal Kombat 11note , where even the likes of Kano, Shang Tsung and Shao Kahn can't stand him.

Human Head on the Wall: There's a rather famous piece of comic book artwork◊ drawn by Brian Bolland featuring The Joker lounging in a chair in front of a trophy wall mounted with the decapitated heads of various DC heroes and villains, all of them painted white and their faces distorted into a smile like the Joker himself. It's even been parodied a bunch of times with other comic supervillains sitting in Joker's place.

Iconic Outfit:

I'm a Humanitarian: There have been a few times when the Joker engaged in cannibalism, such as an issue of Grant Morrison's JLAnote after Day Of Judgment, where upon the reveal that the Martian Manhunter took the League and the now Hal Jordan hosted-Spectre into the Joker's head, the Joker lamented eating a man's tongue raw. Additionally, an infamous bit in Emperor Joker has the Joker eat all of China while he had Mr. Mxyzptlk's powers.

Insane No More: Is cured by Batman forcing unknown pills down his throat in the non-canon Batman: White Knight, causing him go back to his real name, Jack Napier, make a Heel–Face Turn and accuse Batman of being part of the problem (he's also considerably better than the usual Joker, being closer to the earlier trickster personality).

I've Come Too Far: At the end of The Killing Joke, Batman tries to reason with the Joker, insisting that they've got to stop before one of them kills the other and offering to help rehabilitate him. Joker briefly considers the offer before solemnly turning it down.Joker: No. I'm sorry, but... no. It's too late for that. Far too late.

It Amused Me: His raison d'etre. Why kill people in horrific ways, ruin their lives, and generally make the entire universe a worse place than he left it? Because it's funny.

Jekyll & Hyde: Inverted in the case of Batman: White Knight, where taking pills cures Joker of his insanity and brings back his original Jack Napier persona. However, if he fails to take the pills, the Joker resurfaces, which is exactly what happens in Batman: Curse of the White Knight, and he's much worse than before.

Jerkass: Though that is a total understatement, Joker still more or less counts as one. When he isn't killing or torturing people for his own amusement, he's taunting them and trying get under other people's skin.

Joker Immunity: The trope namer. He was originally conceived as a one-off villain but proved too interesting a character to be killed off so quickly, and a last-minute edit had him survive instead. He's so famous for this that most works that kill him off, the audience doesn't buy it, and it serves as an effective twist the rare times when he is Killed Off for Real. But even those rare occasions may continue to feature him in flashbacks or hallucinations as a Posthumous Character.

Knife Nut: In many appearances, knives are his Weapon of Choice, either to disfigure his victims or kill his foes. Often both.The Joker: Do you want to know why I use a knife? Guns are too... quick. You can't savor all the little emotions. You see, in their last moments, people show you who you really are.

Large Ham: Holy shit, yes. He has an enormous sense of showmanship and is seen cracking Black Comedy jokes every minute, and it's a nigh-guarantee that whoever is portraying him will be munching the scenery to the very structure. Most especially the case if it happens to be Mark Hamill.

Laser-Guided Broadcast: In comic books as well in most of the media, when The Joker takes the control of TV and makes one of his menaces to threat and/or destroy Gotham City, good part of his message goes directly to Batman by tempting him to stop his plans, where usually destroy the city is just a secondary plan, getting/trapping/killing Batman as his real main plan.

Legacy Character: The idea of multiple Jokers is used in Gotham. There are two Jokers - Jerome Valeska, and his twin brother Jeremiah Valeska. The former is a deranged mass murderer who spread madness through Gotham. The latter is the actual Joker who becomes Batman's Arch-Enemy, and is even more dangerous than his predecessor.

Lethal Joke Character: In-Universe. Those unfamiliar with him tend to write him off as just some fool dressed as a clown, only to realize very quickly why they should keep their guard up around him. He's still one of the most dangerous characters in the DC Universe, despite existing in a world filled with super-humans and gods.

Master of Disguise: A talent he possesses even in his earliest stories. Joker is an expert with make-up, costumes and impersonations and has posed as everything from police officers to doctors to even Batman himself. He can go to extremely elaborate lengths to pull off his deceptions too, fabricating entire backstories and staying in-character for months at a time to see his plans through.

Mirthless Laughter: The Joker's constantly laughing, either at the pain and misery of others, the pain and misery he inflicts on others, or even his own pain. However, as describe by many and offered by the reader based on his scenes and what he does, there is NEVER any joy in his laughter. Never any real happiness. Just cruelty and mockery of pain and sorrow. If he does indeed have a tragic backstory that caused his madness, then this makes sense as he has chosen to laugh instead of cry. His statement about how the universe should end "so there won't be anymore people like me" during the Emperor Joker storyline lends weight to him being a Sad Clown.

Misanthrope Supreme: While it's not evident given Joker's Laughing Mad demeanor and his penchant for macabre jokes usually at the life and limb expense of someone else, Joker is actually absolutely full of hatred and spite towards basically everyone and the entire world. Several stories have gone into this and it's implied that the Joker finds it so easy to kill everyone around him, not because he feels nothing for them, but in fact because he loathes everyone aside from his twisted relationship with Batman.

Moment of Lucidity: There've been a few times when outside forces have sent him into a fit of temporary sanity over the years.

Monster Clown: One of the classic examples.

Multiple-Choice Past: Practically the poster child and possible trope namer. Even he isn't sure of his own history. The most accepted version introduced in Detective Comic #168 (1951) has him as a thug named the Red Hood who jumps into a vat of chemicals to escape Batman, disfiguring him and inspiring him to adopt the name Joker. Why he went by the name the Red Hood has changed over the years: The Killing Joke claims he was a failed comedian pressured into becoming a criminal to support his pregnant wife. The trauma of his disfigurement from jumping in the acid and his wife's earlier accidental death drove him insane. However, even this backstory is questionable, as the Joker himself calls it "multiple choice".

My God, What Have I Done?: Whenever he is made temporarily sane, most notably by a Lazarus pit after Ra's Al Ghul killed him after a Villain Team-Up and in JLA #15 during the Rock of Ages storyline, Joker usually expresses deep remorse for his crimes. Unfortunately it never lasts.

The Nicknamer: He's prone to giving nicknames to allies and enemies alike. Sometimes affectionate, sometimes snarky, but always undesired. Calling Batman "Batsy" or "Bats" and Robin "boy blunder" are probably his most iconic.

No Celebrities Were Harmed: Some of the Joker's victims fall into this.

No Name Given: The Joker is the only Batman villain who doesn't have an official real identity. However, there are three occasions where names have been used. The Jack Nicholson version used the name "Jack Napier", which was briefly mentioned in the Animated Series episode "Dreams In Darkness" since the series was partially based on the movie, albeit the doctors list it as one of his aliases. The Gotham version played by Cameron Monaghan gives him the name Jeremiah Valeska. The Joaquin Phoenix version used the name "Arthur Fleck", though the movie raises the question that he doesn't know who his father is, so 'Fleck' might not even be his surname. The Telltale series plays with this by 'naming' him 'John Doe' - which is just a stand-in name police/hospitals use when they don't know someone's identity. While he still has no official name to this day, it's general fan consensus that it's either Jack Napier or just Jack.

Not a Mask: Sometimes he pretends to wear makeup, but it ain't makeup. Jack Nicholson's version wore flesh-tone makeup over his pale skin several times after his transformation. Though, this is Depending on the Writer, as Heath Ledger's depiction does wear makeup. It's unclear if this is the case for Caesar Romero's depiction, as Romero's mustache is visible at times (he refused to shave for the part).

Not Me This Time: Though he certainly wouldn't mind committing them, he's been framed for murders he didn't commit several times, such as by James Gordon Jr.

Obfuscating Insanity: Zig Zagged Trope / Depending on the Writer. Some stories claims The Joker is actually sane, but pretends to be otherwise to avoid the death penalty. Others says he is genuinely crazy. It must be noted that Joker, like other Batman villains, was only identified as insane from the 70s onwards by various writers.note

Offscreen Villain Dark Matter: Despite the Joker's infamous reputation and violent instability he never has any issues finding new henchmen for his schemes nor does he ever has any issues finding the resources needed to pull off his often convoluted plans and he's often able to do it all without attracting the attention of Batman or the authorities until he's ready for them.

OOC Is Serious Business: A general rule of thumb: If the Joker isn't smiling, something very bad is about to happen.

The Only One Allowed to Defeat You: Pretty much sums up his feelings towards Batman. He often flies into a rage whenever someone else attempts to kill Batman when in his company, and whenever Batman (seemingly) dies he has a tendency to completely snap and turn sane. This actually goes the other direction as well: the Joker feels that Batman is the only one allowed to defeat him, and it's shown he's terrified of someone else doing him in in some continuities.

Outside-Context Problem: A recurring theme of Joker's "first appearance" stories in various adaptations is that nobody in Gotham is prepared for a guy who's only in it For the Evulz. Also, the Joker himself likes to find these, and exploit them.

Phrase Catcher: Back in his prankster phase during the Silver Age, whenever one of Joker's capers got foiled, someone would inevitably trot out the line "The joke's on you, Joker!" For obvious reasons, his current Monster Clown incarnation doesn't get this nearly as often.

Pimp Duds: He sometimes accessorizes his purple suit with a very wide-brimmed hat, which makes the ensemble look like a stereotypical pimp costume. Jared Leto's turn in Suicide Squad (2016) runs with this in his dynamic with Harley Quinn.

Pre-Insanity Reveal: The Joker, depending on the version, may have been an ordinary comedian before he went crazy and became a super-villain.

Purple Is Powerful: Purple is one of Joker's three colors (along with white and green) and he is powerful.

Psychopathic Manchild: For starters, when Batman is telling Joker to stay away from the Gordons after he apparently hurt Gordon's wife (it was actually his son, Gordon Jr. who did the deed), Joker commented that he didn't do anything to "the old bitch", and starts commenting to Batman that he misses the old Batman, and commented that he "doesn't want to go to bed yet" and that he "wants to play."

Redemption Rejection: In The Killing Joke, Batman defeats the Joker once again and then desparately pleads with him to accept help recovering from his madness before they eventually kill each other. In one of his rare, completely serious moments, the Joker sincerely apologizes and tells Batman that it's far too late for that.

The Resenter: Joker has often shown resentment towards people in many ways in different stories. The best example is him being resentful of anyone who garners more attention from Batman than him and anyone he sees as "stealing his act", i.e. being a laughing mad, jokey maniac cramping his style (The Creeper in Batman TAS). Regardless, many of his crimes and attitudes often carry an undercurrent or resentment be it towards to Bat-family because he resents sharing Batman with anyone or normal people for living their mundane lives free of care. Given how much spite seems to fuel his rampages, Joker's probably got a mountain of resentment inside of him.

Restoration of Sanity: On occasion, Joker's sanity will suddenly return to him, usually in stories where Batman retires or is believed to have died. His reactions tend to vary - sometimes we don't see how he reacts to what he did, but other times he actually shows genuine regret for his actions. Of course, these never tend to stick.

The Reveal: When Batman sat in Metron's chair in Darkseid War, one of the questions he asked was who the Joker was and the answer freaked him out. In DC Rebirth, it's revealed why: The Joker is a Legacy Character: the Joker responsible for Death of the Family and Batman: Endgame is not the same man who crippled Barbara Gordon—and neither of them are the original Joker.

Riddle for the Ages: Being the Trope Namer for Multiple-Choice Past, it's unknown who he was before falling into an acid tank and whether he was nuts even before being dunked. He even believes his origins, Depending on the Writer of course.Joker: They throw me out, and I had a wife and an unborn child… or it was two cows and a goat? Sometimes it's so confusing…

Rule of Funny: One of his primary themes (alongside insanity), as explained in Whatever Happened to the Caped Crusader?: "Kid. I'm the Joker. I don't just randomly kill people. I kill people when it's funny. What would conceivably be funny about killing you?"

Secret Identity Apathy: In most continuities, he simply doesn't care about Batman's Secret Identity, understanding that Batman is the true face and not the man behind the mask. It's shown sometimes that the Joker will actually be upset if someone outs Batman's identity to him, usually because it spoils their dynamic in some way. When Scarecrow pulls off Bruce's mask in Harley Quinn, it practically triggers a Villainous Breakdown.Joker: Half the fun of our relationship was the mystery! Now I know Batman is just some boring, rich asshole with parental issues!

Self-Made Orphan: In The Brave and the Bold #31, Atom reads his mind and sees The Joker burning his parents alive after they catch him killing animals.

Slasher Smile: He wears one almost by default. Reportedly, it was inspired by this photo◊ of Conrad Veidt in character as Gwynplaine (a man with a disfigured face, causing him to have a perpetual grin) in The Man Who Laughs by Victor Hugo.

The Sociopath: A skilled and gleeful manipulator, a vicious butcher who brutally tortures and murders others simply because he thinks it’s funny, extraordinarily impulsive given that he’s prone to turning his murderous urges on his own men on a whim or because one upset him in some way, shape or form, and has not even the vaguest notion of empathy, neither for his men or his victims.

The Spook: His backstory is an eternal Riddle for the Ages. DC Comics refuses to take an official stance on this.

Start of Darkness: Detective Comics #168 posits he was a laboratory worker who becomes the Red Hood in order to steal a million dollars from his employers and retire. In The Killing Joke he quits his job to become a comedian, but fails and is coerced by mobsters to commit a robbery, becoming the Red Hood. His disfigurement and (in The Killing Joke) his wife's death earlier in the story destroy what little was left of his sanity and he becomes The Joker. Maybe.

Stealing the Handicapped Spot: He doesn't do this. Rather, he hates it when other people do it and finds it hilarious to horrifically cripple them so they can legitimately park in handicapped spots.

Straw Nihilist: Provides the trope image and is the poster child for this. He claims that everything in life is just "one big joke" and death is the ultimate punchline. Joker also believes that "a bad day" is more than enough for anyone to turn out like him. This is shown notably in Injustice: Gods Among Us, The Killing Joke, and The Dark Knight. The Red Lantern Atrocitus even wonders what drove Joker to nihilism during an intro banter with the clown in Injustice 2.

Strong as They Need to Be: His fighting skills fluctuate wildly. Sometimes, Joker is an excellent fighter who can actually defeat Batman in a straight-up fight, whereas most writers prefer to present him as so weak that he can be knocked out cold with one punch.

Stupid Evil: Depending on the writer, The Joker can sometimes fall under this, where his cruelty and sadism tend to lead to his own death at the hands of all the people he's wronged.

To Create a Playground for Evil: His motivation in stories like Emperor Joker.

Too Kinky to Torture: The Joker has shown a proclivity for this over the years. At one point, the Joker berated a man who'd captured him for only hitting him in the face and The Dark Knight similarly sees the Joker berate Batman during the the latter's beating of him. He also enjoyed his and Bruce's final fight in The Dark Knight Returns. Salvation Run had established the Joker's been in constant pain since he took his fateful dive into the vat of chemicals that altered his appearance and not only had gotten used to it, but grew to enjoy it. This quote from The Dark Knight sums it up perfectly: Stephens: I can tell the difference between punks who need a little lesson in manners, and the freaks like you who would just enjoy it.

Tombstone Teeth: He is often drawn with too many too-long teeth as part of his trademark rictus grin, highlighting his nature as a psychotic and sadistic killer.

Troll: Most incarnations of the Joker dress themselves as being a lethal one of these. The best example is his DC Animated Universe version, who tailored each of his schemes as a joke or a prank, and sometimes even lectured his underlings on the importance of proper buildup and delivery when telling a joke. Batman in particular is the Joker's preferred victim, and many a Joker has refused to kill or unmask a Batman dead to rights, simply because it would spoil the fun of trolling him. But when others upstage or taunt him, he really goes nuts, as it's one of his Berserk Buttons.

Unreliable Narrator: Even he isn't sure of his own history, so anything he claims is suspect at best.

Villain Has a Point: Given his devotion to Rule of Funny, he's quite knowledgeable on what makes successful comedy, as seen with the featured image on Don't Explain the Joke.

Villain Song: There's no other villain who has belted out as many memorable music moments, not even the Music Meister. Three of them incidentally were sung by Mark Hamill behind the mic:

Villainous Aromantic Asexual: He is shown to be more interested in his schemes and mayhem rather than sex. He has had sex with Harley, but it is implied that it's more for her rather than his own enjoyment. He has actively ignored her when he simply wants to work on his schemes, even when she's in the translucent red night dress.

Villainous Friendship: No matter how bad things turned out last time, Lex Luthor and Joker will always work together again. Played With, as it isn’t just because of friendship. As Luthor himself notes in the ending of Infinite Crisis, you always "let the Joker play," lest he come after you for revenge later on for leaving him out.

Villainous Harlequin: He was this during the Silver Age. He is also this in Batman (1966) and Batman: The Brave and the Bold.

Villainous Rescue: In Dark Nights: Metal, The Joker pulls this off by teaming up with Batman to defeat the Batman Who Laughs, Batman knowing that a jokerized Batman would have the upper hand teams up with the Joker. It is so unexpected that the Batman Who Laughs, who is still prepared for anything Batman would conceivably think of, is unable to counter it let alone even consider it a possibility.

Villain Protagonist: He was the star of his own nine issue self-titled series from 1975 to 1976. In order to adhere to the Comics Code Authority, The Bad Guy Wins was never in effect - while he usually managed to get one over on other villains, each issue would end the Joker being apprehended for his crimes. He also got his own movie in which Batman didn't even exist yet, delving deep into what someone would have to go through to become the Joker.

Weapon of Choice: The acid-spitting flower, Smilex/Joker Venom... and simple crowbars, established by how he killed Jason Todd.

You Gotta Have Blue Hair: He has neon green hair caused by the chemicals he fell into.

#TheJokerInformation

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mattbrothersscriptwriter · 5 years ago

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My Top 20 Films of 2019 - Part Two

I don’t think I’ve had a year where my top ten jostled and shifted as much as this one did - these really are the best of the best and my personal favourites of 2019.

10. Toy Story 4

I think we can all agree that Toy Story 3 was a pretty much perfect conclusion to a perfect trilogy right? About as close as is likely to get, I’m sure. I shared the same trepidation when part four was announced, especially after some underwhelming sequels like Finding Dory and Cars 3 (though I do have a lot of time for Monsters University and Incredibles 2). So maybe it’s because the odds were so stacked against this being good but I thought it was wonderful. A truly existential nightmare of an epilogue that does away with Andy (and mostly kids altogether) to focus on the dreams and desires of the toys themselves - separate from their ‘duties’ as playthings to biological Gods. What is their purpose in life without an owner? Can they be their own person and carve their own path? In the case of breakout new character Forky (Tony Hale), what IS life? Big big questions for a cash grab kids films huh?

