#they could have been using stuff like that to add layers to john's character for months and it would have been so easy!

[belle-dingle]

honestly it's a bit ridiculous that sarah was never involved with the john storyline at ALL. i mean she's literally his niece who's got all these chronic illnesses, you'd have thought john would have been itching to get to know her so he could exploit that to play the hero

[nevermindirah]

Do you have any thoughts on the use of AAVE for Nile (or lack thereof) in TOG fanfiction? I've been reading some Book of Nile fic and some writers seem to write her as a Millennial™ (using words like "fave" and "woke") but never acknowledge her Blackness in her patterns of speech. I know we don't see her use as much AAVE in the films, but I would argue she's in situations where code-switching would be valued (first in a "professional" environment in the army, then around a group of non-Black strangers).

Hi anon! I have many thoughts on this and I'm honored you asked me! But I should start by saying I'm white and any thoughts Black fans and especially Black American fans have on this that they want to share would be beyond lovely. (I'm not gonna tag anybody bc that feels rude but please add onto this post if any of y'all see this and want to!)

The main reason I personally avoid AAVE for Nile in my own fics is because I'm not Black. But Nile-centric fics by Black writers tend to avoid using much of it too, at least from what I've noticed/understood, and my guess is it's largely for the reason you mention, that she's in situations that encourage code-switching.

In movie canon Nile is highly competent at tailoring her language to each situation she finds herself in. This fantastic linguistics analysis meta shows how skillfully Nile chooses her vocabulary and grammar to meet her goals with different conversation partners in different contexts. In comics canon Nile had a bunch of different civilian jobs before joining the Marines, so she would've had experience code-switching in the ways that made sense for all those different contexts as well as the Marines and her family and high school and wherever else she spent her time before we met her. And now she's spending her time with a handful of immortals none of whom are native English speakers and a fellow Black American but one with a Queen's English UK accent whose professional experience is in the CIA where high-status code-switching is often an absolute must for success or even survival.

Fics featuring Nile are charged with extrapolating from that to how it might show up in her use of language that she's coping with a traumatic separation from her family and her career and pretty much everything she's ever known and now she needs to be able to make herself understood to people who seem to care about her and each other but are super duper in crisis, three (soon to be four) of whom predate Modern English entirely and the only one who's anywhere near her contemporary she's not supposed to talk to for a century. All of these people are telling her that pretty much any contact with any mortals poses an existential threat to her and the rest of the group. How the FUCK is she supposed to cope with that, like, generally? And would it be a more effective way for her to cope if she talked to Andy Joe and Nicky using the speech patterns that she used to use with her mom and brother, to at least retain that part of her identity even if it means having to do a lot of explaining, or would it meet her needs better to prioritize Andy Joe and Nicky understanding what she means with her words over using the particular words and grammar forms she used with her family?

I've seen several fics, both Nile-centric / BoN and otherwise, explore this a little bit in how/whether Nile uses Millennial™ speak. It's often a theme in Nile texting Booker despite the exile because of the popular headcanon that he as The Tech Guy is the only other immortal who understands memes. But Nile's much-younger-than-Booker mom probably uses Boomer and/or Gen X memes and Andy has been adapting to new communication styles for forever as evidenced by her canon high level of fluency with standard-American-accented English.

Which brings us back to people avoiding AAVE because they're not Black and they don't want to make mistakes (or they're not Black and they don't want to get yelled at for making mistakes, though I think many people overestimate how much they'll get yelled at while underestimating how much these mistakes can hurt). I can imagine some Black fans hold back from using much AAVE in fic because they don't want to share in-group stuff with white people who are likely to then adopt and ruin it, as white people so often do with Black cultural stuff. Some links about this including a great Khadija Mbowe video. I'm saying this gently, anon, because you might not know: woke, an example you cited as Millennial™ speak, is AAVE, and that's gotten erased by so many white people appropriating it and using it incorrectly online.

And also there's the part where fandom is a hobby and you never know when you're reading a fic that's the very first thing someone's ever written outside of a school assignment. This cultural considerations of language shit takes a level of effort and skill that not everybody puts into every fic, or even could if they wanted to because they haven't had time to build their skills yet. It's definitely easier for non-Black fans to project our millennial feels onto Nile than to do the layers of research and self-reflection it requires to depict what Blackness might mean to Nile, and it's not surprising that often people sharing their hobby creations on the internet have gone the easier route. There's not even necessarily shame in doing what's easier. It's just frustrating and often hurtful when structural white supremacy means that 3-dimensional Black characters are rare in media and thoughtful explorations of them in fandom are seen by the majority of fans as not-easy to make and therefore Nile Freeman, the main character in The Old Guard (2020) dir. Gina Prince-Bythewood, has the least fic and meta and art made about her of our 5 main immortals.

I've been active in different fandoms off and on for twenty years and I barely managed to write 5,000 words about Sam Wilson across multiple different fics in the 7 years since I fell in love with him. There's an alchemy to which characters we connect with, and on top of that which characters we connect with in a way that causes us to create stuff about them. Something about Nile Freeman finally tipped me over the edge from a voracious reader to a voracious writer. It's not for me to judge which characters speak to other individuals to the level of creating content about them, but I do think it's important for us to notice, and then work to fight, the pattern where across this fandom as a whole Nile gets way less content, and way less depth in so much of the content that's in theory about her, than any of these other characters.

Anyway, back to language. My two long fics feature Nile with several Black friends — Copley and OCs and cameos from other media — but all of those characters except Alec Hardison from Leverage aren't American. It's very possible I'm guilty of stereotyping Black British speech patterns in I See Your Eyes Seek a Distant Shore. I watched hours and hours of Black haircare YouTube videos in the research for that fic and I modeled my OCs' speech patterns on what I heard from some of those YouTubers as well as what I've heard people like John Boyega and Idris Elba saying in interviews, but the thing about doing your best is you still might fuck up.

I'm slowly making progress on my WIP where Nile and Sam Wilson are cousins, and what ways of talking with a family member might be authentic for Nile is a major question I need to figure out. For that, I'm largely modeling my writing choices on how I hear my Black friends and colleagues talking to each other. I haven't overheard colleagues talking in an office in a long-ass time, but back when that was a thing, I remember seeing a ton of nuance in the different ways many of my Black colleagues would talk to each other. Different people have different personalities! And backgrounds! And priorities! A few jobs ago my department was about 1/3 Black and we worked closely with Obama administration staff many of whom were Black and there was SO MUCH VARIETY in how Black people talked to each other, about work and workplace-appropriate personal stuff, where I and other white coworkers could hear. There are a few work friends in particular who I have in my head when I'm trying to imagine how Sam and Nile might talk to each other. From the outside looking in, God DAMN is shit complicated, intellectually and interpersonally and spiritually, for Black people who are devoting their professional lives to public service in the United States.

One more aspect of this that I have big thoughts on but I need to take extra care in talking about is the idea of acknowledging Nile's Blackness in her patterns of speech. There's no one right way to be Black, and Nile's a fictional character created by a white dude but there are plenty of real-life Black Americans who don't use much or even any AAVE, for reasons that are complicated because of white supremacy. (Highly highly recommend this video by Shanspeare on the harms of the Oreo stereotype.)

Something that's not the same but has enough similarity that I think it's worth talking about is my personal experience with authenticity and American Jewish speech patterns. My Jewish family members don't talk like they're in The Marvelous Mrs. Maisel, and I've known lots of people who do talk that way (or the millennial version of it), some of whom have questioned my Jewishness because I don't talk that way. That hurts me. Sometimes when another Jew tells me some shit like "I've never heard a Jew say y'all'd've," I can respond with "well now you have asshole, bless your Yankee-ass heart," because the myth of Dixie is a racist lie but I will totally call white Northerners Yankees when they're being shitty to me for being Southern, and this particular Jew fucking revels in using "bless your heart" with maximum polite aggression, especially with said Yankees. But sometimes I don't have it in me to say anything and it just quietly hurts having an important part of me disbelieved by someone who shares that important part of me. The sting isn't quite the same when non-Jews disbelieve or discount my Jewishness, but that hurts too.

Who counts as authentically Jewish is a messy in-group conversation and it doesn't really make sense to explain it all here. Who counts as authentically Jewish is a matter of legal status for immigration, citizenship, and civil rights in Israel, and it's my number 2 reason after horrific treatment of Palestinians that I'm antizionist. But outside that extremely high-stakes legal situation, it can just feel really shitty to not be recognized as One Of Us, especially by your own people.

It can also feel really shitty to be The Only One of Your Kind in a group, even if that group is an immortal chosen family who all loves each other dearly. Sometimes especially in a situation like that where you know those people love you but there are certain things they don't get about you and will never quite be able to. I'm definitely projecting at least a little bit of my "lonely Jew who will be alone again for yet another Jewish holiday" stuff onto Nile when at the end of I See Your Eyes Seek a Distant Shore she's thinking about being the only Black immortal and moving away from the community she'd built with a mostly-Black group of mortals in that fic. Maybe that tracks, or maybe that's fucked up of me.

Basically, this got very long but it's complicated, writing about experiences that aren't your own takes skill which in turn takes time and practice to build, writing about experiences not your own that our society maligns can cause a lot of harm if done badly, it can also cause a lot of harm when a large enough portion of a fandom just decides to nope out of something that's difficult and risky because then there's just not much content about a character who deserves just a shit ton of loving and nuanced content, people are individuals and two people who come from the exact same cultural context might show that influence in all kinds of different ways, identity is complicated, language is complicated, writing is hard, and empathy and humility and doing our best aren't a guarantee of avoiding harm but they do go a long way in helping people create thoughtful content about a character as awesome and powerful and kind and messy and scared and curious and WORTHY as Nile Freeman.