The animation is somehow yet another huge leap forward (that opening rainstorm!), Bo Peep’s return is excellently pitched and the series tradition of being unnervingly horrifying is back as well thanks to those creepy ventriloquist dolls! Keanu Reeves continues his ‘Keanuassaince‘ as the hilarious Duke Caboom and this time, hopefully, the ending at least feels finite. This series means so much to me: I think the first movie is possibly the tightest, most perfect script ever written, the third is one of my favourites of the decade and growing up with the franchise (I was 9 when the first came out, 13 for part two, 24 for part three and now 32 for this one), these characters are like old friends so of course it was great to see them again. All this film had to do was be good enough to justify its existence and while there are certainly those out there that don’t believe this one managed it, I think the fact that it went as far as it did showed that Pixar are still capable of pushing boundaries and exploring infinity and beyond when they really put their minds to it.

9. The Nightingale

Hoo boy. Already controversial with talk of mass walkouts (I witnessed a few when this screened at Sundance London), it’s not hard to see why but easy to understand. Jennifer Kent (The Babadook) is a truly fearless filmmaker following up her acclaimed suburban horror movie come grief allegory with a period revenge tale set in the Tasmanian wilderness during British colonial rule in the early 1800s. It’s rare to see the British depicted with the monstrous brutality for which they were known in the distant colonies and this unflinching drama sorely needed an Australian voice behind the camera to do it justice.

The film is front loaded with some genuinely upsetting, nasty scenes of cruel violence but its uncensored brutality and the almost casual nature of its depiction is entirely the point - this was normalised behaviour over there and by treating it so matter of factly, it doesn’t slip into gratuitous ‘movie violence’. It is what it is. And what it is is hard to watch. If anything, as Kent has often stated, it’s still toned down from the actual atrocities that occurred so it’s a delicate balance that I think Kent more than understands. Quoting from an excellent Vanity Fair interview she did about how she directs, Kent said “I think audiences have become very anaesthetised to violence on screen and it’s something I find disturbing... People say ‘these scenes are so shocking and disturbing’. Of course they are. We need to feel that. When we become so removed from violence on screen, this is a very irresponsible thing. So I wanted to put us right within the frame with that person experiencing the loss of everything they hold dear”.

Aisling Franciosi is next level here as a woman who has her whole life torn from her, leaving her as nothing but a raging husk out for vengeance. It would be so easy to fall into odd couple tropes once she teams up with reluctant native tracker Billy (an equally impressive newcomer, Baykali Ganambarr) but the film continues to stay true to the harsh racism of the era, unafraid to depict our heroine - our point of sympathy - as horrendously racist towards her own ally. Their partnership is not easily solidified but that makes it all the stronger when they star to trust each other. Sam Claflin is also career best here, weaponizing his usual charm into dangerous menace and even after cementing himself as the year’s most evil villain, he can still draw out the humanity in such a broken and corrupt man.

Gorgeously shot in the Academy ratio, the forest landscape here is oppressive and claustrophobic. Kent also steps back into her horror roots with some mesmerising, skin crawling dream scenes that amplify the woozy nightmarish tone and overbearing sense of dread. Once seen, never forgotten, this is not going to be everyone’s cup of tea (and that’s fine) but when cinema can affect you on such a visceral level and be this powerful, reflective and honest about our own past, it’s hard to ignore. Stunning.

8. The Irishman

Aka Martin Scorsese’s magnum opus, I did manage to see this one in a cinema before the Netflix drop and absolutely loved it. I’ve watched 85 minute long movies that felt longer than this - Marty’s mastery of pace, energy and knowing when to let things play out in agonising detail is second to none. This epic tale of the life of Frank Sheeran (Robert De Niro) really is the cinematic equivalent of having your cake and eating it too, allowing Scorsese to run through a greatest hits victory lap of mobster set pieces, alpha male arguments, a decades spanning life story and one (last?) truly great Joe Pesci performance before simply letting the story... continue... to a natural, depressing and tragic ending, reflecting the emptiness of a life built on violence and crime.

For a film this long, it’s impressive how much the smallest details make the biggest impacts. A stammering phone call from a man emotionally incapable of offering any sort of condolence. The cold refusal of forgiveness from a once loving daughter. A simple mirroring of a bowl of cereal or a door left slightly ajar. These are the parts of life that haunt us all and it’s what we notice the most in a deliberately lengthy biopic that shows how much these things matter when everything else is said and done. The violence explodes in sudden, sharp bursts, often capping off unbearably tense sequences filled with the everyday (a car ride, a conversation about fish, ice cream...) and this contrast between the whizz bang of classic Scorsese and the contemplative nature of Silence era Scorsese is what makes this film feel like such an accomplishment. De Niro is FINALLY back but it’s the memorably against type role for Pesci and an invigorated Al Pacino who steals this one, along with a roll call of fantastic cameos, with perhaps the most screentime given to the wonderfully petty Stephen Graham as Tony Pro, not to mention Anna Paquin’s near silent performance which says more than possibly anyone else.

Yes, the CG de-aging is misguided at best, distracting at worst (I never really knew how old anyone was meant to be at any given time... which is kinda a problem) but like how you get used to it really quickly when it’s used well, here I kinda got past it being bad in an equally fast amount of time and just went with it. Would it have been a different beast had they cast younger actors to play them in the past? Undoubtedly. But if this gives us over three hours of Hollywood’s finest giving it their all for the last real time together, then that’s a compromise I can live with.

7. The Last Black Man in San Francisco

Wow. I was in love with this film from the moving first trailer but then the film itself surpassed all expectations. This is a true indie film success story, with lead actor Jimmie Fails developing the idea with director Joe Talbot for years before Kickstarting a proof of concept and eventually getting into Sundance with short film American Paradise, which led to the backing of this debut feature through Plan B and A24. The deeply personal and poetic drama follows a fictionalised version of Jimmie, trying to buy back an old Victorian town house he claims was built by his grandfather, in an act of rebellion against the increasingly gentrified San Francisco that both he and director Talbot call home.

The film is many things - a story of male friendship, of solidarity within our community, of how our cities can change right from underneath us - it moves to the beat of it’s own drum, with painterly cinematography full of gorgeous autumnal colours and my favourite score of the year from Emile Mosseri. The performances, mostly by newcomers or locals outside of brilliant turns from Jonathan Majors, Danny Glover and Thora Birch, are wonderful and the whole thing is such a beautiful love letter to the city that it makes you ache for a strong sense of place in your own home, even if your relationship with it is fractured or strained. As Jimmie says, “you’re not allowed to hate it unless you love it”.

For me, last year’s Blindspotting (my favourite film of the year) tackled gentrification within California more succinctly but this much more lyrical piece of work ebbs and flows through a number of themes like identity, family, memory and time. It’s a big film living inside a small, personal one and it is not to be overlooked.

6. Little Women

I had neither read the book nor seen any prior adaptation of Louisa May Alcott’s 1868 novel so to me, this is by default the definitive telling of this story. If from what I hear, the non linear structure is Greta Gerwig’s addition, then it’s a total slam dunk. It works so well in breaking up the narrative and by jumping from past to present, her screenplay highlights certain moments and decisions with a palpable sense of irony, emotional weight or knowing wink. Getting to see a statement made with sincere conviction and then paid off within seconds, can be both a joy and a surefire recipe for tears. Whether it’s the devastating contrast between scenes centred around Beth’s illness or the juxtaposition of character’s attitudes to one another, it’s a massive triumph. Watching Amy angrily tell Laurie how she’s been in love with him all her life and then cutting back to her childishly making a plaster cast of her foot for him (’to remind him how small her feet are’) is so funny.

Gerwig and her impeccable cast bring an electric energy to the period setting, capturing the big, messy realities of family life with a mix of overwhelming cross-chatter and the smallest of intimate gestures. It’s a testament to the film that every sister feels fully serviced and represented, from Beth’s quiet strength to Amy’s unforgivable sibling rivalry. Chris Cooper’s turn as a stoic man suffering almost imperceptible grief is a personal heartbreaking favourite.

The book’s (I’m assuming) most sweeping romantic statements are wonderfully delivered, full of urgent passion and relatable heartache, from Marmie’s (Laura Dern) “I’m angry nearly every day of my life” moment to Jo’s (Saoirse Ronan) painful defiance of feminine attributes not being enough to cure her loneliness. The sheer amount of heart and warmth in this is just remarkable and I can easily see it being a film I return to again and again.

5. Booksmart

2019 has been a banner year for female directors, making their exclusion from some of the early awards conversations all the more damning. From this list alone, we have Lulu Wang, Jennifer Kent and Greta Gerwig. Not to mention Lorene Scafaria (Hustlers), Melina Matsoukas (Queen & Slim), Jocelyn DeBoer & Dawn Luebbe (Greener Grass), Sophie Hyde (Animals) and Rose Glass (Saint Maud - watch out for THIS one in 2020, it’s brilliant). Perhaps the most natural transition from in front of to behind the camera has been made by Olivia Wilde, who has created a borderline perfect teen comedy that can make you laugh till you cry, cry till you laugh and everything in-between.

Subverting the (usually male focused) ‘one last party before college’ tropes that fuel the likes of Superbad and it’s many inferior imitators, Booksmart follows two overachievers who, rather than go on a coming of age journey to get some booze or get laid, simply want to indulge in an insane night of teenage freedom after realising that all of the ‘cool kids’ who they assumed were dropouts, also managed to get a place in all of the big universities. It’s a subtly clever remix of an old favourite from the get go but the committed performances from Kaitlyn Dever and Beanie Feldstein put you firmly in their shoes for the whole ride.

It’s a genuine blast, with big laughs and a bigger heart, portraying a supportive female friendship that doesn’t rely on hokey contrivances to tear them apart, meaning that when certain repressed feelings do come to the surface, the fallout is heartbreaking. As I stated in a twitter rave after first seeing it back in May, every single character, no matter how much they might appear to be simply representing a stock role or genre trope, gets their moment to be humanised. This is an impeccably cast ensemble of young unknowns who constantly surprise and the script is a marvel - a watertight structure without a beat out of place, callbacks and payoffs to throwaway gags circle back to be hugely important and most of all, the approach taken to sexuality and representation feels so natural. I really think it is destined to be looked back on and represent 2019 the way Heathers does ‘88, Clueless ‘95 or Easy A 2010. A new high benchmark for crowd pleasing, indie comedy - teen or otherwise.

4. Ad Astra

Brad Pitt is one of my favourite actors and one who, despite still being a huge A-lister even after 30 years in the game, never seems to get enough credit for the choices he makes, the movies he stars in and also the range of stories he helps produce through his company, Plan B. 2019 was something of a comeback year for Pitt as an actor with the insanely measured and controlled lead performance seen here in Ad Astra and the more charismatic and chaotic supporting role in Once Upon a Time... in Hollywood.

I love space movies, especially those that are more about broken people blasting themselves into the unknown to search for answers within themselves... which manages to sum up a lot of recent output in this weirdly specific sub-genre. First Man was a devastating look at grief characterised by a man who would rather go to a desolate rock than have to confront what he lost, all while being packaged as a heroic biopic with a stunning score. Gravity and The Martian both find their protagonists forced to rely on their own cunning and ingenuity to survive and Interstellar looked at the lengths we go to for those we love left behind. Smaller, arty character studies like High Life or Moon are also astounding. All of this is to say that Ad Astra takes these concepts and runs with them, challenging Pitt to cross the solar system to talk some sense into his long thought dead father (Tommy Lee Jones). But within all the ‘sad dad’ stuff, there’s another film in here just daring you to try and second guess it - one that kicks things off with a terrifying free fall from space, gives us a Mad Max style buggy chase on the moon and sidesteps into horror for one particular set-piece involving a rabid baboon in zero G! It manages to feel so completely nuts, so episodic in structure, that I understand why a lot of people were turned off - feeling that the overall film was too scattershot to land the drama or too pondering to have any fun with. I get the criticisms but for me, both elements worked in tandem, propelling Pitt on this (assumed) one way journey at a crazy pace whilst sitting back and languishing in the ‘bigger themes’ more associated with a Malik or Kubrick film. Something that Pitt can sell me on in his sleep by this point.

I loved the visuals from cinematographer Hoyte van Hoytema (Interstellar), loved the imagination and flair of the script from director James Gray and Ethan Gross and loved the score by Max Richter (with Lorne Balfe and Nils Frahm) but most of all, loved Pitt, proving that sometimes a lot less, is a lot more. The sting of hearing the one thing he surely knew (but hoped he wouldn’t) be destined to hear from his absent father, acted almost entirely in his eyes during a third act confrontation, summed up the movie’s brilliance for me - so much so that I can forgive some of the more outlandish ‘Mr Hyde’ moments of this thing’s alter ego... like, say, riding a piece of damaged hull like a surfboard through a meteor debris field!

3. Avengers: Endgame

It’s no secret that I think Marvel, the MCU in particular, have been going from strength to strength in recent years, slowly but surely taking bigger risks with filmmakers (the bonkers Taika Waititi, the indie darlings of Ryan Coogler, Cate Shortland and Chloe Zhao) whilst also carefully crafting an entertaining, interconnected universe of characters and stories. But what is the point of building up any movie ‘universe’ if you’re not going to pay it off and Endgame is perhaps the strongest conclusion to eleven years of movie sequels that fans could have possibly hoped for.

Going into this thing, the hype was off the charts (and for good reason, with it now being the highest grossing film of all time) but I remember souring on the first entry of this two-parter, Infinity War, during the time between initial release and Endgame’s premiere. That film had a game-changing climax, killing off half the heroes (and indeed the universe’s population) and letting the credits role on the villain having achieved his ultimate goal. It was daring, especially for a mammoth summer blockbuster but obviously, we all knew the deaths would never be permanent, especially with so many already-announced sequels for now ‘dusted’ characters. However, it wasn’t just the feeling that everything would inevitably be alright in the end. For me, the characters themselves felt hugely under-serviced, with arguably the franchise’s main goody two shoes Captain America being little more than a beardy bloke who showed up to fight a little bit. Basically what I’m getting at is that I felt Endgame, perhaps emboldened by the giant runtime, managed to not only address these character slights but ALSO managed to deliver the most action packed, comic booky, ‘bashing your toys together’ final fight as well.

It’s a film of three parts, each pretty much broken up into one hour sections. There’s the genuinely new and interesting initial section following our heroes dealing with the fact that they lost... and it stuck. Thor angrily kills Thanos within the first fifteen minutes but it’s a meaningless action by this point - empty revenge. Cutting to five years later, we get to see how defeat has affected them, for better or worse, trying to come to terms with grief and acceptance. Cap tries to help the everyman, Black Widow is out leading an intergalactic mop up squad and Thor is wallowing in a depressive black hole. It’s a shocking and vibrantly compelling deconstruction of the whole superhero thing and it gives the actors some real meat to chew on, especially Robert Downy Jr here who goes from being utterly broken to fighting within himself to do the right thing despite now having a daughter he doesn’t want to lose too. Part two is the trip down memory lane, fan service-y time heist which is possibly the most fun section of any of these movies, paying tribute to the franchise’s past whilst teetering on a knife’s edge trying to pull off a genuine ‘mission impossible’. And then it explodes into the extended finale which pays everyone off, demonstrates some brilliantly imaginative action and sticks the landing better than it had any right to. In a year which saw the ending of a handful of massive geek properties, from Game of Thrones to Star Wars, it’s a miracle even one of them got it right at all. That Endgame managed to get it SO right is an extraordinary accomplishment and if anything, I think Marvel may have shot themselves in the foot as it’s hard to imagine anything they can give us in the future having the intense emotional weight and momentum of this huge finale.

2. Knives Out

Rian Johnson has been having a ball leaping into genre sandpits and stirring shit up, from his teen spin on noir in Brick to his quirky con man caper with The Brothers Bloom, his time travel thriller Looper and even his approach to the Star Wars mythos in The Last Jedi. Turning his attention to the relatively dead ‘whodunnit’ genre, Knives Out is a perfect example of how to celebrate everything that excites you about a genre whilst weaponizing it’s tropes against your audience’s baggage and preconceptions.

An impeccable cast have the time of their lives here, revelling in playing self obsessed narcissists who scramble to punt the blame around when the family’s patriarch, a successful crime novelist (Christopher Plummer), winds up dead. Of course there’s something fishy going on so Daniel Craig’s brilliantly dry southern detective Benoit Blanc is called in to investigate.There are plenty of standouts here, from Don Johnson’s ignorant alpha wannabe Richard to Michael Shannon’s ferocious eldest son Walt to Chris Evan’s sweater wearing jock Ransom, full of unchecked, white privilege swagger. But the surprise was the wholly sympathetic, meek, vomit prone Marta, played brilliantly by Ana de Armas, cast against her usual type of sultry bombshell (Knock Knock, Blade Runner 2049), to spearhead the biggest shake up of the genre conventions. To go into more detail would begin to tread into spoiler territory but by flipping the audience’s engagement with the detective, we’re suddenly on the receiving end of the scrutiny and the tension derived from this switcheroo is genius and opens up the second act of the story immensely.

The whole thing is so lovingly crafted and the script is one of the tightest I’ve seen in years. The amount of setup and payoff here is staggering and never not hugely satisfying, especially as it heads into it’s final stretch. It really gives you some hope that you could have such a dense, plotty, character driven idea for a story and that it could survive the transition from page to screen intact and for the finished product to work as well as it does. I really hope Johnson returns to tell another Benoit Blanc mystery and judging by the roaring box office success (currently over $200 million worldwide for a non IP original), I certainly believe he will.

1. Eighth Grade

My film of the year is another example of the power of cinema to put us in other people’s shoes and to discover the traits, fears, joys and insecurities that we all share irregardless. It may shock you to learn this but I have never been a 13 year old teenage girl trying to get by in the modern world of social media peer pressure and ‘influencer’ culture whilst crippled with personal anxiety. My school days almost literally could not have looked more different than this (less Instagram, more POGs) and yet, this is a film about struggling with oneself, with loneliness, with wanting more but not knowing how to get it without changing yourself and the careless way we treat those with our best interests at heart in our selfish attempt to impress peers and fit in. That is understandable. That is universal. And as I’m sure I’ve said a bunch of times in this list, movies that present the most specific worldview whilst tapping into universal themes are the ones that inevitably resonate the most.

Youtuber and comedian Bo Burnham has crafted an impeccable debut feature, somehow portraying a generation of teens at least a couple of generations below his own, with such laser focused insight and intimate detail. It’s no accident that this film has often been called a sort of social-horror, with cringe levels off the charts and recognisable trappings of anxiety and depression in every frame. The film’s style services this feeling at every turn, from it’s long takes and nauseous handheld camerawork to the sensory overload in it’s score (take a bow Anna Meredith) and the naturalistic performances from all involved. Burnham struck gold when he found Elsie Fisher, delivering the most painful and effortlessly real portrayal of a tweenager in crisis as Kayla. The way she glances around skittishly, the way she is completely lost in her phone, the way she talks, even the way she breathes all feeds into the illusion - the film is oftentimes less a studio style teen comedy and more a fly on the wall documentary.

This is a film that could have coasted on being a distant, social media based cousin to more standard fare like Sex Drive or Superbad or even Easy A but it goes much deeper, unafraid to let you lower your guard and suddenly hit you with the most terrifying scene of casually attempted sexual aggression or let you watch this pure, kindhearted girl falter and question herself in ways she shouldn’t even have to worry about. And at it’s core, there is another beautiful father/daughter relationship, with Josh Hamilton stuck on the outside looking in, desperate to help Kayla with every fibre of his being but knowing there are certain things she has to figure out for herself. It absolutely had me and their scene around a backyard campfire is one of the year’s most touching.

This is a truly remarkable film that I think everyone should seek out but I’m especially excited for all the actual teenage girls who will get to watch this and feel seen. This isn’t about the popular kid, it isn’t about the dork who hangs out with his or her own band of misfits. This is about the true loner, that person trying everything to get noticed and still ending up invisible, that person trying to connect through the most disconnected means there is - the internet - and everything that comes with it. Learning that the version of yourself you ‘portray’ on a Youtube channel may act like they have all the answers but if you’re kidding yourself then how do you grow?

When I saw this in the cinema, I watched a mother take her seat with her two daughters, aged probably at around nine and twelve. Possibly a touch young for this, I thought, and I admit I cringed a bit on their behalf during some very adult trailers but in the end, I’m glad their mum decided they were mature enough to see this because a) they had a total blast and b) life simply IS R rated for the most part, especially during our school years, and those girls being able to see someone like Kayla have her story told on the big screen felt like a huge win. I honestly can’t wait to see what Burnham or Fisher decide to do next. 2019 has absolutely been their year... and it’s been a hell of a year.

#top 20 #films of the year #films of 2019 #10-1 #toy story 4 #the nightingale #the irishman #the last black man in san francisco #little women #booksmart #ad astra #avengers endgame #knives out #eighth grade

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elixir448 · 5 years ago

Text

All the wishes I’ve made during the countdown.

Hialriously, I made the same wish twice, which I’ve pointed out. I started wishing for stuff about halfway through the countdown. Gosh, hiatus was rough. I’m planning on crossing stuff out if they ever happen. Lol, as if. Here’s to a fab season everyone!

0 days – Can we all just be cool please?

1 day – Beth, Annie, Ruby and Rio all together at some point this season. Like in the same scene. I think this is one of the main reasons I miss the drops in season 1.

2 days – More Judith and Beth scenes (totally inspired by what Christina dropped in her interview) where they have thinly veiled yet profound conversations about how much men suck.

3 days – Getaway car scene. I don’t care if it’s the girls or Beth and Rio speeding away from a scene. Or Beth speeding away along. I just think it would be cool.

4 days – Rio playing Turner. I think we all have a feeling that Rio’s going to use Turner to clear the board and it would make a lot of sense.

5 days – Beth not being able to hold a gun. Until the moment where she can.

6 days – Beth and Rio openly yelling at each other, like in 2x07, and getting all in their feels for each other.

7 days – More flashbacks to Beth, Ruby and Annie’s lives. Doesn’t even need to be to when they were kids. I would love to see a flashback to Annie finding out she was pregnancy or Beth going through post-partum depression.

8 days – Beth touching Rio’s tattoo(s). I don’t think this will ever happen but I can dream. Like can you imagine her touching or kissing his neck? Or any of his other tattoos WHEN they have sex again?

9 days – Can I get Beth recklessly driving her car? We saw that chaotic energy in 1x01 but then she just point blank refuses to get tickets haha.

10 days - Beth and Rio in each other’s cars. We had it in 1x05, 2x02 and 2x12 but I want it again! And look, I’m not saying that they need to have sex in each other’s cars. I mean, I wouldn’t say no...it would be nice. It definitely doesn’t need to happen though.

11 days - I seriously doubt this will happen but Beth and Agent Turner having a drink together. I don’t care that they’re antagonists, I feel like they genuinely get such a kick out of each other. I want to see this even if it’s just Beth drinking and Agent Turner crashing her alone time and then he orders a drink too. Give me all the snarky banter!

12 days - Beth and Rio panting against each other’s mouths again. Rio furrowing his brow. Can you believe that they were so overcome that this is what they did in 2x09?

13 days - Protect Stan and Ruby. Manny saying that he’s super excited for Stan’s storyline has stressed me the hell out. Please just let the Hills be okay! I want Stan to have an awesome storyline but I’m not sure I’m ready to see my bbs in pain.

14 days (REPEATED WISH) - Rio pushing Beth’s hair out of her face (haha, he’s not even pushing it away, he just wants to touch her). You know what would kill me? If he reaches towards her and starts to push her hair away and catches himself. And then gets annoyed with her and with himself.

15 days - I really, really, really want there to be a moment where Beth and Rio team up against a common enemy. And we know that’s going to happen in some way from what Manny has said about them being forced to worked together this season. What I mean is, I want there to be a scene where they come together (and it’s not quite forced) and turn on someone and then that person realises they’ve fucked it.

16 days - I kind of wonder what would happen if one of the kids started to clock on to the shady stuff their parents are involved with. Sara had that last year and Sadie kind of had it when she called Annie out for always lying. I kind of wonder if Sadie will question how Annie gets the money to pay for her hormone blocker medication? I guess I want a scene where Sadie realises that something’s not right.

17 days - A scene between Rio and Dean. Oooooffft. Imagine how loaded it would be. Rio resisted spilling the beans in front of Dean at the end of 2x04 because Beth asked him not to. There’s nothing much stopping him now, aside from the fact that he potentially regards Dean as inconsequential and he may want to keep certain aspects of his relationship with Beth to himself. Hmmmm…i’m not really sure. Regardless, I want a scene!

18 days - Oh god. A significant moment where Beth sees the scars on Rio’s chest, from the gunshot wounds she inflicted. I don’t know if this will happen but I can picture it as either:

1. A taunt from Rio to Beth. Him wanting to see the guilt on her face, to drag up the trauma she’s been trying to suppress, to show her that there’s no way she can run away from what she did because he himself is a constant reminder and that he carries the scars that represent what she is capable of, something she spent a huge chunk of their relationship denying.

2. A fragile moment of tenderness, guilt and longing. Omg. Give me Beth kissing Rio’s scars.

19 days - Beth and Rio eating together. Not Rio eating and Beth refusing to eat or them drinking together, although I need more of both of those things too. Both of them eating at the same time in one another’s company. Even if they are angrily eating together haha. I’ll take it.

20 days - (again, inspired by the shooting in the hotel, specifically in the bathroom) Repeat bathroom sex. That’s it. This show loves it’s parallels so give it to me!!!!

21 days - Beth and Rio pushing each other out of harm’s way. Oh my god. There isn’t much I wouldn’t do to make that happen. Imagine they’re being shot at and they start scrambling to push the other person behind some cover.

22 days – (totally inspired by the new info about shooting for 3x09 taking place at the Millenium Biltmore hotel) Beth and Rio somewhere fancy or semi-fancy. Even if it’s just work related, which it definitely would be lol. And then it’ll probably all go to shit.

23 days - I am sooooo excited for the show to dip its toes into “the adult world”. I feel like that sounds patronising but I absolutely don’t mean for it to sound that way. The show deals with a lot of adult concepts, such as misogyny, disillusionment, boredom with the life you’re living etc. And it’s amazing in that it does so in such a dynamic, fun way that doesn’t detract from how serious the issues are but just highlights that a lot of us have these problems but just kind of continue to bumble along living our lives.

What I mean by “the adult world” is related to the strip club that has been theorised to be Stan’s place of employment in season 3. I didn’t really think we would see something like this in GG and it makes me happy that doors seem to be opening into parts of the world we haven’t seen before in the show. I dunno, I just really want to see how it’s included in the wider storyline. Like, will the girls wash cash through it? Haha, I kind of just want to see all 3 of the girls in the strip club and how they act in there.

24 days - Will we ever find out what happened to Beth and Annie’s parents? I really want to know! Are they alive, dead, divorced, together?

25 days - Beth playing piano. I seriously doubt it will ever happen other than in fanfic but I want to see it. And Beth singing. So basically, Beth playing piano and singing.

26 days - A really heartfelt scene where Beth looks at Marcus and thinks of Rio. Maybe sees some of Rio’s traits in him and she just looks and OMG THE PAIN.

Seriously though, who thinks:

(1) Marcus is going to recognise Beth and she will explain to Rhea that she met Rio and Marcus in the park.

(2) The writers ignore the fact that Marcus should recognise Beth and Rhea thinks that this is literally Beth’s first time meeting Marcus.

27 days - Ruby and Annie realising who Rhea is and what Beth is doing. Even though it looks like a great storyline and I’m excited to see it unfold, it’s super unhealthy and deceitful behaviour. I wonder if Rhea will ever find out who Beth really is?

28 days - You know what? Screw it! I want to wake up to the trailer. Bye.

29 days - Ruby and Annie becoming aware of the nature of Beth and Rio’s relationship. Pretty sure I’ve done a wish like this before (wanting Annie and Ruby to call Beth out for feeling relieved that Rio is alive). But I’d really like to see them realise that Beth and Rio’s relationship was far more complex than just sex and eye fucking.

30 days - Beth feeling sad about Rio. Sitting on the couch thinking about him. Lying in bed thinking about him. Going to the park and thinking about him. Standing in front of the fridge and thinking about him. Looking at the picnic bench and thinking about him.

31 days - Rio’s boys knowing what’s up between him and Beth. I loooove it whenever people realise or know what��s going on between the two of them and are either confused, horrified or amused by it.

32 days - Can we meet another crime boss or kingpin? I wonder if that would make the season too crowded since there already seem to be quite a few new characters and a lot going on because of the fallout from season 2. I just really want to meet someone else who is actually dangerous to the girls. I think Rio can be dangerous to the girls, especially now, but he and Beth have a lot of history and that affects how he interacts with her.

33 days - More Gretchen! She was under utilised in season 2. I’m not sure why but maybe they filmed scenes and decided to cut them out after. With everything going on with Rio and Jimmy, it only makes sense that she’ll be in the picture.

34 days - Flashback to Rio teaching Beth how to use a gun. “Just like we practiced.”

35 days - Sadie with Dakota. Annie with Dakota. Nancy with Dakota. Beth with Dakota. Greg with Dakota. I want a baby on the show other than Mary Pat’s!!

36 days - I really, really want a moment where Beth and Rio are standing or sitting next to each other. We had it in 2x03 in the park but they were sitting on different benches haha. We also had it when they were sitting in eachothers’ cars. And again in 2x08 with the picnic bench scene (I could ugly cry just thinking about it). They are so often depicted standing opposite one another (even in 2x04 and 2x09), positioned as though they are semi-antagonists sometimes and as equals at others.

I just want something where either:

1. They are standing next to one another against a common enemy. Like, on the same side. I can picture them joining forces, even if it’s just temporarily, against a common enemy. Maybe even permanently if it’s at the end of the season? (Or season 4?)

2. They are sitting next to one another watching something in front of them. Maybe they’re sitting talking about business and then it shifts into something quiet and content, like watching Jane and Marcus play in the park. And then just turning to look at each other with something on their faces.

37 days - At some point in the season, Rio pushing Beth’s hair off of her face (bahaha, he’s never actually pushing her hair off her face, he just wants to touch her). Maybe it’ll be towards the end of the season when their has been some kind of resolution or tentative healing between them. Or maybe it’ll be because he can’t quite help himself. Or maybe he’ll be in the middle of doing it before he even realises.

38 days - Backstory for how Rhea and Rio met and got together. How much she knows about his life and why they split up. Maybe some info about his family and his real name (I do actually like Christopher now).

39 days - Annie, Ruby and Rio scenes. We were robbed I tell you!!!! I would have killed to see more of them in 2x10 and I’m holding out hope for season 3. It’ll be so interesting, as neither Annie or Ruby shot Rio. And I think they’re going to be really curious as to why Beth and Rio are still undoubtedly going to be orbiting around one another. I just need some scenes where Annie and Ruby are scared but then it shifts into them hesitating to ask him questions and then just borderline interrogating him.

40 days - A major Beth and Dean confrontation. Like, something that absolutely drags all of his wrongdoings out and lays them on the table. If he tries to make excuses, I want her to call him out and absolutely wreck him. If he tries to flip it around and blame her, I hope she completely obliterates him. Fuck that guy.

41 days - Sadie and Sara in scenes together. And like basically parenting the other kids. These two have such strong presences on screen, I need them in a scene together. You know they would kill it. Also, Beth and Ruby are besties and Annie is Beth’s sister but we never really see their kids interact with one another.

42 days - Beth in a dress at least 4 times OR those t-shirts that she wears when she’s in the house chilling (I specifically remember the grey one in 2x07 and the pink one in 2x10). And Rio seeing her all of those times. More up and down looks regardless of what she’s wearing. Can you imagine though? Given the weight of their history, it almost being a habit, can’t quite help himself, doesn’t actually care because he likes looking and it sets her off kilter.

43 days - Dean moving out at some point and a divorce. I mean, all that stuff costs money but please don’t drag it out. At the very least, I need this to happen before the end of season 3. Like, if this doesn’t happen, the chat that Beth and Dean had with the kids in season 2 would have meant nothing.

44 days - An indication at some point that Beth is relieved that Rio’s alive, rather than just scared. Like maybe she says it to him towards the end of the season or Annie or Ruby call her out for looking at him a certain way or for her conflicted feelings, given that he’s probably going to be spending this season terrorising them.

45 days - More Nancy and Annie scenes. Maybe with Annie helping out with Dakota or giving advice. And then Nancy helping Annie navigate stuff with Sadie.

46 days- Beth doing something to protect or help Rio, maybe even save his life. Not because she wants anything in return but because she doesn’t want to see him hurt or in trouble anymore. I low-key think that towards the end of the season she might do something to help him and, as a result, it’s pretty clear that what’s going on between them is more than how fucked up their relationship is inevitably going to be throughout most of the season. Haha, I’m probs wrong though.

47 days- Beth and Rio have angry sex. On a table. Or anywhere really.

48 days - Can Dean just get what’s coming? I’m sorry but it wasn’t enough that he was shot, especially with all the shit he did in season 2. And please bring up the cancer lie. I just need retribution. Anything. PLEASE.

49 days - Actual mental health consequences for Beth after being kidnapped and shooting Rio. There’s no way anyone could walk away from that unscathed, especially since she cared about him. The show’s touched on issues like binge eating and post-partum depression and I’m curious to see if and how they can incorporate anxiety disorders, like PTSD. I need at least one scene where Beth experiences a physiological fight or flight reaction or wakes up from a nightmare or has a flashback or hypervigilance. Just something to acknowledge that it’s normal to walk away from trauma and not be okay afterwards.

50 days - No more paying people off unless it actually makes sense or will work.

51 days – (POTENTIAL SPOILER) An extremely satisfying scene where Boomer dies. From the spoilers, it looks like Rio’s gonna be shooting someone in front of the girls. Please God, let it be Boomer. It would be amazing if he shot Boomer and Annie just had a total non-reaction or wasn’t frightened.

52 days - Please god, Rio interacting with Beth’s kids again and Beth interacting with Marcus. I especially need to see him interacting with Jane since it looks like Marcus is her bestie.

53 days - More scenes with Beth and Turner. For me at least, their scenes were some of my favourites in season 2. The way that Turner’s always chasing after Beth, trying to pin her for something and how she’s always getting away and sassing him. And, oh my god, I really want their reunion in season 3 to be good.

54 days - More context for Rio’s actions. Now that Rio is presumably going to be working with Turner, I feel like we need more scenes of Rio, out with Beth and the girls, for plot progression. It’s fun theorising on Tumblr and reading explanations in fic but I need the show to help him make sense. The show is about the girls and should always be but I need some things to make more sense.

55 days - With Beth becoming her own boss, I really want some doors to open into the dark underbelly of Detroit. I want to meet new characters who are criminals and who the girls have to be really weary of when they’re navigating their new business.

56 days - I really wanna see Annie, Ruby and Beth interact more with each other’s kids but, more than that, I want to see Stan with Sadie and with Beth’s kids because talk about wholesome.

57 days - The return of Beth’s pearls. I don’t even care what the context is at this point but I would die if we had either:

1. Rio using the pearls as a way of fucking with Beth when she thinks he’s still dead / using them to announce that he’s not dead

2. A Rio POV scene where we see him take out the pearls from wherever he keeps them and like touch or hold them and then the show cuts to a scene with Beth (this will never happen in a million years but I can dream)

58 days - A scene where Turner tells Rio about Beth’s lie in 1x05. I kind of picture a scene where Turner is being snarky about it but also failing to hide his curiosity as to whether or not anything ever happened between them. The other scenario I picture this happening in is Turner slowly realising over a few episodes that Rio and Beth had more than just a “work” relationship and he tells the story just to see Rio’s reaction.

#nbc good girls #wishes for season 3 #gg season 3 #beth x rio

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filmmakersvision · 5 years ago

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Top 10 Hindi Performances of 2019

December 27, 2019

by Inakshi Chandra-Mohanty

1. Manoj Pahwa - Article 15

It is simple to play the good guy. When your thoughts align with the character’s moral compass, it isn’t too difficult to step into his/her shoes. But when playing an antagonist, it is impossible to blend into the character with the same seamless effort. In Article 15, Bhramadatt Sing, played by Manoj Pahwa, is the main antagonist. Not only is he a villainous character, he is also a realistic representation of a certain section of people who exist in society, people who take advantage of caste discrimination to commit crimes. In this case, Pahwa had to understand the character without allowing his own views to dilute it. With his performance, he manages to create a sense of appalled disbelief towards his character. There is no point at which his behavior and actions do not disgust the audience. Even before the character is revealed to be the main inciter of violence, his biased actions already predispose the audience to dislike him. Sing is that character that people want to believe doesn’t exist, but is in fact present all around. And Pahwa portrays this horrifying character with full sincerity.