[the-celluloid-correspondent]

Why I am very cautious about The Lord of the Rings: The Rings of Power

I have been a fan of Tolkien's work since I was a little girl. I have been completely captured by his work, and his work has helped me through a lot. I love the Jackson films, even with their flaws. With that said, I am very worried about the Rings of Power series by Amazon. I will go ahead and state that I am not a book purist. I understand that in adaptations, not everything will perfectly adapt to screen, and stuff will be added and changed to make the story work visually. I understand certain aspects of the novels will be cut due to runtime and budget. I am open to adaptations and fanfictions; however, I do have conditions. You must respect the source material. The story you create must follow the themes, the worldbuilding, the characters, the aesthetics, and the lore that the author wrote. I am incredibly lenient about the story, but you must follow what is stated above. From what Amazon has released thus far, Rings of Power does not match any of these criteria and is only Tolkien in name. I do not want to see the Professors' work turn into mindless entertainment and a cash cow, like Marvel, Star Wars, and so many other IPs. All the fandom is asking is to respect his work, and Amazon seems to be doing the opposite.

So I am going to break this down into different aspects of the series. I will start by talking about the showrunners of this series, Patrick McKay and John D. Payne. What might be a surprise to you is that the two showrunners of this series have no experience with any Hollywood production, even though they have been in the industry for over 15 years. They are not ghostwriters in Hollywood; they literally have no experience and were recommended for the series by J.J. Abrams. To me, this seems like they are going to be used as puppets for executives swaying creative decisions. This is a widespread practice today with big-budget Hollywood movies. Small indie directors are brought in to direct a big-budget film, but they have no creative control over the story nor the overall direction of the film; they are puppets to the executives. I feel it will be the same with these two gentlemen because they have very contradicting views of how the executives of this series view Tolkien, based on interviews. On the positive side, from what everyone has stated, they do know their Tolkien lore. However, my big question is can they show it? Because thus far, they have only talked about how much of Tolkien they know but have not demonstrated it. If you are going to talk the talk, you need to walk the walk.

Another concern I have with this series is how poor the marketing campaign has been. Amazon, with billions of dollars at its disposal, is showing a very mediocre campaign for this series when they have marketed some series perfectly. So there are two routes this could go, either Amazon has hired the worst marketing team for this series, or the material is as bad as the marketing. I am guessing the latter because Amazon has a history of doing a terrible job of covering up bad material. What also adds to the layers of this series is that we are less than 2 months out, and there has not been a full trailer released yet, only teasers. No plot has been revealed, only pretty cinematography and some first-age flashbacks. For new television series, generally, 2 months is when the first main trailer is released with plot details. Amazon not doing this tells me they are not confident with the story. Furthermore, what has to be the cherry on top of the disaster is the marketing campaign, which was the Superfans disaster. If you are unaware, Amazon hired these fake Tolkien fans and did a staged reaction video, where they all called it the "best thing ever." The backlash was so bad that they deleted the video. In reaction to this disaster, Amazon brought Tolkien fans to a small screening in England, where they received an all-paid vacation, tours of Oxford, Tolkien lectures, free swag, and a Q&A with the showrunners. Like the previous Superfans, everysingle person who went to this came back saying the same thing, down to the wording. Out of the over 20 people invited to this, all of them praised the series, with some even calling it "the greatest tv series of all time," after watching only 20 curated minutes from the series. Not a single criticism was made. Many in the fandom called bull because Amazon has done this before with the Wheel of Time, and we all saw how much of a disaster that series was. So by the looks of it, Amazon is buying positive reviews for their series because they know it will be a disaster.

Now let's talk about the actual show rather than what Amazon is doing with Tolkien. As previously stated, not much of the story is known, and only those familiar with the lore know what the series will be about. However, what is known is that it's going to be a very compressed version of Second Age, with some First Age flashbacks, with a lot of fanfiction. The writers compressing the timeline is very understandable. However, by the looks of it, they are cramming the entire second age into a single lifespan. I believe this is wrong because they will sacrifice some of the most prominent themes within the Second Age. The writers should have let a significant event in the Second Age be its own season and slowly built up the themes, the lore, and the conflicts of the Second Age. What further concerns me are the First Age flashbacks. Don't get me wrong, I would love to see a proper adaptation of the Silmarillion. However, I feel that these flashbacks will be used as fan service to cover up shakey storytelling. My last most significant concern with the story is the fanfiction that is going to be within this series. What has been presented thus far feels like they have copied stories from Tolkien they don't have rights to and put their own spin on it. They do this by changing the names and the story slightly, then throwing it into their fanfiction. For example, they are telling a forbidden love story between an Elf and a human in this series. This directly responds to the fact that they don't have the rights to the three elf-human romances in Tolkien's work. So what will probably happen is they will take elements from all three and put them into their story. You think they would have learned from the Hobbit Trilogy why this is a bad idea. Furthermore, they are throwing Hobbits into this series, not because they will add to the story, but because of nostalgia.

The next major issue with this series is going to be its characters. I know that there are going to be a lot of non-canon characters in this series, so I am going to focus on the canon characters because, thus far, they don't resemble their book counterparts. The first character up is Elrond, who is described as a politically ambiguous politician and architect in the series. However, to those familiar with his book characters, he is none of this. He is a politician, but not ambiguous; he was focused on peace and alliance-making. Furthermore, he is not an architect but a scholar. What I find to be interesting is that the show does not describe him as a military leader because he is one. Another red flag is how the series tells the relationship between Tar-Miriel and Ar-Pharazon. In the series, they are described as close to one another. However, that is very far from the truth. The pair are cousins on opposite sides of the Numenorian political spectrum. Tar-Miriel is part of the "Faithful," and Ar-Pharazon is part of the "Black Numenorians." The show's description of them so wrong is that Ar-Pharazon eventually usurps Tar-Miriel and forces her to be his bride. So the show describing them as "close" is very wrong. Now the biggest red flag for characters is Galadriel. What appeared to have happened is that they have taken a very feminine, wise, and powerful sorceress and turned her into the damaging trope of the strong female character. Galadriel uses her wisdom and magic to fight off the forces of evil, not a sword. As a woman, they are defeminizing her and making her " a hothead ... filled with piss and vinegar" (now my words, the producer's words for describing Galadriel in the Second Age) is one of the most sexist things they can do. Even more concerning is that based on the trailers, it looks like Galadriel will be correct, and everysingle man is wrong, which insults me. Don't even get me started with writers gender-bending Anarion.

So far, the worldbuilding/aesthetics within the Rings of Power series has been a very mixed bag. I know I am very attached to the aesthetics Peter Jackson and Company brought to life in his respected adaptations. He set a bar for fantasy adaptions that no one else has been able to reach, with only Game of Thrones hitting that bar. So far, from what I have seen, the production design is starting to look like Middle Earth. Furthermore, I am confident that the music for this series will be fantastic, with Bear McCreary and Howard Shore scoring the show. However, for the rest of the series, it does not scream Middle Earth. The costume design looks incredibly cheap for a multimillion-dollar show. The costumes look like they came from the tailor and don't look lived in. I like the overall aesthetics they are going for, but it's missing the mark by looking like generic fantasy. Furthermore, some costumes don't look like they are correctly fitted to their actors. The character design also has been a very mixed bag. Getting used to the short-hair elves is going to be very difficult. To me, the elves lose their angelic nature by doing this. Furthermore, they are not even given the female dwarves' beards, which is a must for a Tolkien adaptation. Now let's talk gently about the most sensitive topic of this series, which is its race-bending of characters and people. Here are my two cents on the matter. Changing the race of established characters and people in the name of checking boxes is incredibly wrong and racist. When a series does this, they tell me a couple of things. They are telling me they don't think stories with the representation they want can succeed. They are also telling me they only brought this person in for money because they want viewership from a specific demographic. Lastly, the actors are sadly going to be used to deflect criticism by calling the fandom toxic, racist, etc., for not liking the changes, which the creators are already doing. What has to be the irony of the creators changing this is that if they had stuck to the lore, they would have had the representation they were looking for. Instead, they resorted to Tokenism.

So here are my final predictions for this series. I have a feeling that this series is going to be incredibly mediocre. It will be another product in the line of corporate-made entertainment. I am confident that this series will have great scenes and sequences in it, and it will be spectacular to watch. I am convinced that this series also has a lot of horrible scenes and sequences within it. Finally, the remainder will just be mediocre, corporate content. However, my biggest concern is what this will do to the Tolkien fandom. As we have seen over the past couple of years, so many fandoms and IPs have been destroyed by talentless corporations. Star Wars, Star Trek, Halo, Resident Evil, The Witcher, Marvel, and DC Comics, have almost entirely been destroyed by these corporations who alienate the fanbase from the material. They call the fandom toxic, racist, sexist, homophobic, etc., if the fandom does not like what the corporation puts out. The fandom is shattered, and the IP is left creatively empty. The IP has nowhere to go because the fans have left. The only people left cheering for these series is a loud but small vocal minority on Twitter. This is why the majority of the Tolkien fandom is against this series. They don't want Tolkien's work torn apart by a greedy corporation. They don't want to see the fandom shattered due to modern politics. All that the Tolkien fandom is asking for is to respect the material, and that's it.

Sincerely,

A Tolkien fan since she was 3 years old.