2. Siddhant Chaturvedi - Gully Boy

Who knew that this young boy with no claim to fame except for a supporting role in a web series would become a sudden Internet sensation? When selected for the role of MC Sher in Gully Boy, Siddhant Chaturvedi probably had no idea his character would gain a cult following, superseding the film’s popularity. But Sher isn’t typical. The hero’s friend normally isn’t recognized, constantly living in the hero’s shadow. Sher, however, doesn’t let Murad dominate any of the scenes they have together, and Siddhant Chaturvedi’s performance supports this balance. He does not let himself get overwhelmed by his co-star, Ranveer Singh’s, 8 year long experience in films. At least he doesn’t show it. Despite having no background in rap, Chaturvedi’s rapping style is filled with the passion and force of an experienced rapper. He not only perfects the lingo, he makes people believe in him as a rapper, a friend, and a mentor. Unlike the clichéd companion, threatened by his friend’s rise in popularity, Sher is Murad’s supportive backbone. The nuanced creation of this character shows Zoya Akhtar and Reema Kagti’s brilliance in writing. But without a talented actor, like Siddhant Chaturvedi, it would have been impossible to bring this character to life.

3. Gulshan Devaiah - Mard Ko Dard Nahin Hota

While very common in the 1970s and 1980s, the double role has become a rare phenomenon in Indian cinema today. As the film industry has developed, it has become far more difficult for an actor to play two different characters in the same film convincingly. The most recent use of this concept was in Aurangzeb, with Arjun Kapoor playing twin brothers on opposite sides of the law. But this was a commercial and critical failure mainly due to Kapoor’s inability to create a distinction between the characters. Like the characters in Aurangzeb, Gulshan Devaiah’s characters in Mard Ko Dard Nahin Hota are at the two opposite ends of the spectrum. Mani is Supri’s guru and Surya’s hero, while Jimmy is his disgruntled twin brother. Devaiah’s performance controlled the conflict in the film. If he wasn’t able to convince the audience of the distinction between the personalities of his two characters, and of the enmity between them, Surya and Supri’s fight would seem futile. Devaiah has both the villainous smile and the innocent eyes that bring out the contrast between the two brothers, making the conflict strong, and the film worthwhile.

4. Rasika Dugal - Hamid

In Kashmir, there are many women labeled “Half Widows” because their husbands have disappeared (many taken by the army under suspicion), and they have no information on whether these men are alive or not. Rasika Dugal plays one such woman, Ishrat, who deals with her husband’s disappearance while trying to raise her son away from the negative influences of extremist violence in Kashmir. As the only member of the cast (apart from the soldiers), that isn’t Kashmiri, Dugal had to put in twice the effort to perfect the mannerisms and diction of Kashmiri Muslims. With the fluency of her enactment, it didn’t seem at any moment as if she was acting. But getting into character is just one aspect of a good performance. It is also necessary to create an emotional connect with the audience. The topic is such that just the simple facial expression of exhaustion was enough to captivate the audience. The years and years of wait have completely drained Ishrat, and she has lost the strength to even cry. The lightness with which Dugal played this role is remarkable and befitting to a serious film like this.

5. Geetika Vidya Ohlyan and Saloni Batra - Soni

For the first time, I am clubbing two actors together in the best performance list, as neither would be complete without the other. Soni is a film that thrives on the chemistry between the two female leads, as they both deal with different levels of sexism in their daily lives as police officers. The two characters, Soni, played by Geetika Vidya Ohlyan, and Kalpana, played by Saloni Batra, are two sides of the same coin. They both have different personalities that reflect in their work. Soni’s temperamental, rebellious persona is balanced by Kalpana’s thoughtful, controlled nature. But these contrasting personalities come together in pursuit of a similar goal, to stand up for woman empowerment. As a subtle take on sexism, the film required nuanced acting to recognize the inherent sexism present in the lives of all women. Ohlyan and Batra beautifully portray the struggle of women in their professional and personal lives, further supported by their chemistry. One cannot exist without the other. Together, the two women form the crux of the film.

6. Yami Gautam - Bala

In her seven year Hindi film career, Yami Gautam hasn’t had much success. While she was delightful in her first film, Vicky Donor, her roles after that were limited. The films in which she had a lead role, such as Total Siyappa and Sanam Re, were critical and commercial failures. She spent the remainder of the time playing supporting roles in films such as Batti Gul Meter Chalu and Uri, in which there wasn’t much scope for her to showcase her talent. With the release of Bala, the expectations from Yami Gautam weren’t as high as they were from her co-stars, Ayushmann Khurrana and Bhumi Pednekar, who have generated a considerable fan base with their consistent work in the past few years. But, Gautam outshone them both. Her performance as Pari Mishra, Bala’s love interest who is a model and Tik Tok star, is the highlight of the film. The film is a heartfelt, socially moving story told in a dramatic manner. Therefore it is necessary for the actors to create a balance between the two worlds: the realistic and the unrealistic. As a former Indian television actor, Yami Gautam knows exactly how to maintain this balance. Indian television is not just a platform for dramatic overacting, as many believe it to be. It’s a balance between scenes involving overdramatic tension and those with nuanced conversation. Pari’s identity as a Tik Tok star, means that her mannerisms in everyday life are much more dramatic than normal, but when everything settles down, she has the ability to have a normal conversation. Yami Gautam displayed this dichotomy with perfection. And now she has become the most appreciated aspect of the film.

7. Priyanka Chopra - The Sky is Pink

After a three-year break from acting in Hindi films, Priyanka Chopra is back with a bang. In The Sky is Pink, she plays the mother of a young girl diagnosed with a life threatening disease. Such a role is not only emotionally draining, it is also physically strenuous, as she has to step into the shoes of the real life Aditi Chaudhary. She has to be faithful to her, especially when it pertains to such a sensitive topic. Priyanka Chopra fully imbibes this role. She beautifully portrays the emotions of a distressed mother and at the same time a wife struggling to keep her marriage intact in the face of death. At first it seems difficult to imagine her as the mother of a teenage daughter, but the chemistry she shares with Zaira Wasim, playing her daughter, Aisha Chaudhary, leads to a passionate mother-daughter relationship, that completes the film.

8. Shahid Kapoor - Kabir Singh

When a film is remade, it is very difficult for the actors to live up to the expectations of the original. Shahid Kapoor steps into the shoes of Vijay Deverakonda, a Telugu superstar who delivered his career best performance in Arjun Reddy, the precursor to Kabir Singh. The passion and angst that Deverakonda brought into his performance is difficult to emulate. Which is why Kapoor doesn’t try to become Deverakonda. He does not attempt to match the original and instead brings his own flavor into the character, which sets Kabir Singh apart from Arjun Reddy. The one scene that perfectly demonstrates this is the Holi scene. In this scene, Kabir Singh is feeling a combination of emotions including anger, sadness, and passionate love, which all can be beautifully seen in his eyes. No other Hindi film actor can emote with his eyes the way Kapoor does. Even Deverakonda attempts this, but his performance in the scene in the Telugu version leans more towards anger and passion than pain. On the other hand, Kapoor portrays his character in this scene as painfully suffering bringing out another dimension in the character. This may not be the best performance that Kapoor has delivered in his career, but it definitely is his most impactful one.

9. Anjali Patil - Mere Pyaare Prime Minister

In Mere Pyaare Prime Minister, Anjali Patil plays a single mother, traumatized after being assaulted while using an outdoor bathroom. Patil has always chosen roles that lean towards the unconventional route. While she has dabbled in multiple languages, her Hindi films have not been successful, and her performances in supporting roles barely noticeable. With this film, she is finally playing a strong role in a Hindi film. Her character is one that is in mental and emotional distress after experiencing such a horrendous crime, yet cannot express it as she still has to fulfill her duty as a single mother. The restraint that Patil brings into her performance is beautiful. It is reflective of the balance between the heaviness of the storyline and the lightness of the mother-son relationship. Though this is not as powerful a role as Patil has played earlier in other language films, it is still one that requires effort, as it is not easy to play a sexual assault victim, especially when that victim is also a mother.

10. Kangana Ranaut - Judgementall Hai Kya

Kangana Ranaut is one actor that never fails to impress. With each performance, she exceeds her previous ones, making her one of the fastest growing actors in terms of talent. In Judgementall Hai Kya, she plays the feisty, socially awkward Bobby, whose mental health issues, make people disbelieve her when she claims an accident was actually a murder. The film was acclaimed for treating mental illness with sensitivity. At times in the film, the craziness of Bobby’s actions make her seem insane, which Ranaut does with perfection. But Ranaut is also able to show that the mental illness is a part of Bobby’s personality that does not make her abnormal, just different than normal.

Special Mention: Shweta Basu Prasad - Mard Ko Dard Nahin Hota

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the-desolated-quill · 6 years ago

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The Abyss Gazes Also - Watchmen blog

(SPOILER WARNING: The following is an in-depth critical analysis. if you haven’t read this comic yet, you may want to before reading this review)

Rorschach is arguably the most beloved character in the graphic novel.

Now anyone reading these reviews who hasn’t read the graphic novel I imagine must be slightly confused by that statement, considering I haven’t exactly been painting a very glowing picture of him. He’s misogynistic, homophobic, bigoted, violent and sociopathic. Not exactly the traits you’d associate with a ‘beloved’ character. And yet that’s exactly what he is. Out of all the characters in Watchmen, Rorschach is by far the most popular. Of course this isn’t exactly a good thing. A big reason for his popularity is because of people either missing or ignoring the satirical subtext of the character (Ted Cruz reportedly is a big Rorschach fan. Let that sink in for a moment). That’s not to say the character isn’t well written or compelling. I’ve said in the past that Rorschach is my personal favourite character simply because of how interesting I find him.

The Abyss Gazes Also explores the origins of Rorschach and I thought this would be a good opportunity to not only analyse the chapter, but to also question where this romanticised view of Rorschach may have come from.

The Abyss Gazes Also is told from the perspective of Dr. Malcolm Long. A psychiatrist assigned to evaluate and counsel Walter Kovacs, aka Rorschach. I absolutely love this setup and how it plays out. Like with Doctor Manhattan’s origin story in Watchmaker, rather than just giving us a big info dump, we get to explore the backstory through the eyes of a certain character.

Malcolm represents everything Rorschach despises. He’s part of the corrupt establishment, thinks of no one but himself and deludes himself into thinking everything will be fine so as not to upset the apple cart. (also, while not overtly stated, considering Rorschach’s extreme right wing views, I imagine the fact that Malcolm is black probably doesn’t help matters either). From the beginning we know that Malcolm doesn’t really care about helping Rorschach in any meaningful way. He just wants the fame attached with studying the mind of this infamous vigilante. And by the end he does get to fully understand Rorschach better than anyone else, but at a horrifying cost.

As Malcolm learns more about Walter’s transformation into Rorschach, we see his otherwise upbeat personality slowly dissolve as he begins to see the world from Rorschach’s point of view. I love how Alan Moore chooses to represent this. In the beginning, Malcolm’s notes are eloquent, detailed and optimistic, but as the issue goes on, the sentences start to become more broken, much darker and disjointed to the point where it actually begins to resemble Rorschach’s speech pattern. It’s a subtle illustration of Malcolm’s changing psyche. We also see him become more and more aware of the situation between America and Russia, whereas before he was very much focused inward on his career and his wife. As his perception of the world around him changes, the things he used to care about fall away. He neglects his wife and by the end his career is virtually in tatters because in the wake of potential Armageddon, none of these things matter to him anymore. Now on the one hand you could see this as some kind of comeuppance. A selfish man getting what he deserves. But it’s also deeply tragic because the point is no one should have to view the world the way Rorschach does.

Which brings us to the man himself.

The life of Walter Kovacs is... a bit of a bummer, to say the least. His mother was a prostitute who regularly abused him and he had to endure a lot of bullying and torment by sexist pricks labelling him as a ‘whoreson.’ It’s this that has contributed to his view of women (more on that later) as well as his own distorted view of sex. In the extra material, we get to read some of Walter’s psychological profile, which includes a diary entry from a younger Walter describing a nightmare he had where his mother was ‘dancing’ with a man and, upon further inspection, realises the two have been morphed together into a grotesque monster that then chases him. A literal beast with two backs, if you will.

It’s also worth mentioning that the most significant moments in Walter’s life that led to him becoming Rorschach were all sex related and involved women. Obviously there’s his mother. There’s also the job he got at a women’s clothing store, which clearly made him feel extremely uncomfortable, the rape and murder of Kitty Genovese, whose uncollected dress was used to make the Rorschach mask, and of course the murder of Blaire Roche. This I think is what led to Rorschach’s reductive view of women and also serves in some ways as a damning critique of how women are presented in comics. Every woman Walter has ever encountered has either been a helpless victim or a sexualised monster. Even Laurie, the Silk Spectre, contributes to this because of the sexualised image her mother forced onto her. In many comics, the assault or death of a woman often serves as the catalyst of a male hero’s journey, and Rorschach is the same, except it’s presented deliberately as being incredibly distorted. His relationship with women is already fraught thanks to his mother, but his encounters with Kitty Genovese and Blaire Roche serve as a way for him to justify his distorted view of reality. I particularly like the inclusion of the real life case of Kitty Genovese and the myth that over forty witnesses saw her being attacked and did nothing to help. Of course Walter seizes on this and uses it to support his worldview. We’re not even sure if the dress he uses to make the mask was actually intended for Kitty as it could just be a delusion that Walter has concocted to fit his narrative. Whereas other comics might use a woman’s pain as motivation for the male hero, here we see the male ‘hero’ use multiple women’s pain as a means to an end. A way of excusing his behaviour and justifying his actions. It’s a great reversal, exploring the sexism of the refrigerated woman trope.

What I find especially interesting is how despite his childhood, despite his right wing views and despite his reductive view of women, in his early days you could accurately describe Rorschach as a proper superhero. During the period that Walter refers to himself as being ‘soft,’ he teams up with Nite Owl and stops many criminal masterminds such as Big Figure, Jimmy the Gimmick and Underboss. You get the feeling that, had he stuck with Nite Owl, he might have grown to be a somewhat more balanced individual. (which is not to say Dan doesn’t have flaws too, but he’s far better adjusted than Rorschach is, that’s for damn sure). It’s what comes later that sends Rorschach past the point of no return. And no I’m not talking about the murder of Blaire Roche, though that was probably the final straw. I’m talking about Rorschach’s first encounter with the Comedian.

See, I don’t think Rorschach would have become a murderer if he hadn’t met the Comedian first. In his interview with Malcolm, Walter speaks of the Comedian in glowing terms, saying he’s the only one that understood how the world works. If it wasn’t for the Comedian planting the seed of nihilism in Rorschach’s head, he might have reacted slightly differently when he discovered the fate of Blaire Roche. I’m not saying he wouldn’t have reacted violently, but I do honestly think it wouldn’t have been quite so extreme.

I’ve said in a previous review how all the characters of Watchmen are technically nihilists. Rorschach and Comedian are a perfect illustration of two contrasting ways of reacting to nihilism. Namely moral absolutism versus amorality. The Comedian believes that the world has no meaning and that morality is a joke, and so uses that as an excuse to commit heinous acts for his own amusement. Rorschach is also a nihilist. After his encounter with Gerald Grice, he learns that morality and meaning doesn’t exist, but unlike the Comedian, Rorschach takes the opportunity to impose his own morality onto the world. Like ink blots on a blank canvas. The problem is with his own warped sense of reality as well as his motivation. Having discovered that Gerald had killed Blaire Roche, dismembered her and fed her to his dogs, Rorschach no longer has any interest in helping people because, in his mind, people are beyond help. He just wants to hurt and punish those that ruined the world. This isn’t justice. This is revenge. Revenge based on faulty logic. Walter says this was the day he became Rorschach, but it’s also the day he stopped being a superhero as far as I’m concerned. While his motivations and worldview was questionable before, he was at least acting for the common good. Now he’s just an angry man lashing out at the world indiscriminately.

So why do some people have this romanticised view of Rorschach? Well one reason I think is because he’s a man who lives by his own code. Whether we admit to it or not, there is a part of us that wants to see the predators of our society get what they deserve, so even though we recognise that Rorschach is going too far and that his views and beliefs are unsavoury, there’s a little voice in the back of our heads that most of us may not want to acknowledge quietly whispering ‘yes.’ Because if these are truly evil people he’s doing these despicable things to, then it must be okay, right? But then we have to ask ourselves the same question we did about the Comedian back in Absent Friends. Are we saying that the moment someone commits a crime, their life becomes forfeit? That they deserve to die? What does that say about us and our own morality? Which leads to another reason why I believe some people romanticise Rorschach. It’s because it’s easier to romanticise Rorschach rather than to acknowledge what he potentially says about us.

I love Rorschach because, as a character, he forces us to ask some very awkward and uncomfortable questions about our own morality. How far is too far? Where do we draw the line? If the misogyny, psychotic behaviour and extreme violence aren’t deal-breakers, what is? Can we really excuse these poisonous views and beliefs if the person in question is acting, supposedly, for the greater good? This is what makes Rorschach such a fascinating character in my opinion. And I’m sorry to say that if you can’t bring yourself to think about these things, then I’m afraid you just don’t understand Rorschach, or indeed Watchmen, at all.

#the abyss gazes also #watchmen #alan moore #dave gibbons #dc comics #review #spoilers

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elizabethrobertajones · 7 years ago

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14x07 watching notes

In Which It Is Now Completely Apparent Which Of Buck And Leming Are Writing A Scene At Any Given Time

A Tale Of Lizbob Being Tormented By Toddlers

Hello it is 3:32am and I am awake from a dream of what the episode might have been (plus side: overt Destiel motel room sharing, downside: Jack accidentally killed Dean) because my tantruming toddler neighbour who just moved into the haunted house next door was screaming, and threw something at our adjoining wall. At 3am. So I'm not exactly well-rested and I'm kinda pissed, which isn't the best combo for a Buckleming episode, but when you wake up with a scream and a thump, you aren't going back to sleep for a lil while :P

Kudos to the rest of the writing team, we're 7 episodes in and I've thoroughly forgotten Nick exists. I've just been assuming he was caught, featured on a true crime program, and is already gone and locked up for the new murder and likely solving of a cold case.

Ahahahaaaa the opening of the recap is "when it comes to killing you, I'll be the one to do it" so that's ominous. As you might tell, my psyche is utterly wrapped around this whole Shakespearean tragedy of Jack vs Dean, and perhaps they're not gonna murder each other today but the constant reminders they're living in a murder or get murdered delicate thematic plot balance is exactly the sort of thing that we need to have hanging over their dynamic, as well of course as being the start point of their relationship to show how far they've come and how much they've changed and now love each other and how just last episode Dean got in his "fine i have a son now" episode a season or two later than everyone else and just in time for it to be "so now you bonded with him of course he's caught Doom because you can't have nice things for literally a single episode and this is your fault for bonding with him, Dean"

This recap is designed to wound me, a Jack fan and lover of how TFW loves their son

Ew, it's Nick. The first time in my life I've been tempted to skip at least a lil of the recap.

Imagine how tight it would have been to just do a 10 second "here's Jack" recap and cut to the action

and the action includes an episode without Nick stealing time from the boy

You know i spend exactly 0 time speculating on how Eugenie might write her personal fave bits of the episodes but if you had to throw together "nick is now a serial killer ritually murdering priests on a satanic bender" then that would have been a pretty close thing to what I could have come up with as distilled Buckleming essence. (gross)

There's a vague continued overlap of the human!Cas arc with the parallel to the open of 9x03 and the general aesthetic of season 11's Lucifer's satanic rampage bender thrown together but you know what that's more meta than this arc deserves and my boy is sick

OH NO CAS IS THE ONE WATCHING OVER HIM ABORT ABORT

His grace looks pathetic. Maybe he's trying not to wake Jack up. Maybe he doesn't have a whole lot left.

That's not helping, Cas

ANXIOUS PARENTS OUTSIDE HIS ROOM

I bet Cas sent them away because they were hovering

Dean this is not what happens to kids, stop trying to kid yourself that this is like having a regular demonic toddler

Man am I glad I do not have kids right now both because I don't have to worry about them and also because they scream and throw stuff at the walls at 3am

Dean angry at Cas cuz he's worried about Jack oh no oh no oh no look at these stressed parents. Cas is forced into the doctor role because he magic but he is just as stressed as they are and tensions are high, and then the boy starts convulsing

Oh my god they snapped, they are actually bringing Jack to an emergency room. This is horrifying and kind of a trip to imagine what they're going to tell any authority figures about who this guy is and what their relationship is to him.

Do they remember that he has barcode fingerprints and probably is gonna be Medically Weird just as default?

(Alex is 29 like me and Misha is early 40s and Jimmy is canonically a year older than Misha for some reason, so at a push Cas could be his dad and have made some very early mistakes but the boy is biologically only like 10 years younger than them on average... JACK looks another half that at times but this is a hospital so idk if "smiles like a toddler" "early teenage adorableness" is a good measure of age)

(I'm stress-typing)

"His full name, please"

All 3 dads look at each other baffled.

Sam goes with Jack Kline, which, a season and a bit later, is the first canonical use of it as Jack's surname

They're cautious about using Winchester, understandably, but it's a nice reminder that Kelly is family too and as the dead parent, naming Jack in tribute to her should have been something they were doing all along (like, season 13 all along), especially as he even visited the Klines earlier this season. Sam being the one who thinks to do this is nice because he's the most dad-aligned to Jack in a traditional sense when it's come to raising him (Cas got the pre-birth role as the traditional father role) and Cas obviously had the strongest connection to Kelly before that but this isn't a moment about her so much as these 3 stressed dads.

LOL Date of birth. Sam wins another point for knowing it, while Dean makes back and forth guesses on '99/2000, making Jack 19 or 20, which would at least mean any one of them could have fathered him and chopping 10 years off Alex's age to compromise between look and feel.

Given Jack's symptoms the nurse should have been a lil more concerned asking about trips to West Africa or other likely Ebola places lately. (This may be poor timing on the show's part but isn't there a fresh outbreak right now?)

(Oof I googled it and there's "Congo Ebola outbreak 2nd worst in history" articles dated 6 hours ago... Maybe a bad year to write haemorraghic diseases for fun and also how comes no one is talking about this in the news and it's all blah blah brexit... Have we just stopped fearing it now a few outbreaks have shown it mostly stays contained in African countries so now they can just suffer it on their own? I'm making a 4am donation to relief efforts)

*returns from the doctors without borders website* anyway back to the fictional sick white boy

And his very stressed dads

I have no idea how much of this is medically accurate but I feel like this is particularly dramatised to match hospital visits people have experienced which did not involve bringing in a stumbling, feverish, person who is having seizures and coughing blood

it's still objectively sad to see TFW lined up all stressed out and Cas and Dean holding hands while they stare through the giant window

The doctors aren't wearing masks even though he has been COUGHING BLOOD

sheesh this entire hospital is in quarantine now

Nick saying he was "getting hammered" the night of the murder isn't super subtle

Cas aggressively still trying to watch over Jack even though they won't let him in the room. Dean paces and talks about ghouls in the middle of the hospital to let off stress.

Cas goes to watch over him in person while Sam and Dean have a personal chat. This is awful D:

I appreciate the sentiment of busting Jack out before they pay the hospital bills because they're running out of medical options and need to turn to magic ones, a la every dramatic event ever in their lives except that one time Dean broke his leg and Sam was too out of it with the Hallucifers to sell his soul to make it better, but if Jack's in system shutdown wouldn't at least keeping him with state of the art equipment mean things like transfusion and machines that keep him propped up?

Mind you his bloodtype is probably, like, X evil negative or something Bucklemingy

It's in his DNA... He might be cute but he's still born of their episodes and wacky non con ideas... It was gonna catch up to him eventually D: You can't outrun it forever!!

I accidentally hit a button and 8x02 started playing on VLC

"DEEEAN" Cas shoves him through the portal out of purgatory, credits roll, this was officially the weirdest episode ever.

(No I didn't watch the whole thing, I was literally paused on the last shot from where I was about to gif it last night when I fell asleep)

Sam already called Rowena... Smart cookie

obligatory yell at Cas shedding the coat to put on Jack so they don't walk him out in a hospital gown

Oh my god Jack's so sick he's white as a sheet and being carried out by 2 of his dads and he still has a lil well of snark to be like "fine we're leaving" to the doctor.

"There's just no talking to him when he gets like this"

We're at the promo scene and I'm still not 100% sure after sleeping on it that Rowena definitely did not have the Book of the Damned, and that she hadn't been able to make off with it at the end of season 11, never for it to be seen again, because she was very much in the process of stealing the Black Grimoire in 13x22, but this does, I guess, make sense in regards to which book would serve Jack better, and Mittens tried her best to convince me that Rowena plausibly did not have it because the Winchesters did... I'm still suspicious because I really did just assume that she took it and the implication was we didn't see it because SHE had hidden it, and from a line in a Buckleming episode as well. And either way around her showing up with it makes sense that she had it but I'd have occam's razor'd it that she stole the obvious books at the obvious times and not that 13x22 became a BotD heist on top of everything else :P

Jack is up and about!!

He's using a more gravelly voice and it's actually a really hot voice and for literally the first time the Alex/Jack divide (gulf) in my head that one is my age and hot and the other is a 12 year old is a bit shaken. I mean Jack's canonically now supposed to be around 19-20? Which explains why he has a "wooo spring break" attitude when we see in the promo he snaps and wants to go to Vegas.

They grow up so fast.

Anyway considering he was in total organ shutdown a lil while ago it seems a night's rest has done him well if he's wandering around the bunker

Can't tell if we swapped writers or what... well, it seems like it's possible given Jack's fluctuating sickness, which of course could just be a plot thing but also a mark of the inconsistencies in Buckleming episodes. It's still odd to me that in the filming process it didn't occur to them that Jack might not at least sway on the spot at little, but he's really standing there like a little trooper, upright and talking confidently.

And betraying to Rowena that his dads like her and say nice things about her behind her back, which is catastrophic for them. How dare. You're damaging the foundations of their relationship.

*cough cough*

"Bollocks"

Yep, her heart has softened, Jack won her over in record time, and she's just thinking about that time she adopted a wee Polish lad and loved him as her own because Jack is genetically engineered to be a blank slate son version of a Mary Sue. You take one look at him and he is Your Son in whatever way will most harm you.

Good grief I wish Crowley was still around to see what HILARIOUS overlap with Gavin we'd have wrung out of Jack's main superpower.

Cas offering his grace to stabilise Jack on the spot. Halp. It's more important to him that his son lives by miles, that this isn't even an internal debate for him. In a way, obvious that Cas would be like this as a parent, in another, Cas just offered to give up his grace live on TV

Rowena shoots down the obvious solution (oh and thank god that for once the show actually even references obvious solutions) and starts talking about how we need archangel grace and as soon as she says that I think "oh, Michael" and Dean starts to come over weird with a wooziness that makes me wonder if that was timed for the audience "oh there's one out there right now" and why would DEAN be personally affected right thiiiiiis second..............................

When they go on spring break together we're getting right to the murderin

I mean SOMETHING is up and Dean's right now having his own weird moment as Rowena talks about how Jack will now have a fluctuating set of symptoms for the sake of the plot so

It's possible this is just his internal POV emotional reaction to bad news because this is what happens to me when I hear it but I suspect Dean is a lil more healthy than me in the first place so doesn't verge on passing out whenever a catastrophe happens regularly. And also Sam and Cas aren't similarly struck with physical symptoms at the news their son is dying.

Ya know, Buckleming, or probably Eugenie specifically which makes it all the worse, writing this woman taking a call in a dark alleyway, then not being terrified to be approached by a weird man and on top of that stopping and turning to invite him to join her in the club... this is the kind of thing where they're writing someone going against all natural instinct that it's bad characterisation for someone we've literally never met before just to put her in danger.

I mean at least they didn't make Nick stab a random woman (and a black woman at that to add to their overall awful stats)

I like how Jack's just decided Vegas or Tahiti are places you just kinda go to die... I mean I don't know what he's learned about them but it all has to be absorbed through the media in his most innocent way. I feel like there's something very sweet about whatever he thinks you do in these places of reputed sin and blaze of glory live fast die young lifestyles, but also utterly tragic. Consumptive tragic hero but with a twist of the reckless and dangerous later tropes of... It's 5am and I can't think but like. Vegas. Drugs and gambling high life style tropey films and books from the American tradition.

And of course it's Dean (who utterly fits into this trope and even has yearly Vegas trips with Sam since discovering his psychic powers back in season 1 and also lives a blaze of glory mindset) who brings him the deadly glass of milk (film trope about innocence but also like, people dying) and a sandwich loaded with salami. Dean went all out to make that for Jack - a couple of episodes after sending a woman off to "make him a sandwich" and regretting it as he spoke, we see the yank the cloth away reveal of Dean's nurturing side where he is the caregiver who shows affection through food and will go to the trouble of making his boy a delicious sandwich.

"Nice." See? He's Dean's son and Dean approves his choice of places to die. "You sure this is the best time?"

"Pretty sure it is," Jack says, backpack on, already almost out the door. He's found a brown corduroy jacket which is both unlike his beige jackets and suits from the rest of his life aside from the blue apocalypse world one, and also very very much like Sam's iconic season 1-2 brown corduroy jacket that he mostly stopped wearing although I think was the one Dean wore in 4x01 as one of its sporadic dwindling appearances, if I'm not wrong.

I probably am but either way, it's a change to darker colours, something Sam-associated to fit the gap of this smol dangerous dying kid Dean has to deal with, and puts Jack in thick earthier tones, thicker clothes to ward against the cold of death, and dressed more like TFW than normal as he usually has quite a distinct child-like version of their clothes.

Jack's concept of life and mortality is fucked, possibly because he was a functioning being after a day or two of gathering his thoughts and starting to come to terms with asking deep philosophical questions about himself, so in a way discovering he only has a couple more weeks to live is hardly anything. He's a fucking mayfly.

Ugh it's now solidly 5am and I am clearly not going back to sleep so I give up, I'm finally getting coffee. The rest of the notes will be maybe a wee bit more coherent :P

Anyway kettle thought: due to Jack and Dean's murder or be murdered relationship (lordy how is this the only way you relate to fatherhood, my guy?) I kinda suspect that Dean's about to abscond with Jack without even telling dad 1 or dad 2, because he is dad 3 and that's totally cool and he's a responsible adult, but, you know, woozy and doomed while Jack is also consumptive and doomed. BAD COMBO.

I charge you with grounds of diminished responsibility due to mutual murder narrative doom

"I'm done being special. Before my life is over, I want to live it"

Okay remember in season 1 episode 14 where Dean was like "LOL WE SHOULD GO TO VEGAS BECAUSE YOU ARE PSYCHIC"? and I referenced that like 5 minutes ago so you should, obviously I've only ever been able to headcanon the reveal of Vegas Week in season 7 (Dabb episode, take a shot) dates back to that and is one of their between episode activities which makes sense that since they only started travelling as adults together in the canon of the show (and Sam 1 year older than drinking age) that it might as well have been when they started the tradition?

Well Jack here is reacting like Dean would have if HE were the one in Sam's shoes in 1x14, and being the fun lil brother who actually would be like fuck it let's go to Vegas and see how psychic I am in the casinos! In the context of season 1 Sam is waaaaaaaaaaaaaaaay too angsty and tragic to do anything other than come across as a stick in the mud who thinks Dean is joking and they're gonna carry on being tragic and hunting monsters instead. Dean in season 2, episode 9, also wanted to fuck off and go have fun when Sam's scary destiny got too much for him to carry, and that was when he was locked in the murder or save him vow from John's last words, which is a similar burden to the narrative bind he's in with Jack.

Jack, all of his fathers' son, finally shows up as the god damn first person to take his doom sensibly and actually want to fuck off to Vegas, and that's demon!Dean levels of fuck it.

Incidentally I half-suspect that Crowley, who has billions of dollars and once bid the moon in an auction (hi I watched 99% of 8x02 yesterday and 1% of it just now) probably was steering demon!Dean waaaaaaaaaaaaaaaaay carefully around the thought of wait a minute I have an extremely rich and powerful sugar daddy and no responsibilities... VEGAAAAAAAS.

Like, any time Dean started to form the thought, bam, naked triplets show up in their room.

Anyway Jack's busy being tragic, talking about wanting to get a tan (Beach now linked to something to do before death) or see a hockey game (oh shit we forgot Adam) or get a parking ticket (oh so that's why Dean murders him)

"And when it's all over... die."

Dean looks over his shoulder, mind made up to abduct the boy and take him joyriding

"So that's your plan, huh?"

"I don't want to waste time arguing"

"Did I say I disagree"

jack, this is Fun Dad

I know, the concept is completely radical and you've never seen Dean be fun but trust me.

Even with your very, very limited options, Sam has literally had 3 episodes about how he's Scrooge, and Cas is... Cas. But Dean is legitimately fun dad when you get him on a good day. Trust me.

No one's speaking to Rowena??? How wild.

Poor thing is never going to get her mega coven

Dean (who has rocked up already wearing his jacket) spaces out as Sam starts blahing on about the culturally appropriative shaman Ketch has located.

Same, buddy

At least Dean isn't lying to them about stealing Jack. Somewhat. Not the whole Vegas plan.

Jack smiles at Sam and Cas in a kind of way that somehow conveys in its entirety "this may be the last time you see me but I'm cool with you NOT seeing me die of coughing my lungs up and fun dad has this covered and we've always had a weird death cult about our relationship anyway so I'm okay with it and you guys were the best dads but now fun dad is going to take me out back and shoot me where you can't see and I love you bye"

"Why don't you drive?"

Jack is like ?!?!?!?!? D:

EVEN ON HIS DEATHBED he hadn't figured this would ever happen

It's the make a wish foundation :')

This is, of course, the ultimate sign of Dean loving you and caring for you in Dean's own special way of not telling you he does but showing it with a gesture of absolute confidence and letting you in, and in the vast annuls of the show dates back to the second ever episode where Dean let Sam drive at the end for all of 1 shot (seriously, they've swapped back by the long shot at the end of 1x02 where you can't see them in the car but the prop drivers are definitely doing a generic Sam in the passenger seat Dean driving routine for stock footage :P)

Anyway Dean loves Jack enough that he's letting a kid who does not know how to drive learn to drive in the Impala, like he and Sam did.

I can see Alex sweating bullets about being seated next to Jensen in the beloved Impala and having to mess up turning it on... never mind the fact that both Jensen AND Dean will murder him if he harms the car, and being murdered on both levels at once is spiritually unsettling and he will probably end up an unquiet ghost.

And yet, the glee at being behind the wheel of this legendary gal

TRAGIC NYOOOOOM

"It's like I'm you! :D"

"No, it's not! :D (but with implied murder)"

"THIS IS THE BEST DAY EVER"

Look if he survives this, you're creating a speed demon who will want his own classic car

And then you'll have to teach him how to maintain it

oh god

But yeah, non-toxic parenting in the John Winchester As He Could Have Been style.

At least as long as Dean is in the Make A Wish mode and not back to tragic murder mode

And that wooziness that he may or may not be associating with no sleep and too much stress suggests this isn't going to last as a Fun Day Trip For The Boy

"Cas are you sure you want to handle this alone?"

NO HE NEEDS A HUG HIS SON IS DYING

Sam, go hug him, you need a hug and your son is dying.

Also, of course, you mutually need each other in this instance and Sam is reaching out to Cas with presumably the intent that he wants to be in on it but is asking as if just concerned about Cas

Cas, being Cas, has somehow deduced that Dean is "taking this particularly hard" despite the fact all three of them are Concerned Dads and CAS WHAT THE FUCK are you doing being selflessly concerned about DEAN and sizing up his emotional state when all three of you are wrecked and your son is dying?

You literally have 3x the sitting at his bedside holding his hand moments of any of them and montaged the heck out of the concern at the start of the episode

I remember way back someone wankily made a chart of how often people talked to Dean about stuff and other people talked to each other about Dean, and Sam is now crying about Dean beating himself up over being mean to Jack at the start of season 13 and regretting it, so this entire conversation is Sam and Cas man paining at each other about how much man pain Dean is in.

I say with no wank in my heart, just sheer horrified amusement at this data point if they still are hate-watching the show and being horrified about how Sam never gets stuff for himself etc (I mean. He and Cas both have had extended chunks of seasons about them parenting Jack and this is Dean's time to come belatedly to what the two of them already had)

Cas finally says "son" a season and change after Jack was wandering around calling him "father" and Sam doesn't seem inclined to disagree that this is how it feels for all 3 of them.