[allhealwesttexas]

having been a tmg fan for years I am embarrassed to admit that I don't understand hair match. I just don't get it. no idea what its about

This is my first time taking the time to analyze this song, so this will be fun for me. All I know about wrestling is listening to JD talk and a wrestling AU I read one time, so add and correct as you please. Sorry for the wordyness, but that’s just how I feel about the Mountain Goats.

[WRESTLING STUFF] 

The scene in which the song is set is a ‘hair match’. This is a term for a specific type of wrestling match where the loser, loses their hair [Wikipedia: “In matches in which hair is on the line, the heel wrestler generally loses the match, as it is designed to humiliate them.”] In some variations on hair matches, a disguised wrestler will get unmasked instead of shaved. 

Heel wrestler = the bad guy you will root against.

Babyface wrestler = the good guy.

Heel turn (we recognize this one) = babyface turns heel. 

[/WRESTLING STUFF]

In the first verse, the match is quickly described. We learn YOU is not the Heel in this match but does end up losing. The steel chair is not used to bash someone over the head, but to seat the losing wrestler to shave their head. The use of ‘we’ implies that the narrator is not only a spectator but is a participant in the show.

The era of wrestling JD is writing about on BTC is not the WWE of today; it is of the smaller, local wrestling leagues (leagues? collectives? I don’t know the correct terminology). This is what the second verse is referencing. Without the huge production of current wrestling, a layer of intimacy is added. It’s only the wrestlers in the ring and the audience present.

Verse three is self-explanatory, apart from the last line ”I loved you before I even ever knew what love was like”. 

From what I have come to know about Hair Matches, they are emotionally intense to watch. In this case, the person who loses and gets humiliated is not the heel, as the audience had been hoping for, but the babyface. The audience can’t bear to watch the scene and leave before it’s over. An annotator on Genius said this about the last two lines:

“This is a really important line in the context of the entire album – this isn’t an album about the John Cenas and Andre the Giants of the world – it’s not even really about the Chavo Guerreros and Bruiser Brodys – but about the nameless, faceless figures who sweat it out every night in high school gyms and National Guard armories for gas money, hoping against hope that tonight could be the night they break through. [...]

Someday, maybe, he’ll beat the champ.“

This song, I think, intentionally vague on the characters within. It doesn’t tell you about who the narrator is and their relation to the wrestler who loses. ”I loved you before I even ever knew what love was like”. feels like it comes out of nowhere. I first thought the narrator was another babyface wrestler rooting for the ‘you’ of the song. Later I believed it to be an audience member, but I’m honestly not sure.

I believe the line is not necessarily about romantic love but could allude to a type of hero-worship. 

I think Unmasked! is about the alternative type of Hair Match mentioned in the wrestling lore section above. That’s one I might try to unpack at a different time.

What do you guys think? Does it reference the type of love a child might have for their wrestling heroes (like the song Chavo Gurrero)? Or does it refer to romantic love between colleagues?

[back-and-totheleft]

Oliver Stone Settles the Score with Cannes Debut ‘JFK Revisited,’ Feels Unappreciated at Home

When you think reliable narrator, Oliver Stone doesn’t exactly come to mind. Since his start as a director in the 1970s, the lightning-rod filmmaker, now 74, has leaned into fiction narratives with political points of view, from “Salvador,” “Wall Street,” and “W.” to Best Director Oscar-winners “Platoon” and “Born on the Fourth of July.” His last Oscar nomination came in 1996, for “Nixon,” arguably his peak of high regard in Hollywood. It’s hard to recall that in 1992, controversial global smash “JFK” earned three Oscar nominations including Best Picture.

Times change, and Stone’s complex historic and global point of view is far more layered and nuanced than current American partisanship will accept. That’s why the Yale-grad-turned-Vietnam-vet has managed to alienate folks on every side of the political spectrum, including accusations of promulgating violence with “Natural Born Killers,” promoting a whistleblower in “Snowden,” and conducting friendly documentary interviews with dictators, Cuba’s Fidel Castro in “Comandante” (2003) and more recently Russia’s Vladimir Putin (Showtime’s four-part “The Putin Interviews”).

“Many people are scared and touchy,” said Stone’s long-term backer, Argentinian producer Fernando Sulichin (“Alexander,” “Savages”), “because he goes to talk openly to big powerful people who are not liked in the West and gets their point of view. He does that as an exploration. If you have a chance to speak to these people, they will be judged by history. For example, Nelson Mandela and the NSA were declared a terrorist organization, then 20 years later he’s the savior Nelson Mandela. It’s an overview of the geopolitical system, [Stone] is not affiliated. And everything is coherent within a historical time frame; it’s a historical approach to modern reality that is not made by the people in the political world of the newspapers.”

So when it comes to setting the record straight on who killed President John F. Kennedy on November 22, 1963, in that motorcade in Dallas, Texas, Stone might not seem the most objective documentarian to tell that story. After all, isn’t he just trying to prove the same conspiracy theories he put forward in “JFK” almost 30 years ago, that got him in hot water at the time? “Of course,” he told me at Cannes, where he world-premiered and launched world sales on documentary “JFK Revisited: Through the Looking Glass,” which he finished during the pandemic. “To make this documentary is to prove our case. We proved it as far as possible. There is no absolute proof.”

When producer Rob Wilson proposed the idea of returning to the shooting of JFK, Stone decided it was important to bring multi-generations up to speed on what really happened back in 1963. At first, Stone pitched four one-hour episodes for television, but no sale. So he fashioned a two-hour movie instead, completed, along with his recent memoir, during the pandemic. “The 1991 movie was a dramatization, nothing wrong with it,” he said “I got nailed by people, literalists, saying Stone made up this and that, like, Kevin Bacon was an amalgam of five homosexual characters in New Orleans.”

For “JFK Revisited,” Stone leaned on a screenplay based on facts, culled by indefatigable Kennedy researcher and autodidact James DiEugenio, who deconstructed two assassination tomes published after the release of “JFK” — Gerald Posner’s “Case Closed: Lee Harvey Oswald and the Assassination of JFK” (1993), and Vincent Bugliosi’s “Reclaiming History: The Assassination of President John F. Kennedy” (2007). Stone also wanted to assemble all the primary evidence that has been declassified and revealed in the last decades, from the initial Warren Commission Report to subsequent government investigations that undermine many of the Warren Commission’s findings.

“When the 50th anniversary rolled around,” said Stone, “I was depressed that even the networks and print outlets were ignoring alternate theories on the Warren Commission. You’d have thought it was the Bible. It was a cover-up whitewash.”

DiEugenio had read every text about the assassination, Stone said: “He went after everything. The script was wonkish. Rob and I simplified it.” While one could argue with Stone’s choice to add to his own narration the familiar voices of Whoopi Goldberg and Donald Sutherland (who starred in “JFK”), nonetheless the movie makes a persuasive argument against the Warren Commission’s lone gunman theory, which had Lee Harvey Oswald fire a “magic bullet” that passed through Kennedy’s body in multiple unlikely locations, and was mysteriously found in an untarnished state. “JFK Revisited” persuasively argues for a conspiracy theory involving multiple players and makes a cohesive case that two rogue arms of government, the FBI and the CIA, both contributed misleading evidence to the Warren Commission, which overlooked evidence that was subsequently unveiled.

And the movie is unabashedly pro-Kennedy. “Kennedy was a true true warrior for peace, he did not want proliferation,” said Stone at the Cannes press conference, “a great American leader. Had he succeeded we would be in a whole different place.” And if the assassination had happened in an age of mobile cameras, the investigation would have gone very differently, too. “But what is the absolute truth? We don’t have it. History itself is up for grabs.”

Stone sees Kennedy as the last president to question the power of the entrenched and well-funded military industrial complex, the FBI and the CIA — which may explain why he often seems sympathetic to Donald Trump. As far as Stone is concerned, George W. Bush was a much worse president. “He led us into the war on terror,” he said. “The Liberal movement changed after September 11, 2001, became super-patriotic, identifying America as an oppressed nation, because it was attacked by terrorists — as if we hadn’t committed acts of terrorism abroad ourselves. 2001 was a payback for a lot of stuff we’d done.”

Next up: “Starpower,” a clean energy eco-documentary. “I’m looking to global interests,” said Stone. “We have to realize energy is an international issue. A lot of businessmen are progressive when it comes to energy. It’s not political, it’s beyond that. With energy and climate change, we’re looking at the danger of carbon dioxide emissions in the atmosphere. It’s crucial we solve that problem by 2050. The Russians and Chinese are doing a lot of work with new energy, and the U.S. is doing it at a smaller level with less government support. I believe that a world of peace and coexistence is more crucial than anything.”

And Stone worries that Netflix algorithms that predict what moviegoers want to see preclude greenlighting the kind of movies that made his career. “I always believe that if you build it they will come,” he said. “I struggled to make my first films, like ‘Salvador.’ I don’t think anyone could question military strategy today like I could in ‘Platoon.’ An algorithm couldn’t predict who would come to ‘Platoon’ or ‘Born on the Fourth of July,’ which both took 10 years to make. The film dictates the audience. If it’s good, it brings the audience. Algorithms don’t work that way.”

The director also fears that Americans aren’t getting the full story via their news media, with censorship on the rise. He sees himself being funded by more international outlets than domestic ones. While “JFK Revisited” scored favorable early reviews and strong international sales, North American distribution is still up for grabs. “If this movie is not shown in America,” said Stone, “something is wrong with our system.”