Obviously he's crying about Jack and it was just the context above that made it look like he was crying about Dean and I always knew that, I'm not a monster, I'm just deflecting because owwwwwwwww this hurts

HUG EACH OTHER YOU DUMB FUCKS SO I FEEL BETTER

Cas walks off instead and Sam finally after 1000 years discovers how Dean feels when Cas does that when he was angling to come along and they miscommunicated and didn't say what they meant. Except Sam wanted to come out of mutual Dad Angst comfort while Dean normally wants to go with Cas places so he can hold his hand.

Jack's so proud of himself for being able to drive.

"Born with a wheel in your hand"

He literally stole the Impala from you when he was 7 months in the womb

Dean is like, we could get you laid? And Jack is like. Nah. I have a better idea.

No idea what right now but he still doesn't wanna bang anyone

Ugh a Nick scene. Tag yourself I'm the old tyre in the foreground

Is this the house from Family Remains aka the self-admitted worst episode of the show by Kripke and Carver's explicit design

I am going to puke Jack wanted to go on a fishing trip with his dad

There were spoilers about them doing this but I repressed it the fuck down and lied to myself that Jensen was randomly teaching Alex to fish on set because I didn't want to think about Dean doing this with Jack because oh my god someone has taken my heart and gouged it out with a rusty spoon.

Also: someone design Jack a t-shirt with a witty slogan about fishing rather than hook ups. Like, dude bro fishing culture but in a world where you're as likely to get dumb slogans about not wanting sex as you are for it making you a babe magnet

"I'd rather be fishin" is a thing people get on mugs for the workplace but we could start with this sentiment and play

ALSO AS I MENTIONED I WATCHED 8x02 IN THE LAST 24 HOURS AND DEAN NEAR RIVERS SUCKS. We also have 10x01 and Daniel the fishing angel (who was the pizza man from Monster Movie, see above: slogans about fishing, pizza man innuendo, we got a thing going here) who was happy on Earth just fishing and enjoying the planet and not wanting to go back to Heaven, in a very heavy metaphor for Cas to deal with, as the angel who once compared free will to teaching poetry to fish. Lots and lots to unpack here, when we turn this into a Dean and Jack father son bonding moment and throw in Dean's peaceful dream of fishing in 4x20 that Cas interrupted. Fishing is about peace and idyll and comes as a temporary respite in this show. Traditionally, also, of course it's a sport of patience, and a classic father son bonding activity as the long stillness allows for both manly silence and sharing beers in peace, but also talk if they want to open up a conversation.

For Jack, it's an overlap of both Cas and Dean parental stuff, Cas's issues with angelic nature, where he wants to be, WHO he wants to be (just OFFERING to give up his grace to save Jack) and then with Dean we have more classic human cultural tropes but none less painful for Jack's nature and relationships. Especially throwing in that this was his choice and Dean is indulging him completely here.

John may or may not have taught them to fish but I feel like it may have had a "so you are dying in the woods" aspect to it rather than for peace and bonding. BOBBY taught Sam and Dean some basic woodsmanship so he was more likely to be the father figure teaching them to fish if anyone did.

Okay so obviously I typed that just after clutching my heart at the reveal and hitting pause, as Jack immediately goes on to say that John DID teach Dean how to fish and that it was his happiest memory of him - and it comes as a surprise for the expectations (like, that the above paragraph now stands as what I would expect of canon if I was only taking from it and not as an actual writer of the show being allowed to insert new details in which challenge us about the characters, which is where I find the line between fan fic and original fiction really is when it comes to characterisation... Anything out of left-field and you have to tag it as an AU version or explain why instead of just writing it as taken for granted).

And it's unexpected in the sense that it is such a peaceful thing and above all I think the message is that Jack intuited from whatever Dean said about it that it WAS a happy peaceful memory of John which stood so much at odds with the rest of his life. Filed under as well the thing where Mary started talking about how nice John was to Sam and Sam recoiled in confusion until Mary clarfied it was her John, not theirs. Good memories of a gentle soft John are alarming, and yet perhaps this is a way to really confront and exorcise his ghost more than anything - the sort of funeral servive memorialising of the good with the bad and working through it to come to peace in a different sort of way that lets the wounds heal and the anger leave those scars.

"It was how you said it. I could tell." He's such a smart cookie and I think that often takes Dean by surprise in the sense that Jack has been very shrewdly watching him and learning from him and absorbing anything and everything he does, which unfortunately gives him the ability to cold read Dean like very few people do, seeing past the layers and bluffs and into Dean's core.

Jack just murdered Dean by saying if he doesn't make it he wouldn't miss Tahiti or the Taj Mahal or implied going to seedy bars and hooking up, he'd miss more time with Dean.

I mean that's not a literal way to kill someone but you should see Dean's face. He's been shot.

And again, it's a metaphor for what you want from life for DEAN to absorb, the prompt that his family is right here and he doesn't need to chase pleasure outside of them, that hook up bar nearby their home base where he never strikes out, that's irrelevant to the family he has built and it's been put in the subtext of what Dean goes after that's empty pleasure when he has this core family unit around him, by the way Jack has also rejected it and is explaining to Dean the real meaning of Christmas.

Of course, this all gets a bit weird unless you account for the fact he has an angel wearing a trenchcoat made of husband material waiting back at the Bunker because the chronic singleton life otherwise probably ought to account for an outlet for Dean like a hook up bar if his happy ending is a platonic family bond so, you know, end the show 10 minutes from now with everyone happy and alive and not dying, and all Dean's learned is they're 3 dads, one son, a mom and her AUBobby, but he still has unused romantic potential and for seasons and seasons they've been trying to close the door on him seeking out random hook ups in the subtext of what Dean WANTS vs what he thinks he can have. This frank conversation about what Jack wants from life before it's all over is once again ignoring fleeting human connection for the family bonds he values above everything.

"I've had a good life, Dean" the other reason they're having this sentimental conversation by a river is because Jack is a fucking mayfly and I hate this

@ Dabb please never make me see Cas driving this car ever again

Why are you irritating Cas like this. First boring holy fire oh it must be thursday followed by the indignity of making him sit on a pouffe? Listen, when Cas gets irritated he gets snarky and then people die because he snarked them to death. I saw it he did it to the Empty. And Lucifer in 13x12. And Kip.

I just feel sorry for Cas. Why can't he go on fishing trips with the boy. Oh no he has to sit on a squishy pouffe that won't let him be intimidating so that he can cure the boy even though Jack's already decided he's gonna die and will probably Ophelia himself into the river at the end of the fishing trip.

Sergei is basically like "Have you tried turning it off and on again"

Nephilim have a reboot button on the back of their neck, if you get a paperclip and poke it in there.

At least Sergei is so... whatever he is... I can't even tell who he is supposed to be offensive towards :P I guess with the name, I lean Russian, and then he has world esoterica and occult nonsense in his caravan...

The real question is how does he know anything about Nephilim and why hasn't Cas asked that already.

LOL he has a vial of Gabriel grace just lying around. Of course, because Gabriel was just offering it up to everyone.

Considering how he was exploited for it by Asmodeus there's a weird tinge of retconning his own abuse by saying he was going around giving it to everyone before Asmodeus ever bought him and started stealing it on the regular.

Still, it IS awfully tempting a fix to have Uncle Gabriel help Jack out from beyond.

/distantly: "I'm not dead!"

sometimes I can still hear his voice.

It's way more likely Shit Goes Down and this is lost but then Cas has learned what to do with archangel grace to fix Jack just so long as they can pin down Michael and grab his instead.

But I guess in that circumstance at least once again Gabriel gave them part of the answer from beyond the grave as he did in season 5.

("Still not dead!!")

shush Gabriel. The show wants us to think you're dead and my complete disbelief in that doesn't change anything for now.

Except that maybe Gabriel came back, is fine, but has been removing his grace and selling it in the here and now while claiming not to be Gabriel and that he just haaaappens to have it and because he has no grace he could just be any old guy who happens to have an endless renewable resource of archangel grace secretly on tap to sell to fund his life of laying low. Sergei even says HE got it as part of keeping Gabriel hidden.

I'm kind of assuming Sergei isn't Gabriel unless he offers Cas kielbasa

I mean unless later I get a bonus cookie for immediately assuming Sergei is Gabriel based on the holy fire he just happened to have prepared and how similar it looked to Gabriel being trapped in 5x08.

On the other hand this may be the first time this season but pointing at literally everyone and going, that's probably Gabriel, will get old and also dock me cookie points the more wrong guesses I throw out there. Still, this one has pretty strong evidence, from messing with Cas to making him say "Porn stars"

To, um, having Gabriel's grace

Okay so Sergei gives Cas all of this out of the goodness of his heart and a "you owe me" and I AM wondering if that's a Buckleming special because remember in 8x19 where they were like hi we need to go to Hell immediately, and Ajay was like sure, I will take you to Hell and this episode is even titled after me so clearly I am an important character who *stab stab reaper dying noises* wow look I guess we don't have a bargain after all despite me saying you owe me but then Crowley just maaaaagically made it so you never had to find out what a reaper would want in exchange for taking you to Hell off the books.

Also fuck you I never got to finish my pizza

While I've been typing some random ass justice for Ajay screed, Nick has revealed a flashback to 14x02 where it turns out his neighbour said it was a cop who he saw coming out of the house. I literally went back and checked the episode and that wasn't in it, so perhaps it's a new flashback for here, fleshing out that conversation and revealing more for us, and changing the narrative of what Nick's up to, but honestly who cares enough about all this... I was double zoned out for flashbacks I'd already seen for a side story i don't care about

Wow, Nick, demons killed ya family. Could have told you that.

Aw, Dean brought Jack home. No dying out in the wilderness for you, clearly Cas phoned up before Jack could work out his plan to fling himself into the river.

Also Nick has taken up too much of this episode so there's no room for complicated twists and turns, if Buckleming are banned from introducing too many of them.

It's incredible how subdividing them so Eugenie writes all the Nick stuff and Brad writes the rest has elevated the parts of the story we care about to pretty much passable, give or take whatever Sergei was and who he was offensive to aside from the whole concept of calling yourself a shaman because you travelled the world collecting occult stuff in a sort of Aleister Crowley way.

'cept you can't namedrop Aleister on this show because both Alastair and Crowley have stolen too much from him.

So you get a knock off Sergei instead.

Jack hasn't been having as many of the supposed fainting fits that had everyone dogpiling him as I thought - maybe that's next episode too. Could have had one at the start but that doesn't seem enough to be a repeated annoyance of Alex's life :P

Anyway I was just going to comment on his sweater but that thought hopped in there first wondering if the spell was about to knock him flat, as he's sitting on a chair instead of safely in bed.

All the more dramatic for flinging yourself around if the spell messes you up

(honestly if the spells don't work, and they took him out of the hospital, how much of a bizarre commentary is this on trusting modern medicine and vaccinating your nephilims?)

It's 7:20 and my neighbours are yelling again

At least being awake since 3 meant I got a bit more peace and quiet than normal. I feel gross but I may go to yoga just to not be stuck in this room with such awful screeching on both sides of me >.>

Oh I can tell Sergei is Gabriel, he put the grace in a gold container instead of the silver ones

I'm sorry for the expenses, Zerbe

I wonder if they use her products on the show and I'm gonna go on my dash and find her beaming about a specially commissioned shiny gold grace that she made for them :P

"Here, hold this bottle of your uncle's essence"

".... okay I understand how weird that sounded on hindsight"

I love the idea of Jack's grace now being fuelled by Nice Uncle Gabriel who felt kindly towards him, even if this can't be a permanent fix, it changes his internal make up just a bit so that he symbolically has his grace stolen by his shitty bio father but the power only came from him in the first place and there was all the hoo ha about if Lucifer as his father made him inherently evil. Now whatever happens to Jack, he's had a grace transplant from a suitable donor, very much like a parallel of say he needed a kidney transplant and his 2 viable donors were his shitty deadbeat dad who gave him the kidney condition in the first place and his nice dead uncle who happened to have been an organ donor and was the only other one with the same type (if Lucifer's was X evil negative, then I guess Gabriel's is like X tricksy negative which has enough receptors to be a compatible transfusion, while Cas has like, Z dumbass positive grace and no compatibility)

And Gabriel is a beloved character who proved his kind feeling towards Jack even if they had very little bonding overall, he clearly cared and there was an immediate sort of uncle-y kindness about him in relation to Jack (just the comment alone about identifying that Jack liked shiny things and magic tricks is very much how uncles view small children who they may watch and entertain but not in the end have parental responsibility for), which is hilarious to me because Gabriel deeply reminds me of all 3 of my uncles on my mum's side, who are all 3 different shades of trickster god in their own right, and he always has reminded me of them, and now the show has sort of made Uncle Gabriel his new legacy.

I mean. I love it to bits.

It's not a sacrifice FOR Jack like Cas would have given up his grace, but it's still a part of him passed on to Jack.

I am very very aware that like me running my mouth about John (ironically the name of one of my uncles) while hitting pause, I've stopped while Jack is looking up with glowing eyes and he's almost certainly about to spew a fountain of blood across the room and fall on the floor. But I like that the grace even interacted with him and lit up his eyes and unless he physically barfs out the grace to I'm sticking by that ramble.

Cas smiled!! That's the once per season and we already hit it at episode 7, woe betide us

This does look, however, like the scene where they were all looking on from the door so... blood spew in 5 4 3 2 1...

DOGPILE THE BOY

Er, I mean, help him

God I would not want Jared to dogpile me, the man weighs literally as much as an actual moose

Uhoh Sergei made Cas mad

I mean

he made him sit on a pouffe, this was always coming

What do you mean Eugenie can't let Lucifer go wow what a shock

*kicks a pebble*

Ah, here's the concerned dads scene. I'm just going to let that be a balm to my soul while Dean laments ever taking Jack out to have fun.

"You made him happy. You did more for him than any of us"

1 dude you tried, 2 you took him on hunting trips and had fun already this season so he got his Cas Time before he died like he wanted 3 just fucking abduct him wrapped in a duvet and go fishing in the dead of night if you have to, trust me, he'd love it and your family is such a mess he wouldn't even think it's weird.

I mean you've literally absconded illegally with him before, what's a trip up to that beach where he was born and some fishing gear really going to cost you with annoyance from Dean

"What can we do?" "Watch over him," Rowena says with Cas in the background, and continues to carve me out with a rusty spoon

"As he dies"

Nah he'll be fine shut up Rowena D:

*whimper*

Well that was a very good episode if you act like me and pretend that none of the Nick stuff happened at all.

#14x07 #season 14 spoilers #my stuff

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monkey-network · 7 years ago

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WarioWare: The Series Season 2 Episodes

52 Episodes, Season 3 Coming 20XX. Season 1*

Business is Booming: Wario’s house blows up and nobody wants to take him in except Penny... without Crygor Sr’s permission. So Penny does her best to hide the 200+ lb man from her grandfather while bots are sent out to fix the house.

WarioiraW: One of Orbulon’s pets, a gelatinous blob that can take the form of any being, escapes and takes the form of Wario. This fools everybody in the fact that the fake is friendlier than the actual one. Even Wario, who plots to take advantage of his impostor’s kindness.

Spare the Rod, Don’t Spoil the Child: 9-Volt must wait to see a movie, one 18-Volt saw at an early screening. Known to be a blabbermouth, 9V does his best to shut out 18-Volt and spoilers of any kind before the event, which puts a strain on their friendship.

Jimmy Two Shoes: Jimmy T. wants to watch a game, but his tendency to not say no gets the better of him when everyone suddenly needs him.

Cricket and the Octopus of Fortitude: Young Cricket has to take care of Master Mantis’s pet while he goes to the doctor. The octopus doesn’t take kindly to Cricket’s overprotective nature, so it tries to outwit the apprentice with some outside help.

You’re Not Funny: An anonymous joke is emailed all across DC and everyone is laughing themselves stiff... except for Ashley and Mike, the latter believing the joke wasn’t sent just for the heck of it. The two go to uncover the truth, and it may be up to the not funny Ashley to snap people back to reality.

Fronkenstein: Feeling inferior due to his size, Snag, 9V’s Fronk, goes to build a new body for itself.... using body parts from the WarioWare gang.

Taxidermy: A customer hops into Dribble and Spitz’s cab and must compress his urge to make stuffed animals out of them, while the driving duo are completely unaware of his serial reputation.

The Nunja: Kat & Ana meets Artie, a wolf ninja who’s confidence is more than her actual skill. They see that’s she’s talented in a different field, but are conflicted to tell her the truth when she truly wants to be a ninja like her family.

One Perfection: A new student arrives at Mona’s school, and is seemingly flawless in everything they do. Mona feels inadequate compared to them, until she finds out a secret insecurity about them that she wants to help them with.

Monday Night Manor Madness: It’s a rainy day and the WarioWare gang coup up at a reluctant Ashley’s house. All goes well until a haunting spirit starts to spook everyone, with even Ashley unexpectedly shuddering at the thought of encountering it. What’s the spirit’s true intentions, and how is Jimmy not afraid of ghosts?

Meet The Sellouts: One of Wario’s schemes causes massive damage and the animation budget crashes due to the medical bills. So Crygor comes up with a way to work around this while Wario spams a bunch of ads subliminal messages to hopefully make money back.

Animal House: Mona’s pets and Kat & Ana’s pets join forces to commit a supermarket heist.

Ode to the Stone: 9-Volt makes a new pal out of a rock, glue, a sharpie, and googly eyes at school. Immediately losing interest, he tosses it and it not only reaches the rest of the gang somehow, but their hearts as the lifeless friend helps them see a new perspective about themselves.

The “Hero” Gains: Lulu* feels like she lacks a special hero attack, so she goes around Diamond City to see if she can have one of her very own. But like Wario always implies, it’s what’s on the inside that counts.

Drone Alone: Doris 1, the robot Crygor rescued from Agate forest, is left to take care of the lab while the doctor and Mike go to Penny’s talent show. Time unfortunately puts Doris on an emotional journey when an hour feels like an eternity.

Sea of Green: After a successful treasure hunt, Wario is stranded in the middle of the ocean with little to eat besides a bag of edible cacti. The cacti might leave an effect on him, but it might be the big guy’s only chance of making it home.

Late Night Cruise Control: When not on the clock, Spitz hosts a talk show that gives the latest news and brought in tons of celebrities. But when ratings start to drop, will our mechanic resort to low hanging fruit to garner back an audience, or can Dribble the music pitbull pick the show up from this funk?

Full Metal Jacket: Manager Joe, Mona’s employer and friend, creates a clothing line based on the WarioWare gang and everyone is loving it. But business becomes an empire and Joe starts losing that generous side he had, leaving Mona to bring him back down to earth.