-Anne Thompson, IndieWire, Jul 24 2021 [x]

[maykonguyendaily]

The third season of Hudson & Rex returns on Tuesday with an episode new and veteran fans will love. Entitled “The Hunt,” the instalment serves as the show’s origin story, revealing how Charlie (John Reardon) and Rex (Diesel vom Burgimwald) became partners. Charlie recalls the story to Sarah (Mayko Nguyen) and we view the emotional adventure through flashbacks.

It’s a powerful episode of television, and the perfect kickoff to Season 3. We spoke to stars John Reardon and Mayko Nguyen about the evolution of Hudson & Rex, and what fans can expect this season.

How did COVID-19 affect production on Season 3? Mayko Nguyen: I’m not going to lie, coming out of strict isolation and then being out in the world which you could be out here at that time and then being on set, being around people, it was a bit jarring for sure. But I felt confident in the measures that we were taking. We’ve shot outside a lot more this year. You know, the adjustment of wearing the masks. It’s funny. It’s just like anything else, it takes a bit, and sometimes you have people who are like, ‘Ugh,’ but then it’s like, you’re just wearing a mask. It’s not a big deal. And then you get used to it. Like now I feel weird when I don’t have the mask on. I feel like I’m missing something. So, I think it’s, again, it’s just like any transition, you just get used to it and I think we’re all happy to be there and happy to do it for the sake of getting to work.

John Reardon: I feel very fortunate that we’re able to be working right now. We’ve been working since July, I think one of the first productions in North America to come back. It’s something that we don’t take for granted because the situation in so many places is very tough for people right now. So, it’s pretty special to have people wanting to see the show and being able to keep it going. I’m definitely excited to get it on the air.

The first episode of this third season really, really well done. It was enjoyable to get the true origin story of how Charlie and Rex became partners, even if it was a tragedy that brought them together. MN: We had a screening for the cast of that one episode. I think we do really well with this show because there’s a lot of heart, and I feel like that’s unavoidable when you have a dog who is working to help people, that’s just unavoidable, but that episode in particular … oh man, it’s just gut-wrenching. And you see how Rex and Charlie develop the start of that relationship and that also is … oh, it’s such a good episode and I was really excited when I read it for the first time because it is a departure from the standard structure of our show and it’s a special episode and I’m really glad because of course, of course, we want to know how Charlie and Rex started out, right?

JR: I remember reading that episode for the first time about a month before we went to camera and just thinking how much I felt the audience would enjoy it because they’re going to see the sneak peek of how Rex and Charlie meet and how everybody interacted before Rex was there and then sort of see where that relationship starts. I’m really happy with how it turned out and I think everybody is and so I hope people really respond to it well.

Watching the first episode, I feel like the show has confidence going into Season 3. Do you feel that? JR: Yeah, I do. I definitely feel like I learn more about Charlie every year and I think what’s great is when we have an episode like this and we also have a few other episodes later in the season that has sort of personal stakes or alludes to our characters’ history. I think when we add that stuff in, it helps build the character even more. Things that we might not have known as the actor comes to light and then that adds an extra layer to them. In our very first episode, ‘The Hunt,’ we allude a little bit to how Charlie and Rex met, but when you infuse it with all the heart from that episode and all the scenes that we shot and you create that history, then that I feel that lives on in the future episodes as well. I think it just adds to the DNA of the show.

There are 10 directors during this season of Hudson & Rex. One of them is Tracey Deer. She’s an amazing person and director. What was it like working with her? JR: I hadn’t worked with her before, but she’s fabulous and I really enjoyed working with her. She’s a very intelligent, very thoughtful director, and puts a lot of thought into how really small things can make a huge difference in the tone of the story. She looks at it not just at the macrocosm, but also the microcosm of everything and that’s great because it just gives you more and more stuff to play with. She’s a lovely person and I really, really enjoyed working with her. She’s very talented.

Mayko, what can you say about Sarah’s journey this season? MN: There’s stuff going on in Sarah’s life for sure. I think that that first episode is an example of it, sort of cementing this friendship with Charlie and the rest of the team. But, you know, in that first episode, Charlie lets her in on this very special, private thing that he does, this annual thing that she gets to be part of that, and I think I feel very honoured to get be, to have that shared with me. I feel like every season we’re deepening that friendship and deepening those relationships, I feel and maybe this is what you’re picking up on, but the team does feel that much more cohesive this year and I don’t know how to articulate why or what that is, but it feels much more tight-knit and we’ve got some episodes for sure where we’re working even harder as a team to figure out some of these cases.

Hudson and Rex airs Tuesdays at 8 p.m. ET on Citytv.

[bladekindeyewear]

HS^2 bloggin’ mainline 2020-08-23

More homestuuuuuck

I’m a little tired today so I don’t expect much intelligent analysis out of myself, but if anything classpecty happens I doubt I’ll be able to help myself regardless.

oh, always

(EDITS: added note on horn colors, link to ask on potential Blood powers reference)

> CHAPTER 12. Really Convoluted Metaphorical Horseshit

cuuute

In the bowels of a different ship, at a moment in time that is not pinpointable in either direction from the previous interaction, another Dave raps quietly to himself.

another dave raps quietly to himself.  i am glad that phrase exists it brings me joy

(LATER EDIT: A friend on Discord pointed out that throughout this entire update, Karkat's horns are #FF0000 red. They were normal candy-corn colors in previous glimpses at the ship crew, though they used a dark single-color shortcut typical of old Homestuck at one point... but THIS time it stays STARK red even when we zoom in close later. Is this just artistic liberty? Did Karkat color his horns for fashion? Does this happen to red-bloods like the Sufferer after a certain age? Just how much time has actually passed, here? We might have to wait for the commentary for this one.)

KARKAT: I WAS SAYING I THOUGHT WE MIGHT GO, I DUNNO, ANYWHERE ELSE ON THE ENTIRE SHIP WHILE THE CLOTHES WERE WASHING. KARKAT: SEEING AS THIS DECREPIT MACHINE WE WERE SO BLESSEDLY PROVIDED WITH MAKES A WHIRRING SOUND SO PANCHAFINGLY ARHYTHMIC THAT IT THREATENS TO ERADICATE THE ENTIRE CONCEPT OF TEMPO FROM THE UNIVERSE.

Karkat really has chilled out hasnt he?  like this is surprisingly level for him, and that fact is hilarious.

KARKAT: AND YET SOMEHOW BASICALLY ALL THAT HAS HAPPENED SINCE WE STARTED THE LOAD IS THAT YOU’VE BEEN USING IT AS A FUCKED UP BEAT TO WHISPER TO YOURSELF ABOUT FLOWERS TO.

oh gosh that’s why he’s rapping

> ==>

DAVE: kanaya was telling me this kids story the other day about this dude who didnt cherish a flower enough until it peaced out to do flower stuff idk its not pertinent to the story DAVE: except the flower was a person DAVE: because it was a metaphor

Oh right, coming back to the Little Prince stuff I was too lazy to metaphor-deep-dive into, and literally asking the same questions we were asking about who the Little Prince’s story applies to mapped here if anyone at all, like Dirk and such, or what biases were in the retelling of it and the way Kanaya phrased it.  So now we’re practically mocking it by deep diving it here, hence the last page’s “DAVE: i was just thinking through some really convoluted metaphorical horseshit”, which means we’re both about to further explore AND shit all over the existence of this story metaphor until it doesn’t mean anything and most of the meaning we drew from it earlier is made a joke~

well, not “we”, cause I was too lazy, so... y’all

DAVE: anyway what goes down in the story is that once the flower lady is out of the picture DAVE: the main character goes around making all these connections between her and everything else in the universe until every damn thing feels like a symbol for how much he fucked up and how much he will never see her again KARKAT: THIS SEEMS PRETTY FUCKING INTENSE FOR A KID'S STORY DAVE: yea thats pretty much what i said

Oh holy shit.  That’s yet another way to put it.  Are we doing a whole moral takedown of the Light aspect today?  cause it sounds like we’re taking a dump on the Light aspect and RoboRose getting too obsessed and immersed in it, which would be excellent

DAVE: but i guess its not so much what the story was technically textually about but more like the version of it kanaya internalized and then told me when we were talkin about how she misses rose

exactly

DAVE: so like now im taking the story she told me she was projecting her feelings onto and projecting my feelings on top of that

yes absolutely, you just rephrased it a different way with that exact same bias

DAVE: this is just one big game of emotional projection telephone so feel free to go paraphrase it to roxy later and make it about whatever fuckin thing youre currently missing

perfect. i need an emoji for that Italian thing for when you pinch your thumb and forefinger together and kiss it

ah this’ll do:

its like the expression “choice” but in nonverbal form

[...] whatever fuckin thing youre currently missing KARKAT: YOUR ABILITY TO GET TO THE POINT DAVE: gotem DAVE: anyway you’re not gonna have to miss that skill of mine for long DAVE: get ready for this shit because i am about to slap you with the point so hard youll fall ass first into the washer DAVE: just scrambling around in there getting all sudsy DAVE: but your brain is gonna be so blasted from the mindfreak of a point im about to make that there wont be anything left to clean

Anytime dave is told to get to the point he is contractually obligated to spend at least 20 seconds talking about how he’ll get to the point in a way that is not getting to the point

DAVE: so its genuinely cool that kanaya can go around creating meaning that may or may not be actually present in every little thing DAVE: connecting every feeling she has to the idea of her wife existing out there DAVE: so i told her she should keep that shit up DAVE: but im having the opposite issue where im struggling to find anything to be that kind of tether because every single thing i could possibly consider about what it is were doing just reminds me of yet another thing to be afraid about

Great examples of Light being good and bad!  Attaching strands of connective meaning to everything.  --though, in Dave’s case AND Kanaya’s case you could argue it’s both bad in terms of effects.  That it’s great for Kanaya to care, but that she should be able to divest herself and live on her own terms without idealizing Rose literally everywhere she looks, personal growth which would be useful in helping bring Rose back to her in the first place.  The struggle they’re looking forward to is largely philosophical, not just physical, and until Rosebot acknowledges that she was wrong it’s not over.

DAVE: everything fuckin sucks huge cosmic donkey sack and im terrified KARKAT: OK, SO I FEEL LIKE YOU SKIPPED A COUPLE NECESSARY STEPS IN YOUR POINT CLARIFICATION PROCESS.

Pretty sure Dave was on the same page as most Epilogue and start-of-HS2 readers.  This situation is pretty bleak to dump our heroes into, no matter how much we believe will be resolved in the long run.

DAVE: ok but were you going with sweet or savory please give me that much at least KARKAT: YEAH IT WAS GOING TO BE SUNDAE-BASED. DAVE: nice KARKAT: YEAH. KARKAT: DO YOU WANNA WATCH MORE GBBO AFTER THIS? DAVE: absolutely

--ah, Great British Bake-Off, can’t say I’ve indulged

do they still have that?? did they save it from old Earth?  or did they go where unflooded Britain used to be and say hey, new show reboot

KARKAT: GREAT. ANYWAY, LIKE I WAS SAYING, FOR THE LOVE OF SWEET HUMAN CHRIST, PLEASE BACK UP TO WHATEVER THE FUCK YOU’RE ACTUALLY SCARED OF. KARKAT: ALSO COME HERE, IDIOT.

That last line is like, exactly as fucking sweet and awesome as we imagined their relationship to be.  :)

> ==>

OH MY GOD THAT’S ADORABLE

DAVE: ok yeah this is a better position to unleash all my inner fears n anxieties from

indisputably.

DAVE: those times its like my mouth was saying words about the situation wherein our friends are AWOL and maybe dead but my brain wasnt fully letting me experience the emotion that goes along with them DAVE: man its like i cant even start genuinely thinking about how afraid i actually am for rose and john without my brain flippin its wad and whiting out DAVE: like haha fuck i hope theyre ok DAVE: now i better make a fuckin joke before i succumb to the gaping mouth of despair waiting for me to fall in it as soon as i look down and acknowledge that its there ogling how juicy my ass looks as it trembles with terror

I really hope that the writers of HS2 know full well that this feeling? the one Dave is describing here? is what many of us who got way overinvested in the well-being of Homestuck’s surviving characters felt reading the Epilogues and Homestuck^2.  So I really hope they’re working through it in a way that will result in a preponderance of GOOD THINGS happening and hope-filled situations.  Cause that “can’t even think about X” feeling is too familiar, and if they understand it as well as it LOOKS like they’re getting to, I’d really like them to give us a helping hand healing.

I think that’s what they’re going for?  Seems hopeful for me to think so, but they HAVE been doing better as HS2 has been going forward, from an emotional standpoint anyway; definitely better than the Epilogues.  And I’ve worked through some of that stuff with the help of that, because it’s MUCH easier nowadays to think about Homestuck without my gut clenching.

DAVE: i guess im just fucked up about how to worry about dirk and be angry at him at the same time DAVE: because if i get as unholy pissed at him as i sometimes wanna be i also gotta admit to myself that maybe i coulda done something different there

Mhmm, Karkat’s potentially a pretty good person to speak with here since he’s done so much work trying not to feel responsible for everything that’s ever gone wrong.

DAVE: also like DAVE: and this by the way adds a whole other layer of guilt on there that i dont really know how to fuckin reckon with but DAVE: even with all the shit hes pulled and the fact that we are more or less heading toward having to take him down DAVE: whatever that is gonna mean and whether or not he planned it like that DAVE: i just DAVE: me and him had come so far with each other and it was really cool for a while to have him and i DAVE: ugh DAVE: i dont WANT to hate him

Yeah, Dirk and Jane’s heel-turns were really shitty for anyone who was a fan of them in the fanbase, as well.

KARKAT: WELL THEN QUIT FUCKING PICKING AT THE SEAM ON MY SHORTS AND SPIT IT OUT. THEY'RE BARELY HANGING ON TO THE DEFINITION OF "SHORTS" AS IT IS.

That is an adorably real boyfriend-laying-in-boyfriend’s-lap thing to do

DAVE: the part i mentioned before about how we really have no goddamn clue how long this trip is even gonna take DAVE: i cant help but feel like its barely getting revved up DAVE: and for me and roxy and jade and callie and kan thats normal shit at best and boring at worst but we all have our immortality to thank for that DAVE: we can just dick around in space for near-eternity waiting to catch up to our friends who may or may not be our enemies now and itll be fine DAVE: i mean no itll be categorically miserable DAVE: but well survive it KARKAT: HOLD THE FUCK ON. DAVE: but you KARKAT: DAVE. DAVE: no lemme say this

Oh god damnit.  Karkat’s limited lifespan.  As if we hadn’t ALREADY covered a nauseatingly extensive gamut of disheartening topics of conversation.  We really have to confront every shred of misery in their past, present and future one after the other after the other in the Epilogues and HS2, don’t we?  >:(

I guess it had to be discussed, though.

DAVE: we dont talk about it much and i got shit to say about it DAVE: its not like i never thought about how youre mortal before but i just thought wed be able to figure it out before it mattered DAVE: come up with some kind of plan DAVE: i was just distracted being happy with you i fucking guess and so i didnt think up a way to fix it DAVE: and now thanks to dirk we have to work it out right the fuck now DAVE: because i cant spend this trip just sitting around watching you get old and die

Jesus.  I mean, WE know(?) that it’s not gonna be THAT many years, but THEY don’t know that.

Unless it really IS going to be that many years and HS2 is going to shamelessly take a fucking sledgehammer to our feelings for no goddamn good reason.  Which it won’t!  Right???  >:T

> ==>

Dishwasher ding

> Dave: Grapple with the clean, soggy consequences of the passage of time.

Hey, don’t make it a metaphor here. --though, fuck.  I suppose we are dealing with everyones dirty laundry.  God damnit.  SURE, deal with it all story but then GET IT OUT OF THE WAY AND PUT SOME SERIOUS FUN AND LAUGHS IN HERE so we don’t feel like we’re wading through an entire garbage dump!!!  *click*

Karkat’s eyebrows-only mouthless frown is really cute.

> ==>

okay Karkat explain the nope you’re lodging

> ==>

*put*

> ==>

*foot*

> ==>

DAVE: ok go on

I mean I at least appreciate the time investment in adorable boyfriends.  That’s definitely something of SOME good value they’re giving us in exchange for this misery

> ==>

That Karkat image makes me wanna do that red-shaky-gif-thing with it

KARKAT: IT'S NOT LIKE I'M NEW TO THE PARTICULAR MOOBEAST WRANGLING EVENT OF SOMEONE I PREVIOUSLY LOVED BRUTALLY TURNING ON ME AND LEAVING ME TO TRY AND CRAM MY FEELINGS ABOUT THE SITUATION BACK TOGETHER ALL ON MY OWN.

True

KARKAT: HE DID THAT ON HIS OWN. AND WE MADE THE CHOICE TO GO AFTER HIM ON OUR OWN.

Yes, and you’ll possibly convince him more of that over time, though not in this short conversation

KARKAT: I WAS FOLLOWING YOUR LITTLE TRAIL OF COOKIE CRUMB FEARS UNTIL IT LEAD TO THE BIG SNACK FINALE OF WORRY ABOUT MY FRAGILE MORTAL MEATSACK. KARKAT: IF I HAVE SOMEHOW NOT BEEN CLEAR ABOUT THIS WITH YOU YET, LET ME GO AHEAD AND RECTIFY THE SITUATION RIGHT THE FUCK NOW. KARKAT: HANGING OUT WITH YOU ON THIS LONG TRIP TO WHO THE SHITTING FUCK KNOWS WHERE IS QUITE LITERALLY THE HAPPIEST I HAVE EVER BEEN IN MY ENTIRE MEAGER EXISTENCE. KARKAT: I'M SO ABSOLUTELY BLISSED THE FUCK OUT OF MY MIND TO BE ABLE TO LOOK AT YOUR STUPID IMMORTALLY SMOOTH HUMAN FACE SKIN EVERY DAY AND NOT HAVE A COMPLEX ABOUT IT.

D’AWWW

And with that darkly angry expression too, that’s PERFECT

I mean it’s true.  What exactly would they be doing DIFFERENTLY on Earth C other than enjoying each other like this?  It’s pretty fucking great.

...hm.  Isn’t this journey-not-the-destination stuff pretty Breathy?  Karkat’s proving more balanced by the moment.

KARKAT: AND I'LL BE STRAIGHT WITH YOU. IT'S NOT LIKE I HAVEN'T BEEN EXPERIENCING SOME COMPLICATED GUILT, MYSELF. KARKAT: THE FACT THAT I'M HAVING THE TIME OF MY LIFE JUST FUCKING CHILLAXING AND BEING IN LOVE IN SPACE IS A CLEARLY INCONGRUOUS WITH THE REASON I'M ACTUALLY HERE CHILLAXING TO BEGIN WITH, AND I'M NOT LETTING MYSELF FORGET THAT, EITHER.