Krumpet Scouts: 18-Volt is trying to earn money for a limited edition video game cover, but is too young for a job. He tries joining a cookie selling gang, but it’s for girls only. So he asks 13-Amp to join in his place.... while dressing up as a girl to make double the money.

Pyoro Over: The creators of Pyoro are retiring and the WarioWare gang set out to give them an explosive send off celebration since it was the company’s inspiration.

Your Greatest Feeture: Cricket’s shoes wear out and the young ward is struggling to find the right pair. But is the loss of his slippers an opportunity to learn a new technique?

Two Fros on a Sofa: Jimmy T and Jimmy P encounter each other at a bus stop and luckily finds a comfortable sofa to wait. The sofa, however, is actually a prototype rocket Orbulon left behind and the two have to work together to land the couch safely.

Flavorful Fallacy: Orbulon, realizing he left his couch in the middle of the city, goes to see where it might have gone. He meets an old man, who has a prejudice against aliens, and the two start to fight over which flavor of ice cream is better.

The People v. WarioWare Inc. (Part 1): A chipper and well meaning cult leader creates a lawsuit against the WarioWare gang for their unintentionally ludicrous crimes in the city. Wario doesn’t believe there’s a case against them, but testimony and evidence suggests otherwise and even with Mona knowing the law by hand, the gang can’t find a loophole to their reckless nature.

The People v. WarioWare Inc. (Part 2): The gang is about to serve jail time for their pretty criminal deeds of the past, but Wario’s encouragement and a special hint from the audience helps them realize that while they’re guilty, scapegoating the right person can lead to a means of escape.

Bored Games: Since the trial put everyone on edge (and house arrest), Jimmy invites the gang over for game night. Wario can’t join them, and this creates a vacuum as to who is the 2nd most conniving opportunist in the group.

Scientifically Supernatural: Ashley and Penny team up to create a being of both magic and nature and get along pretty well. The project, however, starts to rampage the town and the two fight over who’s responsible, with Red as the mediator.

Double Dribble: Dribble and Spitz enter their cab into a Rocket League type derby that puts their driving and piloting skills to the test.

He’s Back, An Unfortunate Revenge Story: Wario escapes from prison and plots to get his revenge on the one who put him there. Or ones...

The “Hero” Movie: Lulu enters a home movie into a film contest and wins thanks to Wario’s meddling. So after getting persuaded into competing for state, Lulu turns to Wario and he agrees to help if she constantly pays him, resulting in the two making “Ryno Optimus II, A Sequel to the Chosen One: The Unreckoning”

Mona’s Stop: Mona finds out that her checks have been sent to the wrong address for a while and she becomes a multi-millionaire. Knowing she’s been working pretty hard already, she retires early to become the queen of Diamond City. This would be around the time Wario tries to swindle her out of her fortune, but he’s surprisingly happy for her.

Head Boppin’: Jimmy, Jamie, James, Papa, and Mama T. have switched brains somehow. Getting back to normal seems easy... if the family didn’t act and sound nearly the same.

The Lazy Day Saints: Another couch related episode? Yeah, except this time 9-Volt rebels against his mother and chore day by turning the sofa into a pirate ship with Snag, 18V, Penny, Kat, and Ana as his crew. Knowing 9-Volt won’t back down without a fight, 5-Volt and the neighborhood moms fight fire with fire, using lazyboys as their vessels.

The Ultimate Foe: Cricket faces the most horrifying challenge of his life: a slab of silly putty.

Awww... Crap, Love: Ashley falls for a demon she spawned from the Necronomicon. And while Red tries to stop the demon from unleashing hell unto town, 5-Volt and Mona try to teach the stone faced witch about love, romance, the birds an- wait she learned that already, so just the first two.

Your Opinion?: Wario posts a negative review on a movie he watched, and the city turns against him. He easily ignores them at first, until everyone becomes nastier than him and the internet comes to life to kill him.

Join us for T-Posing: Dr. Crygor accidentally sets off a gas that forces everyone to silently stand in tree position... except Wario because it’s too hard for him. So I GUESS it’s up to him to reverse this before they’re all stuck like that? Ouch.

Magic Mike ACT: 13-Amp works well with music on the mind, but a challenge has arisen in the form of a standardized test... in a soundless classroom. Desperate for a beat to work with, she looks to Mike to join her in staying cool while dealing with the work and the no nonsense teach.

Spacecataz: Does anyone know how fictional characters are able to breath in space without helmets or oxygen? Eh, doesn’t matter... cocky alien hunter Spiff Gibbous* is back to destroy Orbulon, this time the WarioWare gang is in tow. It’s Star Wargames, ya’ll!

Knitwit: Dr. Crygor takes a major interest in knitting and this makes him a laughing stock among other mad scientists. Discouraged at first, Crygor soon schools his hecklers about the ingenuity of threading and needling.

Wario Und Pantser: In a 60s style episode, Wario-Man and Dynogirl (Mona) are on the case to find the criminal who’s been pulling people’s pants down.

Flipping the L: Waluigi gets to be in this episode... and doesn’t know what to with his screen time. So what’s a reject to do besides immediately erase the show’s universe all together and come up with his own?

The Shuriken Heart of the Cards: 9-Volt wants to join Kat & Ana on their special delivery, Ana more accepting while Kat worries about him being a potential burden. However, when they get ambushed by skilled ninja.... card players, it’s 9V’s time to shine.

Stereo Street Fighter: An old foe of Master Mantis returns with a new style of fighting that towers Mantis’s more ancient techniques. Cricket, with the help of Jimmy T, try to master a new style of martial arts with the power of funk. The perfect time for Cricket to sport a rocking afro of his own.

You Have to Go: Death has come for Wario, but continuously gets sidetracked by the gang when they’ve yet to find the special treasure he buried somewhere.

Cadillacs & Yoshisaurs: I forget this is also Mario’s universe sometimes. So anyway Yoshi eggs start appearing in Diamond City and everyone’s loving them. But they’re then caught between raising pretty rowdy animals and letting a Magikoopa poach them away.

The LIVE WAHundredth Episode (Yikes, this many?): Wario is eager to celebrate the show’s special episode on stage, but somebody kidnaps the gang and leaves them in the middle of a forest, forcing everyone to work together to head back to the studio. In the meantime, Lulu and Joe are forced to entertain the audience and start to have fun with it.

Quid Pro Wario: Young puppies look to Wario for lessons on becoming con artists, with Jimmy P not taking this well.

How to Stop Worrying and Love the Cruise: 9 and 5-Volt are on a ocean liner they won in a sweepstakes and aren’t taking it well, with 5V struggling to have fun and 9V getting seasickness.

Get Nasty: Mona makes a painting everyone has mixed feelings towards it for being too obscene, so she tries to go wild with her art to get better publicity by being more shocking.

Wario’s World (Hour Long Season Finale): A fart fueled nuke sends Diamond City into a post apocalyptic setting, where a grown up Lulu leads a resistance against the Immortan Wario’s greed fueled wrath, Empresses Kat & Ana are at war with Cricket, Dribble, Spitz, and Orbulon fighting off a colossal meteor, and the only one who could possibly bring everyone together is Mike, 18 Volt (now 21 Volt), Red, and Ashley, who is dying from the putrid radiation.

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why-this-kolaveri-machi · 7 years ago

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Notes on SPN 14.02

So! I saw 14.01 yesterday, which was for the most part, surprisingly, a blast, and since I have a bit of free time today I thought I’d keep a hold of the momentum and watch and liveblog 14.02 as well. I’ve heard it’s one of those Buckleming plot-a-paloozas, but I’ll try my best to provide semi-reasonable commentary instead of incoherent ranting.

Right. As always, typing this post up as I watch. SPOILERS for the episode ahead.

1. We start with a recap of last season’s finale, and Show, do you really want to remind us this many times about that wire-fight?

1.25. Show’s lore regarding possession has been dizzyingly inconsistent, but the more I think about it, the less sense it makes to me that Nick is alive? Because Nick couldn’t actually house Lucifer for very long in s5—he was deteriorating, which was why Lucifer needed Sam so urgently. The last we saw of Nick, he was dead/dying in a dingy room in Detroit, when Lucifer jumped ship to Sam. Even if Lucifer assumed Nick’s visage in the Cage and afterwards when he was brought back, Nick-the-person with Nick-memories and Nick-feelings isn’t there anymore.

1.255. So what does this mean? Like, if this was explained away sometime over the last two seasons--I’m very sorry, I really wasn’t paying a lot of attention to large chunks of them—please let me know. If there’s no explanation, then has Lucifer disappeared inside a Nick-construct? Did he use a loophole to escape the worst of the Archangel Blade right at the moment Dean plunged it into his side? Lucifer was “human” for a while in s13, iirc. Did he have enough “human” to hide behind and recover? And has he filled that human with the memories/personality of one of the humans he knew best? Is it because he spent centuries assuming Nick’s body in the Cage that he’s most comfortable being him here?

… I don’t know. Maybe I’m missing something obvious, but, hey, it’s fun to speculate.

2. We start off with people artfully tied up in an artfully derelict church illuminated artfully by artful lightning.

… *groans* I hope we aren’t getting a torture scene already.

2.25. Well, Michael’s certainly chirpier than he was last episode.

2.5. Is he trying to make new angel minions, is that it, by feeding them blood and his grace? Leaving aside the lack of creativity in the mechanism, the whole thing kind of makes a weird sense. Michael is looking for those with purity of purpose—among religious leaders (and refugees, apparently), angels, and then finally monsters—and rejecting those ‘poisoned’ by nuance and experience and supposed sin. After all, no being whose wants are even slightly more complex than ‘food’ is going to be a perfect follower.

It also plays into his assholey, self-righteous personality and, well, god-complex.

(Dean would’ve appreciated this quest for pure purpose.)

3. There’s a kind of sitcom-y vibe to this little expository scene: Bobby talks shit about angels only for Castiel to walk in with a quirked eyebrow; the group talks about Jack and Lucifer only for Jack to walk in and go, “hey, you talkin bout my father again?”

(these are the tiny ways I feel SPN is at cross-purposes with its own theme of ‘found family’. Everybody’s obsessed with blood relations, to the point that Lucifer and Jack are constantly referred to as ‘father and son’ when there is no need to bring that relationship up. Last year, even Castiel referred to Jack while talking to Lucifer as ‘your son’ without any prompting from Satan. Words are so powerful, and so revealing.)

3.45. Castiel “as you know, Bob”-ing is hilarious. Oh, Buckleming.

3.5. Um, not to dismiss or compare Castiel’s considerable trauma at the hands of Lucifer, but is anybody going to acknowledge even once that Sam, who appears to have taken the brunt of caring for Nick so far, is also going to have trouble looking into his abuser’s face??

4. Nick continues to make no sense to me.

(I like little touches like Castiel telling him that he needs to remind himself to eat.)

4.5. I kinda like this scene, sue me. It makes sense to me that Nick would obsess over and over again about how he could’ve let himself say yes to Lucifer, although Lucifer is as old as time and had all the power in that situation. The ‘monster’ bit is a little too on-the-nose for me, but I like it. Really drives home what an intimate, horrifying violation possession is and how scarred and twisted it can leave the survivor who spirals down a well of undeserved guilt and self-loathing.

I wish Sam was the one talking to him now, or was at least present. He’d talked in the previous scene about how Nick was only ‘housing’ and deserved a chance to rebuild his life, and that hard-earned generosity of spirit would’ve been a balm to all three of them, I think.

5. ETA on the TOD, Bobby? *sporfle* Seriously though, I love this role-reversal: usually it’s Bobby who’s rolling his eyes at SamnDean’s eff-bee-eye shenanigans.

5.25. Ah, but where this Bobby has become an expert now is in telling the difference between smiting patterns!

5.5. I wonder if trying to appear non-threatening is just Sam’s default whenever he meets with, uh, ‘civilians’.

6. I really, honestly hate that the Bunker just happens to have ‘lore books’ on whatever the hell random question they’re having that day. I just kinda hate the Bunker in general, now that I think about it.

6.25. But doesn’t that ‘human component’ (lol) make a Nephilim strong enough to take down even archangels?

6.5. As pep talks go, that wasn’t bad. A few notes:

a) there’s an earnestness to the words that I’m sure that Castiel learned from Sam.

b) I think this is the first time that Castiel—or anybody—has referred to the events of 8.23 as “The Great Fall”. It’s interesting that it’s already gotten a name among angelkind and that Castiel would call it that, given how close he was to the events that led to it.

c) I want to both laugh and cry at Castiel’s assertion that Sam and Dean were there for him after he lost his grace. He was mostly left to fend for himself, obviously, but there’s no space for that in a pep talk.

d) Sometimes it’s easy to forget that Jack is actually just only a year old. Asking him not to dwell on something so… immediate is a tall ask.

7. Ok, so that was a nice snappy little counterpart to Lucifer-talking-to-Sam-in-the-mirror from the s5 finale. I like how Michael is blunt and matter-of-fact while Lucifer relished in the moment, bragged about how he’d had Sam’s number all his life, and seduced him with violent revenge. This is nice.

I don’t know, guys, I’m really enjoying this episode so far!

8. Sooooo Lucifer is residing in some subconscious layer of Nick’s mind? Is this PTSD shaped by his possession? Is Lucifer bleeding through his own construct? Are we going to find that it was actually Nick who killed his own family? (I think we are.)

8.2. Castiel looking for residual Lucifer in Nick reminds me of when he was doing the same for Sam re: Gadreel, and that reminds me of Dean’s ‘teen mom’ joke from that episode and now I’m pissed off.

8.5. Nick is fascinating, but is he fascinating enough that I care about his little revenge sub-plot? Eh. Jury’s out. Plus I just can’t stand the actor anymore

9. Sam’s just kinda there to move the plot along. Give him some more character moments, episode!

10. Michael reminded me of Dean in the scene with the werewolf. I’m really not getting a capital P personality from Michael, though that may be due to a personal choice. Or maybe because Michael was never a distinct character to begin with, and this is far more noticeable when Ackles plays it and ‘Dean’ threatens to take over any minute.

Or going meta for a second—maybe Michael’s deliberately infusing some Dean into his persona. Possession isn’t simply putting a thing inside a box: both entities are influenced and informed by the other, but only one has all the power.

11. … ok, so my interest in this Nick subplot is rapidly decaying. Nick did it. He killed his family. It’s not a mystery.

11.5. The emotional dynamics of this scene… checks out, actually. Of course Nick is projecting all his rage on Castiel. And of course Castiel regrets destroying Jimmy Novak’s life the most. More than toeing the party line and being instrumental in almost bringing the Apocalypse about in s4; more than releasing the Leviathan; more than trusting Metatron in s8; more than killing his brethren, who’ve tortured him back and tried to kill him on more than one occasion. But Castiel has been both angel and human—both possessing and being possessed—long enough that he’s intimately aware of the devastation it leaves both within and without. And there are no excuses for the way he and other angels have done that damage—so carelessly, so casually. Even the most well-intentioned angels are deceptive and manipulative and give not a second thought about their hapless vessels. It’s a sign of Castiel’s growth and compassion that he recognises his responsibility in this and that he invokes Jimmy’s name with both reverence and regret. In all this shouting and crying that Show doesn’t acknowledge the deep-seated trauma of possession survivors, this is actually a great moment.

12. That werewolf leader looks familiar. Has the actor been on SPN before? He kinda reminds me of one of the leads on Suits.

12.5. That’s a lot of clunky dialogue, but Michael is basically confirming what I speculated in point 2. Cool.

13. How Jack managed to get away and find his grandparents is never explained, but that’s a familiar Buckleming trope—characters are put together in a scene without any regard to how it might connect to other scenes or how/why those characters might’ve gotten there.

13.2. That said, it’s kinda poignant that Jack, having lost his angelic powers, is now trying to understand the human side of his heritage. He’s trying his best to adapt to his situation; this one year old kid is more well-adjusted than most of the adults on this show.

13.5. Well, holy shit, Jack talking about Kelly to his grandparents is just… making me feel emotional in a way this show hasn’t made me feel in a long, long time. This Calvert kid is good.

13.6. It is bizarre that Kelly’s parents are mostly ok with not knowing Kelly’s whereabouts for over a year—I don’t think we ever found out what position exactly Kelly held in the President’s office, and I can picture them in a bit of denial by telling themselves the reason they haven’t heard from Kelly is because she is in the middle of super-secret government work. I don’t know! But it’s just about handwave-able though, and their scene with Jack is worth it.

14. Honestly, Castiel, how did he travel so far and for so long without you noticing? So much for “Don’t worry, Sam, I will babysit this defenceless creature.”

(Speaking of Sam, wheeeerrreee’s Saaaaammmm)

“I suppose there are worse ways to be human than to be kind.”

“Have you heard from Sam?”

I LOVE YOU, JACK.

14.5. No, actually, Dean wouldn’t want it any other way. He said as much when Gadreel took over Sam completely back in s9.

15. Shoo, Nick.

16. FINALLY MORE SAM. With only like 4 minutes of episode left. What, Show, did you think you spoiled us too much last episode with all that glorious, glorious Sam content?

16.25. And finally a bit of action! The rapid-fire editing is making my head hurt, though.

16.5. Soooooooooooooo Dean’s back? Obviously Michael is playing a long game here, but it says something about the show that they can’t keep Dean away for more than two episodes without getting the shakes. I honestly miss Sera Gamble and her desire to rattle the status quo: in s6, she kept the so-called ‘real’ Sam away for half the season, which gave us imo some of the best storytelling, characterisation and acting from both Padalecki and Ackles in the entire show. In s7 she took away all the Winchester markers: the Impala, weird motel rooms, Bobby’s house. Of course, after she left the show settled back into a familiar rut (substituting Bobby’s house with that thrice-damned Bunker). I wish the show would take risks with these two again. s9 and the beginning of s10 were so very promising but there was no follow-through.

I guess they want to MotW fillers for a few episodes and that would be weird without SamnDean SamnDeaning it in the Impala, but Show, why don’t you just say ‘fuck it’ and try weird on for size? What do you have to lose? I mean, seriously?

17. Nick’s the murderer—called it!

18. This wasn’t terrible, you guys. 95% of the episode was just people sitting around having conversations, the dialogue was clunky, ideas derivative, scenes progressed without any rational links between them, the pacing was wonky, and there was too much exposition. But the emotional beats were solid and the set up is reasonably intriguing. I’ve seen far, far worse BuckLeming episodes.

Pacing is a real issue in this season, though. And Michael is not remotely intimidating as a threat.