Pff.  He feels guilty for ENJOYING IT so much.  <3

KARKAT: BUT I RESENT THE IMPLICATION THAT MY HAPPINESS IS REGISTERING FOR YOU AS YOU HAVING TO JUST "SIT AROUND AND WATCH ME GET OLD," BECAUSE I KNOW YOU KNOW IT'S MORE THAN THAT.

I’m glad Karkat knows that DAVE knows somewhere in him that it’s more than that, because yeah, if Karkat thought he DIDN’T know that at some level that’d be a reason to take MUCH MORE SERIOUS offense.

KARKAT: LIKE, JESUS, DAVE. YOU KNOW I'M AFRAID FOR YOU, TOO, RIGHT? KARKAT: OR DID YOU FORGET THE WHOLE HEROIC DEATH THING? KARKAT: I WORRY ABOUT LOSING YOU FAIRLY FUCKING REGULARLY.

Hah!!!  Point taken.  Karkat must view Dave as practically more fragile than HIM.

KARKAT: ONE: WE'VE BEEN THROUGH SO MUCH HELLACIOUS PANWARPING TRAUMA THAT I REFUSE TO NOT ENJOY THIS SHIT WHEN I FINALLY FUCKING GET IT, NO MATTER HOW LONG IT MAY OR MAY NOT LAST. KARKAT: TWO: IT'S NOT LIKE WE'RE DOING NOTHING. WE’RE MOVING. WE’RE WORKING. WE’RE HEADED SPECIFICALLY TO A PLACE WHERE WE WILL UNDOUBTLEDLY ENDURE YET MORE FUCKING HELLACIOUS PANWARPING TRAUMA. KARKAT: AND THREE: WE'RE DOING THAT BECAUSE WE HAVE FRIENDS WHO WE CARE ABOUT THAT NEED US. THAT IS OUR FOCUS, HERE. NOT OUR FEAR. IT'S ABOUT THE PEOPLE WE HAVE TO SAVE. KARKAT: SO DON'T FUCKING WORRY ABOUT ME, DAVE. I'M FINE.

Okay, this is great and wholesome.  I am now retroactively GLAD that this topic got brought up.  :)

> ==>

Dave is still afraid. There is a part of him that will always be, he thinks. He has accepted this about himself. There is another feeling coursing through him too, though. It’s something he's felt before, though never quite so intensely. He looks up at Karkat and understands, viscerally, the simple power his words have. They pump through Dave’s own body, alive and warm and true.

He wonders if Karkat realizes it, or if he’s just, as always, saying what he feels as he feels it. Dave doesn’t attempt to dissect it further. There will be time for that later.

Every really loving moment like this is sort of undercut by the fact that it’s also, in some senses, part of alt!Calliope’s narration and, by extension, her fanfiction.

EDIT 2: There's also either a hint to potential Blood powers or even an explicit Blood power use here that I didn't recognize. I'm leaning towards it's-laying-the-groundwork-for-future-use-of-Blood-powers-but-isnt-magical-in-this-case.

> ==>

Smooooch!

That was nice.  Still gonna wait on doing any commentary til next time or a Bonus update or two, cause I’m beat.  See y’all next time!

[aion-rsa]

Mortal Kombat and the Man Who Gave Sub-Zero a Soul

https://ift.tt/3rEA11N

Mortal Kombat’s Joe Taslim (aka Sub-Zero) is one of the hottest martial artists on screen right now. It’s been a decade since his breakout film The Raid took the world by storm, and Taslim has consistently delivered high-octane action with dashing panache ever since. As movie martial arts masters go, few others are on Taslim’s level. While most action stars have some martial arts training in their bag of tricks, Taslim is more invested than most.

Prior to The Raid, Taslim was a professional Judo athlete and a member of Indonesia’s National Judo team from 1997 to 2009. He won gold medals at the Southeast Asia Judo Championships and the Indonesian National Games. No other actor can boast a competitive record like this. What’s more, Taslim is also trained in Wushu and Taekwondo, and he picked up Pencak Silat for The Raid, so his combative range goes far beyond Judo throws and falls.

The Raid was a game-changer for the martial arts genre. It placed Indonesia firmly on the map when it comes to action films, delivering relentlessly unflinching action and intensely complex fight choreography, held together with a threadbare plot. If martial arts movies are compared to porn films, The Raid was hardcore. The film spawned a sequel which picked up the action right where it left off in the original. In addition to Taslim, the franchise also introduced a stable of Indonesian action stars to Hollywood including Iko Uwais (Mile 22 and the upcoming Snake Eyes: G.I. Joe Origins) and Yayan Ruhian (Star Wars: The Force Awakens, John Wick: Chapter 3).

Taslim moved on to Hollywood too. Two years after The Raid, he landed the role of Jah in Fast & Furious 6, followed by an appearance in Star Trek Beyond. But he never abandoned his country and continued to deliver films made in Indonesia specifically for that market. Most notable was The Night Comes For Us, which reunited Taslim with Uwais. Although an Indonesian production, The Night Comes For Us gained worldwide exposure after it was picked up by Netflix. He also starred as the villain in the South Korean film, The Swordsman, and became more recognizable to Western audiences audiences by playing the conflicted Tong hitman Li Yong in the Bruce Lee inspired series, Warrior.

Now Taslim is at the forefront of another predominantly Asian cast for the new Hollywood feature film, Mortal Kombat. And he is donning yet another villain mask as Sub-Zero.

“Sub-Zero is just an amazingly powerful, iconic character,” says director Simon McQuoid. McQuoid’s film explores the inbuilt rivalry between Sub-Zero and Scorpion coming out of the original video games. The connection between Sub-Zero (real name: Bi-Han) and Scorpion delves deep into Mortal Kombat lore, and within the film, McQuoid says this is symbolized by a bloody kunai (ninja ring dagger) which plays a critical role throughout the film.

“Blood is such a [vital] ingredient in Mortal Kombat,” explains McQuoid, “but we wanted to make it feel more than just blood splurts. We wanted it to have a blood line and lineage meaning to blood as well. We liked the idea that we could tell an emotional version of that blood story.” Just like the fighting game, Mortal Kombat is evenly split between good guys and bad guys, but ultimately Sub-Zero becomes the standout villain in the film.

“Once we got Joe,” beams McQuoid, “then we knew he was going to be a pretty kick-ass character because Joe’s so fantastic.”

Den of Geek had a video chat with Joe Taslim while he was home in Indonesia.

Den of Geek: Was the Mortal Kombat video game popular in Indonesia?

Yeah, I think it was 1995 when the first one released. I was actually not in the capital. I was born on the small island in South Sumatra, in Palembang, that’s my home city. So, I remember when the game came out and people talked about the game because it’s unusual because it was so violent. And it’s still violent now. So it was popular until now. But unfortunately, MK11 got banned because Indonesia is very sensitive of the violence level in that game where it’s just like funny now. The censorship here is like, “Oh, this is too much for Indonesia, so probably not.” So a lot of people played the game by downloading it. They know how to do it.

Did you play?

I played MK11, MKXL, yeah.

What challenged you the most about taking on Sub-Zero?

Well, the fans know Sub-Zero is badass, kick-ass, so much swagger, and a lot of attitude. But as an actor, the challenge for me to be in his shoes is to give him more soul, to give more heart, to make this character live. The fight is a visual. People enjoy the fight. But to bring people to feel inside the fight is something else, it means that you got to give more. You got to give the intention. You got to give a story, without delivering any lines, that people can see. Is he losing? Or does he know he’s going to die? Or is he very confident?

Jet Li did an amazing job in his movies to deliver those attitudes—the story of the fight. So I learned from him and I learned from The Raid, The Night Comes for Us, and I just bring everything to Mortal Kombat. There’s a lot of stories in that final fight. You can see the character is just dynamic—what he’s feeling, the way he fights, he’s just getting slower and slower. He’s just catching his breath.

So that’s the most important thing in fights, in my opinion. Because a lot of people think a fight scene needs to be badass, kick-ass. That’s number two. But number one is you got to be inside the shoes and know what’s going on inside this character first. Then when you visualize the fight, it makes sense.

How was it working with the mask?

Ooh. Well, it took me a while to adapt because it’s a heavy costume. And the mask, kind of like, well I have the mask. [Taslim holds up his Sub-Zero mask]

Ooh.

Well, the awkward thing about the mask, because when you move, the mask doesn’t move because it was a solid mask. So it was quite technical. If I have to move really fast, sometimes my face moves with like a delay. You see the mask kind of follow in slow-mo. We did a lot with this—put a lot of straps here just to make when I move really fast, so the mask could follow. A lot of technical stuff happened in the process, but yeah, it was a fun journey to just discover the best look, the best fit for the mask, the costume for me to be able to fight the best.

How was your experience fighting with all those special effects?

I think this is my first [movie] that involved the supernatural. The superpower stuff in previous movies, it was like a man versus a man or a man versus five men. But in this one, a lot of imagination is involved for sure. I’m glad I’m a gamer myself. I played a lot. I’m used to being a daydreamer. I’m still daydreaming until now. I have this mind that I like to have fun with. So during the shooting [when] it’s involving something they’re going to add in post, they ask me just to imagine, which I love imagining things.

I had so much fun just imagining the sword and creating the icicle—the ice sword—because it wasn’t there. Everything is in post. So I was just like, “Sure, believe that it’s there. It’s there.” You don’t see it, but I know it’s there. When the camera captured that moment, and if I believe in it, then I think everybody’s going to believe in it as well.