#supernatural #season 14 #spn spoilers #sam winchester #castiel #michael #jack kline #meta #unpopular opinion: this ep was... pretty ok

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brothermouzongaming · 7 years ago

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Diversity and inclusion in games

This appears to be one of the more pointed topics in gaming recently. Titles like The Last of Us 2, Overwatch, Kingdom Come: Deliverance, Uncharted Lost Legacy, Deus Ex Mankind Divided, and most interestingly Battlefield 1 are all blockbuster titles that I do believe touch on diversity and it’s implementation. Some garnering negative attention, some not so much. It’s the implication of such things that can take a player out of the experience and even wreak havoc on the writing. I wanted to dive into some of these titles and discuss what they bring to the table when it comes to this discussion.

First and foremost I want to take a look at the big ones on that list.

Kingdom Come: Deliverance- This game caught a lot of flack before it was even released because of people with access to review/ influencer copies claiming the game to be racist. I heard this and my ears perked up, no people of color you say? Damn, that sucks it’s always nice to see people of various backgrounds and ethnicities existing outside of a stereotypical environment. Then I looked up the game and it’s setting... the game takes place in Scandinavia.... during the Holy Roman Empire...of course it was gonna be whiter than a Jimmy Buffet concert in the god damn Swiss Alps. This is so not the hill to die on. This (to me) is one of those instances where setting needs to be put first especially when making a super deep RPG.

Battlefield 1- I’m gonna start with this and keep it short because I find it interesting that this is the case: Battlefield 1 was all male multiplayer avatars. No one said a word, I don’t even remember any sort of outcry outside of a VG24/7 article. Is it because there was a historically leaning tint to the entire delivery? Yes EA and Dice were clearly trying to tell a story in the historical setting of WW1. Even in saying that, the campaign episodes featured some of those female fighters that the article references. So it’s clear the inclusion of women might not be the real root of the problem yes? Especially when there was no controversy involving said missions. No incels blabbering on about the fems coming for their games. I’m sure there were some but nothing that found it’s way to the public eye. The calm nothingness that was Battlefield 1 is made even more confusing when discussing it’s follow-up title.

Battlefield V- I would like to say I sit on neither side of the very large argument taking place around this game. I understand and hear both sides both as someone who would love representation in games, but also as a gamer that understands that there are certain times and places for this kind of thing especially when your game takes place at a point in real-world history. Again, not the hill to die on if you ask me. This boils down to nothing other than the obvious: money. EA doesn’t give a fuck about representation. EA doesn’t care whether or not this game is historically accurate. They want that montey hunteyyyy. Female avatars mean female specific customization options which means more microtransactions. This is a message for both sides because it’s true regardless: EA doesn’t care about how you feel no matter what side of the fence you’re on. Gamers who want realistic WW2 games, I’m sorry but what the hell did you expect from EA forreal tho. Feminists and people who overall want inclusion in games, this is the equivalent of Coke putting a little rainbow on their bottle in June. A MLK day sale at your local Toyota dealer. They don’t care, they want your money.

The Last of Us 2 has had some rumblings of discontent around it and again I get why because people love this franchise but I do believe it’s a little short-sighted. Anyone complaining about Ellie’s kiss didn’t play the dlc or doesn’t remember it. They were obviously gonna touch on that again. As far as the missing father figure, there are clearly details about Joel that Naughty Dog are concealing for us to find out (or for them to reveal later). It just goes to show there’s sensationalism on either side and that neither side really has anything to worry about.

“Wait Chayton why is Overwatch here?” Because Overwatch is one of the games that prove that inclusion and diversity are perfectly acceptable in gaming. So long as it’s not ham-handedly shoved down player’s throats for no other reason than profits and politics. No one says a word about any of the characters and each is loved both by their own fans and as the player base due to everyone’s overall importance within the world, gameplay, and lore.

Deus Ex: Mankind Divided is one of the most diverse games I’ve ever played. Future Prague is rich and lived in (almost too much in some cases) and the world as a whole is teeming with all kinds of people to meet and help or harm. Again not a word from the gaming community. Why? Because it was really well implemented and made sense within the world. I’d even go so far to say that it can evoke a real emotion when you see these masses of people of all backgrounds being oppressed for no real reason.

Female representation does need a boost, that is true and without a doubt. I will say though it’s never looked better. Uncharted Lost Legacy, NieR: Automata (which literally turns the video game partner trope on it’s head), Tomb Raider and it’s massive return to the forefront of gaming is clear proof that not only can it be done but it can be done well and have it mean something and not just be fan service. Hellblade Senua’s Sacrifice and Horizon Zero Dawn are works of art through and through. These games are out there, not in mass, but if you ask me the shift is already happening and games like the ones above make me excited for it. Hell, gaming’s history features many amazing and interesting female protagonists Jade Beyond Good and Evil, Joanna Dark Perfect Dark, Samus Aran Metroid, Clementine The Walking Dead, most of the Warframes in Warframe all of which are phenomenally designed, Faith Connors Mirror’s Edge, and Heather Mason of Silent Hill. I understand that list may be overkill but it’s to prove a point. There is a litany of female characters and they are only going to become more and more prominent. I just hope we don’t all go mad over video games. They’re meant to be enjoyed, people. In the end, I hope that everyone listens to each other a little less in the sense that we don’t take each other's opinions and ideas so to heart. Especially when companies work on their own volition and to gain money. So if you don’t like a game or it’s stance, don’t purchase it. I think the “solution” if you can even call it that, is the fact that character personalization is finding it’s way into every game nowadays. Allowing us to put ourselves in the games or some horrifying monstrosity of a person for our comedic enjoyment.

Besides, can you even name a black protagonist outside of Clementine ;) Oh! My dude from Prototype 2.

All in time.

#diversity #kingdom come deliverance #battlefield 1 #battlefield v #the last of us 2 #video games #gaming

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shipburner · 7 years ago

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For the past week (or perceived week, she had only her watch to go by), Iris Henson had been using the ［ＬＯＮＥＳＴＡＲ］ as a base of operations. The room was easily refindable, the food was edible, the beds were safe, and the staff wasn't inimical to human life.

Iris just wished that it wasn't so aggressively Texan.

Her partner, Stheno, lacked the cultural context, and treated it as just another one of the Memory Palace's cavalcade of oddities. And to be fair, it was plenty odd, since none of the animal or plant life implied by the ［ＬＯＮＥＳＴＡＲ］ was native to Texas, or, in most cases, Earth. But the name – the intent of the food – the overall aesthetics – made Iris cringe harder than anything she'd seen yet.

To be fair, it wasn't all bad – the most requested jukebox tune was a passionate ballad of a truck's love for his man by a singer with a voice like a glass guitar, followed by a lot of mooing that allegedly translated to a song about rustlers having stolen all the singer's trucks. The staff appeared to understand human gender better than most humans did, and the Daisy-Dukes-and-close-tied-flannel uniform showed off a full spectrum of cheesecake, beefcake, cheeseburger, yeast block, singing mouth, and chassis. In fact, Iris couldn't remember ever having heard a mean word said in the place.

The biggest problem, flagrant Texaninity aside, was the floor show.

Stheno held a clear plastic umbrella in two arms, sporadically wiped it clean in a third, and held Iris' chocolate mousse behind them in a fourth, shielding Iris and her sketchpad from the spurts of blood and gore as the showpeople tore each other to bits. Iris was busy recording the anatomy of the most human-approximant staff members – glass skeletons intricately whorled to support their hydraulic muscles, nine cervical vertebrate clearly revealed whenever one got their skull pulled out, four stomachs in a familiarly ruminant arrangement … "Ooh!" remarked Stheno as something bounced off the umbrella; Iris shot out another arm and grabbed it before it fell to the sawdust floor. She turned it around and examined it. "Their hearts are wasps' nests? Huh. Not what I was expecting." "Just wood pulp," Stheno corrected, pulling it down to Iris' chest so she could see. "I'll be damned if wasps were involved in this." "Hm. Ooh, Nutella!" A hazelnut eye had ricocheted off a neighboring table and landed in the glass, shattering into fragments as it hit the adamantine pole of the tiny fancy umbrella. Iris handed her sketchpad to Stheno and stirred the fragments into her dessert, spooning it into her mouth. "I don't know how you have the stomach to eat this." "Like you know what it's like to have a stomach, Stheno." "Get fucked."

"YEEEEEEEE-ALLLLLLLL-RIIIIIIIIGHT, PARDNERS!" blared the sound system. "THAT'S A DE-CI-SIVE – AN' IN-CI-SIVE – WIN FOR MX. OPHELTEK! LET'S GIVE EM ALL A BIIIIIIIIG HAND! OOPS, LOOKS LIKE E'S ALREADY GOT ONE, AHAHAHAHA!" Mx. Opheltek held up the severed hoof-hand of eir last opponent over eir head. "WE'LL BE BACK AFTER THE BREAK! GET UP, GET ANOTHER DRINK, GO POWDER YOUR –" the last word sounded like "NOSE!", "MUZZLE!", and "GRILLE!" layered on top of each other. Stheno folded the umbrella gingerly as Iris got up to head over to the bar. "Jes' water fer the li'l misses, 'sright?" squawked the bartender. They were perhaps the least aesthetically consistent person in the place, being a swarm of parakeets inhabiting an articulated wire cage that Iris thought looked a little like Jimmy Buffett. "Mhm." Iris nodded, rubbing under her glasses. It had been a long day, especially when they'd had to brachiate through the ribcage of a Spearmint Hound carrying an unconscious lumberjack. Stheno squeezed her hand supportively and accepted the drink. "Heeeeeeeey y'all!" There was a heavy thump as someone slid onto the bar next to Iris, along with the squishy sound of body parts pushing themselves back together. "Whoof, I got splattered out there! Top me up, thank y'kindly …" A quiet snick noise accompanied the retraction of six glass claws as their owner held out a glass skull to be topped up with bloodwine. Iris turned to see a showgirl sitting on the bar, tall, tan, young, handsome -- Iris quelled the rising strains of "Girl from Ipanema" along with some unhelpful gay thoughts. The woman's hazelnut eyes took in the mutualistic partnership, flicking between meeting Iris' gaze and Stheno's. "Hey, how y'all doin'?" she said. "Saw the host here doin' some sketchin'; we puttin' on a good enough show y'wanna capture it?" She downed the bloodwine and wiped her lips, which Iris could now see were just lipstick painted around her mouth. Iris swallowed, voice suddenly ragged. "More … scientific interest. We're not … not from around here." "Ooh, you a bio nerd? I'm psych, myself. Workin' this job t' put myself through college." She took another long gulp and held out her hand. Iris shook it cautiously; Stheno circled a arm around them. "Annie-Mae, pardner; what're y'all's monikers?" Annie-Mae probably didn't notice the bit of Iris that died inside when Iris put together what her name sounded like. "Iris Henson." "Stheno." Iris reflected belatedly on the lack of differentiation between their voices -- clear enough to her and Stheno, but since they both had to use Iris' vocal chords, she wondered if Annie-Mae could tell who was which. "Nice t'meetcha! Am I gettin' y'all's grammar right?" Iris looked down at Stheno, who shrugged a pair of arms; Iris said, "… No, we think you've gotten the right take on our partnership." "Sweet! So what brings y'all around here?" "Stumbled through the wrong hole in space, both of us," said Stheno. "Now we're both stuck on this crazy-train of a castle." "Whoof! Sorry t' hear that, but y'seem like y'all're enjoyin' the show here." "I am," said Iris. "More … energetic than I'm used to, but I am interested." "Personally, I'm disgusted," said Stheno. "Well, ne gustibus te disputandum'n'all that!" Annie-Mae kicked a leg high in the air, which probably meant something like nonchalance in whatever body language her species had, but which caused Iris to suddenly become very interested in her water. "Y'all hangin' around here for the night?" "Think so, why?" said Iris. "Wonderin' if we can continue this conversation or if I'm keepin' y'all! Y'all're becomin' a regular; figure it's worth meetin' y'all, proper-like." She slithered down off the bar onto a stool besides Iris, resting her angular chin in her broad hands. "You two an item?" she asked, suddenly, voice sugary. Stheno's arms coiled, half under her own power and half under Iris', who stammered, "We're … uh …" "As romantically entangled as two people this physically entangled have to be, I guess," filled in Stheno. "We're a … package deal, at any rate." "Is this a deal y'all're offering?" Annie-Mae licked one of her eyes, grin glassy. Iris' throat stalled for several seconds.

Annie-Mae recoiled quickly, face falling. "Sorry, I can never judge how fast is too fast with visitants. I made y'all uncomfortable an' that ain't the ［ＬＯＮＥＳＴＡＲ］ way." Iris shrugged. "I think we're both filing it under cultural relativity, and I gotta say -- the 'Lone Star way' where I come from is a lot less courteous than it is here." "I ain't rightly sure if I should feel good about that." Stheno rolled her eyes. "Trust me, you'll need a lot more of that bloodwine if we're discussing Iris' homeworld. Or mine, really, but we already went through the section of the castle that's got my cultural baggage attached. All the evil in this place is dramatic. Overt." Annie-Mae hung her head. "I ain't no damn good with y'all plausibly evolved folks." Iris patted her shoulder. "Better than we are, ma'am." Annie-Mae laughed. Well, let loose a horrifying screech, but Iris had heard enough of her species laugh before. She took another swig of her bloodwine. "So! How's bio life?" "Art life, actually," said Iris. "Anatomy studies, y'know? I mean. I hope it's art life. I don't know how 'getting sucked into a memed-up Borges novel gone metastatic' is gonna affect my major." "I'm just a tech," said Stheno. "Biological, but I went into trade." "Oh, ain't that jus' a zmood. Time's a fluid; y' should get back fine, if I remember anythin' from physics when I was a scrap." "Thanks, that's … comforting." "May I offer a restrained yet supportive 'yeehaw'?" "You may not," said Stheno, the joke clear enough in her tone, and bumped Annie-Mae's proferred fist. "Yee haw!" Annie-Mae said, the bisection of the word groaningly obvious to Iris' ears. "Thanks," said Iris, "I hate it." Annie-Mae sprayed bloodwine out of her mouth, Stheno opening the umbrella just in time to deflect it humorously. Iris couldn't help laughing too as Annie-Mae contorted, dislocating several joints with the force of her screeches. "Your – your deliv'ry – ho-leee fuck, Iris – hoooooooo dawg-geez, I needed that." Two minds trying to speak in unison through one set of vocal chords tended to produce a fairly good Voice of the Legion. "What can we say, except, you're welcome …" The reference didn't appear to land with Annie-Mae, but that was par for the course; frankly, Iris (and Stheno, in the case of her references) was more surprised when one did. Annie-Mae wiped her face and leaned back. "So, how's the art and/or trade life, funnybones?"

They ended up chatting far longer than any of them had in truth expected. Iris and Stheno described their own consistently-weird homeworlds and attempts to break into the art world/museum scene, respectively, and as the subjective night wore on, pipe dreams, like unseating Mike Mearls and claiming his skull-throne, or winning the Abomination Foundry Ceremonial Brisket for excellence in species design. Annie-Mae described her inconsistently-weird homeworld – the ［ＬＯＮＥＳＴＡＲ］ and related rooms, and her efforts slowly working towards a psychology degree, and, later, her own pipe-dreams, about wandering through the mind of a long-dead god she'd found a few floors greenward and healing its hurts, or maybe just getting to rip her back off on Hellevision. The parakeethead behind the bar eventually had to shoo them upstairs, citing concerns about them turning the mops all "Sorcerer's Apprentice snuff film".

They told more stories, upstairs, of the time Iris and Stheno had faced the Xenomorph version of Billy Bob Brockali in rock-combat, of the time Annie-Mae had gotten a glimpse into what turned out to be an erotic baking show from Stheno's homeworld, and of loves lost and dreams deferred and huge old things seen when the viewers should have been asleep.

It would be nice to draw a curtain over the room, and praise darkness and creation unfinished. For indeed, Iris and Stheno had foes to face, friends to find, and, eventually, a way home, although for now we should perhaps send our well-wishes to Iris and Stheno not for homefinding but for overcoming the dour tentpole ghouls of Barthes' Necropolis, and for the assistance of the Warden Sueish, the only author who enacted his own narrative death. But before we send Iris and Stheno to go out deconstructing and to deconstruct, well-fed, well-rested, well-comforted, we have one stumbling block to place in their way.

Annie-Mae's hat hung on the bedpost atop Iris' pea coat; cowboy boots and sneakers lay jumbled together on the rug that might be called cowhide by someone who had never actually seen a cow. The room was dark, the air warm with breath and things that worked like breath. Stheno began to speak –

A squat, humanoid skeleton-creature poked eir cumberously-hatted head out of some fourth-dimensional space, hissing, "Niiiiiiiice…….." The words "CORPSE-GRADE QUICKLIME" flashed into Iris' eyes from eir shirt. Stheno lifted her bodily off the bed with all ten arms and sent Iris' feet plowing right into eir face. E made a noise like an EDM opossum and vanished with a puff of sand. "What'n tarnation was that?" Annie-Mae said, dazedly. Iris groaned. "That's … not far off. Eir name's Darnation, with a D. E's a skook. Skooks are the … Dante's Vergils of the Palace ecosystem, at least in our experience. E is a horrible little neman and we're probably being taught a really heavy-handed lesson by eir presence." "Yeesh. I can recommend a de-curser, if y'all think that'd help." Iris and Stheno turned all four eyes to her. "We don't." "Well, I can help y'all forget em." "We'd like that."

[This is my overwrought birthday present for @titleknown, inspired by the anon message posted above. What character, after all, is more a character than the fantastical Memory Palace?]

[Also, in the spirit of the thing, Annie-Mae, Iris Henson, Stheno, and Darnation are all free to use under a CC-BY 4.0 Vanilla License as you see fit as long as I, Nausicaä Harris, am credited as their creators when you do so. The Memory Palace, and the species I call skooks, are under the same license, as long as Thomas F. Johnson is credited as their creator. ETA: The anon on whose ask I built her character graciously gifted me with credit, and open-sourceness, for Annie-Mae.]

[And, while I don’t have designs for Iris or Stheno worked out yet, I do have a design for Darnation. Eir cheap trick is pocket sand; eir hat is meant to represent that e was born on a mountain, raised in a cave, and craves nothing but truckin’ and fuckin’.]

#nausicaa writes #weird fiction #open source characters #the memory palace #others' ocs #to some extent #nausicaa draws #my ocs #annie-mae #iris henson #stheno #darnation

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