Read more

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I really loved your role in The Swordsman. And I got to be honest with you, because I’ve been following you, and I was surprised that I didn’t recognize you for quite a long time in this film.

Really?

It wasn’t until I recognized your eyebrows. You’re playing a lot of villains now. Do you like playing villains?

I was a good guy in The Raid and The Night Comes for Us, but yeah. Playing villains is interesting. Because as an actor, you know when you play a villain role, almost there’s no limitation because there’s no rules. [There’s no] you cannot do this, you cannot do that, because you’re the protagonist. “You have to speak this way because you cannot be evil when you speak—you’ve got to be polite.”

When you play a villain, there’s so much freedom. In The Swordsman, I remember I had so much freedom. And the director, he was just like, “What do you think about the role?” I say, “I don’t want to sound like this. I’m going to change my voice.” I’m going to do that because he’s a nomad and he’s from Qing dynasty. He’s Manchurian, and their language is like almost from the throat. I want to deliver that. I want people to see that genetically, when people speak through the throat, they’re going to sound different. 

So all those freedoms that you have as an actor, and the director gave you the freedom to do those stuff, it’s a blessing. Because it’s just so easy for the director to just say “no,” and now you’re in trouble. And you’re just a puppet. “Do this, go there from there. And don’t smile. Don’t do anything.” That’s the nightmare for an actor to work in that condition.

How was it for Mortal Kombat? Were you given a lot of leeway with Sub-Zero?

A lot! Simon [McQuoid], he’s amazing. With almost everything, we’re on the same page. I came up to him almost every morning because we stayed in the same hotel, and he’s actually on the same floor with me. So before, I bothered him a lot. And I know he was busy. I need to ask something. I want to do this. I want to do that. I want to have this layer of him when he’s doing this, he’s doing that. So he was like, “Do that. I love it. It’s brilliant. We’re on the same page.” So it reached the point, I think half of the movie, he just looked at me, I just looked at him. Sometimes we just looked at each other, and we understand we’re on the same page. It was a beautiful relationship with him.

Do you feel that you captured Sub-Zero in a way that you wanted to represent him? Was he a character that you played when you played the game?

Probably different because in a game, people probably like more Kuai Liang, the brother. I think the Mortal Kombat 11, it’s more about Kuai Liang [the original Sub-Zero’s brother], and Bi-Han’s already a new cyborg. But I’m happy with what I saw. I’m happy that this anti-hero character, even though it’s a very thin layer here and there, but I gave it on screen. I gave [a lot to] Bi-Han/Sub-Zero. And probably people don’t know, but there are a lot of layers that I gave to this character. People need to see the pain of him. In the beginning of the fight, when he’s inside the house, for me, I look at this boy and it reminds me of my brother, Kuai Liang. That’s why I smile at him.

And then I just realized that my destiny for this family is to wipe them all. So those small thin layers here and there that I gave in this character, it’s there. They didn’t cut it. Everything is there. I’m so happy that I know when people watch it the second time, they will probably pick up a little bit of that here and there. 

I remember Jax—Mehcad [Brooks]—said “You’re a bad guy. You killed a boy. But somehow I feel you. Somehow, I feel so weird, but I feel empathy for your character.” And then I was like, “Okay, that’s it. That’s the goal. That’s what I wanted to do.” Because Sub-Zero/Bi-Han is a dark character. But tragic things happened to him when he was a kid. He got abducted. It’s by force, to become an assassin, to be part of Lin Kuei assassins, because he didn’t choose that path.

It was destiny [that chose to put him on] that path. And then for him, well, while a lot of people probably look for the light, he is just the kind of person to say, “It’s too late. I’m just going to be who I am.”

Mortal Kombat premieres in theaters and on HBO Max on April 23, 2021

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[gffa]

Always love your recs and appreciate the amount of time you have to put into them on top of all your normal, insanely detailed posts! I was wondering if you had any good starting places for getting into the non-film/video game/TV side of the fandom. Like what books are good? comics? There are so many!

Hi!  I’m glad you’re enjoying the fic recs!  There’s a ton out there to read, so if I can help point out some gems, I’m very glad to do so!With books and comics, a lot will depend on what you’re interested in (like my favorite era is the prequels, but I’ll read anything good, because I enjoy almost everything of SW), and you can pretty much pick up anything from the last five years or so and it’ll at least not be terrible!  Though, I have to admit, the comics have been phenomenal, while the books can’t quite reach the same heights for me.But my favorite places to start are usually:COMICS:

The 2015 Star Wars main comic title by Jason Aaron + the 2015 Darth Vader comic series by Kieron Gillen.  They’re meant to be read concurrently (at least for the first dozen issues or so) and they really kicked off an incredible era of SW comics.  The explore the time between ANH and ESB, getting into the characters’ heads and having some phenomenal moments.  Vader discovering the name of the pilot that blew up the Death Star is an iconic moment for a reason.

The 2017 Darth Vader: Dark Lord of the Sith comic by Charles Soul, which is an intense and beautifully done look at the transition from Anakin Skywalker to Darth Vader in the aftermath of Revenge of the Sith and really goes hard on showing his sunken cost fallacy and how terrible his choices were that he could never admit to, that he’s absolutely a terrifying nightmare while also being entirely human and almost pitiable.

Kanan: The Last Padawan is only 12 issues, but it’s gorgeously drawn and adds so much to Kanan’s story and is great if you’re interested in seeing what the Jedi were like inside their own Temple a bit more.  We get to see Caleb Dume become a Padawan, we get some stellar Depa Billaba moments, and a lot of heartbreak as we see Order 66 through Caleb’s eyes, as well as Kanan figuring out his way in the galaxy after all that.

The Age of Republic series (I think there’s 8 or 9 in total?) by Jody Houser are really great.  They’re single issue stories, so don’t expect big complex plots, but the character moments in each one of them, including a lot of themes that echo from one issue to another, are absolutely stellar.

Obi-Wan & Anakin by Charles Soule, which is a stunningly beautiful comic (I HAVE NEVER SEEN A PRETTIER COMIC IN MY LIFE) and seems somewhat simple on the first read--Anakin intends to leave the Jedi Order, but goes on one last mission with Obi-Wan, then changes his mind--has a surprising amount of layers and details that you can read into it, making it one I’ve reread like three times now and I’ve loved it more each time.

The Poe Dameron comics by Charles Soule are absolutely incredible.  They’re the Poe character exploration for me, the one that really set the foundation imo, as well as they capture Poe’s character and Oscar Isaac’s portrayal of him brilliantly, making him absolutely charming to read.  I still think they’re the best sequels tie-in material yet, even when I love love love other stuff, too.

Shattered Empire by Greg Rucka is also a gorgeously illustrated comic and does a lot to explore what happened after the Empire fell and the aftermath and clean up/last days of the war and was just really solidly good.

BOOKS:

From a Certain Point of View by various authors is a series of short stories about the A New Hope characters that really give a lot of cool depths to them or are just funny little moments.  While it can be hit-or-miss, the ones I would recommend reading are “Master & Apprentice” (Qui-Gon POV), “Time of Death” (Obi-Wan POV), “There is Another” (Yoda POV), and “An Incident Report” (Motti, and it is the funniest thing I’ve ever read) as they provide some stellar character moments.

Bloodline by Claudia Gray is probably the best book for giving you a sense of how the sequel trilogy happened/what the politics of it are, and it’s a solidly fun Leia book and I think easily Gray’s best work for Star Wars.

Star Wars Propaganda by Pablo Hidalgo is an incredible read if you don’t mind that it’s sort of a reference book and sort of a proper novel, as it’s an in-universe reference book, which tells the story of the politics of the galaxy far, far away as shown through art history and its use for propaganda.  It’s an amazing overview of the bigger SW story and how one war flowed into the next and really nails how the governments’ actions (or inactions) lead to so much unrest.

I haven’t finished A New Dawn by John Jackson Miller, but I’ve heard nothing but good about this Kanan backstory (the early days of his and Hera’s first getting to really know each other/working together, as well as Kanan slowly starting to find himself and his path again, or at least think about doing so) that’s interspersed with flashbacks to his time as a Jedi Padawan.

Thrawn by Timothy Zahn is actually a really great book, it introduces the perfect character to be the Watson to Thrawn’s Holmes, where they balance each other really well, so it takes the edges off Thrawn’s more obnoxious behaviors, while also winding it all together with showing what it was like inside the Empire’s earlier days and how the characters all came to be in the places they were in Rebels.

I haven’t finished Lords of the Sith by Paul S. Kemp yet, but what I’ve read of it so far has been really good!  It’s an intense one (as would be expected of a Vader-heavy book) but also it has moments of showing the Twi’lek’s pain at all that’s been heaped on them from their point of view, and some really EXTRA AS FUCK moments from Vader, so I’m enjoying it a lot.

If you’re interested in the sequels, I really loved Phasma by Delilah S. Dawson and Cobalt Squadron by Elizabeth Wein, I thought they both did amazing jobs at showing the backstories for Phasma and Rose Tico respectively, that Phasma is utterly batshit Star Wars at its best, that Cobalt Squadron really gave me a ton of Rose and Tico Sisters feelings.

[storyunrelated]

NaNo 2020 - Conclusions

So I didn’t finish this year. Whatever. Any time I have quote-unquote ‘finished’ it’s been a steaming pile of shit anyway, so did I really lose anything? Did I? Really?

No, the answer is no.

But did I learn anything?

No, the answer is no. Again.

What ideas bloomed this month though? Ideas that might charitably described as having sprung from NaNo in some way, shape or form? 

Everywhere Be Dragons

The original idea that I abandoned. Schlock, standard sci-fi. Lasers and shit. A retired man and his electronic friend who is presently in the robotic body of a bird go off to try and find out who injured his nephew. Turns out its some guy from some podunk evil space empire with a sword that can some summon chrome space dragons that can fly through space or some shit. Whatever. Garbage garbage garbage

Here’s a bit. The first lines, in fact:

Alarmingly naked, David Bellamy strode up to the largest of his windows and flung back the curtains to let what he hoped was the glorious sunshine of another sedate, mellow day flow in and bathe his more personal regions. 

Being a man of leisure now he had the time available to do this sort of thing.

Awful. 

Anyway, next.

And now for something completely different

Some admin schlub who works for a nebulous evil organisation ala SPECTRE is tasked with sourcing twenty-five red, plastic wallets by next week. It should be easy. It is not easy.

This was a very threadbare idea based on something I actually had to do, leading rather naturally to the thought “Wouldn’t this mind-numbing task be funnier if it was happening in an evil organisation?”. High-concept stuff.

Here’s a bit:

“Why am I doing this? This isn’t anything to do with me?”

“It’s nothing to do with me, either, but they passed it to me and I’m passing it to you. I’m higher up than you so now it has something to do with you. It is, in fact, now your problem.”

“What happened to Bill anyway?”

“Dead.”

“Dead?”

“Yeah, him and a bunch of others. Whole chunk of procurement, in fact. Super agents, last month.”

“What had procurement ever done to them?”

“I don’t think they were aiming for there specifically, they just got in the way. Think they were trying to hit the weather control department - they’re underneath them.”

“Oh yeah, yeah. Poor bastards.”

“Yes, well, now you’re here to carry on their fine work. Next week. Red. Sort it out.”

“But-”

“You’re a resourceful man, I’m sure you can manage.”

That’s literally all I did before I got bored.

Next!

Bad Wizards

I was reading about The Sword of Truth and I was reading about how Confessors worked in The Sword of Truth and it was this super-weird combination of an absolutely terrifying sounding power being the implications of which were ignored in a super-weird way.

Basically a whole class of women can ENSLAVED ANYONE THEY TOUCH FOREVER and this ability isn’t something they use it’s something they have to concentrate NOT TO USE and the purpose of this class of women is to...

...basically go around and brainwash/murder anyone they deem isn’t being honest and good. Oh, and they decide who’s honest and good. And there’s no question that they’re honest and good.

Oh and there’s no men with this power. Why? Because any male infants born with this power are murdered by their brainwashed loveslaves ARE YOU FUCKING SERIOUS.

Very odd. Very very odd. But easy fodder for villains, so I just thought “What about people being charged with coming up with ways of trying to fix this or go against it?”.

Then I did a bit where two guys are visiting a dead guy in a dead city. I don’t know why.

Much to his displeasure Percival was once again accompanying First to the city of Erhart, home to the court of Baldric the Everliving. Percival did not like the court of Baldric the Everliving. He didn’t much like Erhart, either.

He did not like the silence, the utter and complete silence. He did not like that, despite all of the citizens having died, there were no bodies anywhere, nor even a hint of violence or struggle to mark their passing. 

(Not that heaps of corpses would have made him feel better, obviously, but knowing that they had died it was eerie not seeing so much as an upset teacup to indicate that this might have been the case. It just didn’t seem fair to them, somehow. Like they’d passed on without a fuss, without so much as a whimper.) 

He did not like the way the empty windows seemed to stare at him. He did not like the way the streets were so dusty. A dirty street he might have been able to understand, but to have such a layer of dust, lying as thick as snow, untouched by the elements, undisturbed by any living footfall other than their own periodic visits - it just made him uncomfortable.

Everything about Erhart made him uncomfortable, frankly, from the mere thought of it, up through the physical reality of it all the way to the ruler of it, who he was going to have to go and talk to. Again. Nothing about this day was good for Percival.

BORING! NEXT!

Worse wizards

Uh, another idea, less related to anything else I was reading - I think? - but more, uh, what if there was a horrific ruling class of magical people who were for all intents and purposes utterly untouchable. 

Can kill you soon as look as you, mess around with your brain and your body just for kicks, come back from death easy as anything and only get more powerful as the years go on. One of them has a huge tower held up solely by their willpower, whatever. They’re a horrible, immovable fixed point in society.

Then one day mechanisms and techniques start showing up that can kill them and ignore their powers. Just out of nowhere. And these methods are super-simple to do and also start to spread.

What happens?

Lame lame lame lame lame.

“Did all of you miss what I told you at the start? The nature of what was used to kill Dennis?”

Blank looks. They had listened, but they had promptly forgot. It hadn’t seemed important.

That it was important and that this should have been obvious had passed them by. John gritted his teeth and straightened up, reaching around to a nearby trolley and - carefully - picked up a kidney-shaped dish resting on it and bringing it around so they could all see its contents. In the dish rattled several small, dark, sharp bits of what sounded to be metal. These the wizards peered at.

“He was killed by something that not only ignored his magical protections and ignored them completely, might I add, but which also then drained his body of even the merest trace of magic and severed whatever connection there might have been between his mortal shell here and anything beyond the material. Did you listen that time? Would you like me to say it again? Would you like me to go slower?”

More blank looks, though some were starting to get less blank. Some were getting confused. Some were getting worried. They’d actually paid attention this time.

What was I THINKING?!

Indulgence

This was me just doing a re-write of one of my secret, shameful pieces of fanfiction, with the fanfiction elements removed. Because why not?

[REDACTED]

Nope, not even a little bit.

Stupid! Next!

N/A

Some random thing in first person about following some rambling lady across some bridges and getting some weird book I don’t fucking know.

Where did all this water come from, anyway? And where did it go? I could see the vast lakes below us, of course, stretching off as they did towards wherever these caverns terminated, but did those lakes drain anywhere? The flow of water from above never ceased, and yet the levels below never rose. What maintained this equilibrium? Or was the scale involved simply so great that no change could ever or would ever be observed?

I do wonder why I wonder about these things sometimes. The answers to these questions wouldn’t benefit me in any way. 

Yet still I wonder.

Who ccaaaaaarrreeeessss? Next!

Delicious Godmeat

A long, long time ago in some faraway land in another universe or whatever there was some vague, vaguely benevolent overgod. They had of children and they looked after all the normal people and blah blah all was well.

One day those children decided to devour their parent and split up their power between them, so they could care out their own little demenses and rule things the way they thought they should. So that happened.

However, the biggest, juicest bit of godly meat went missing somehow, much to their chagrin. They looked and looked but they never found it. Because it fell through time and space in a way that’ll never be explained, and ended up here. And now, by accident, some random young lady touched it.

Whoops! You’ve got a chunk of a dead god stuck inside you now! Better go free the land of those rapaciously evil children, absorb their power and try to bring some goodness back to this land! Whatever that means! Figure it out! You’re basically a demigod now!

Have fun battling the alien feelings of a dead deity and an ever-increasing level of godlike power! 

“Sooner or later you’re going to have to make a choice knowing that whatever choice it is you end up making it is going to make a lot of people very, very upset with you.”

“Can I just do nothing?”

“Sadly, no. Someone in your position chooses not to decide, that’s still making a choice.”

“Gah! I can’t win!”

CONCLUSIONS

Awful. Awful awful awful awful. They’re all awful. They’re all terribly. Sweet Jesus what a waste of time, every last one of these is a stinking, rancid turd now fouling my Google Docs with their stench. Awful awful awful.

Know what’s missing in all of these? Well, lots of things, but you know what crucial element hobbles each and every one of them from right out of the gate?

No fucking characters! Just a half-baked idea shoved out and left to die in the sun! No-one involved I give even the merest whiff of a shit about! Not a one! And no situation I care about either! None of these do anything for me! They leave me cold! And everyone in them leaves me colder! Frozen!

A setting isn’t worth shit if you’ve got no-one to do anything with it! Settings just sit there, inert, characters make it happen! Characters make the story! AND YOU’VE GOT NO CHARACTERS YOU WORTHLESS SHITHEAD! YOU’VE GOT NOTHING! JUST THE SAME WORDY BASTARDS OVER AND OVER AGAIN! JUST A THOUSAND COPIES OF YOU! I HATE ME! THAT’S USELESS!

I’m dead inside now!

Well, deader than I was before!

Awful! Awful awful! Eurgh!

Oh well! Same time next year!

[rachelthompsonauthor]

Hi, everyone! It’s time to venture back out into the world which is a little scary, right? That’s where we are in Northern California – like turtles starting to stick our heads out just a little bit. We’re starting to visit family, actually going to the grocery store, and getting haircuts for everyone – a good thing since we’re all looking a bit like muppets.

Though with the latest numbers in California, who knows where we’re headed. It’s terrifying. Masks, masks, masks, wash, wash, wash.

In case you missed the last two installments of my blog posts, you can catch up by clicking here for week one and here for week two.

This week I’m thrilled to share an insider look into the mind of author Barbara Delinsky, who just dropped her latest hot read, A Week At The Shore, which immediately hit the New York Times bestseller list – her twenty-third novel to do so.

Both Pip and I enjoyed A Week At The Shore immensely.

Full disclosure: Barbara is one of my BadRedhead Media clients (and I’m supremely grateful for that!). I handle her social media, street team, blog and book review optimization, and a good deal of her book promotion.

After finishing the book (which I loved), I had a few questions for Barbara about her writing style, so I emailed them to her and she was kind enough to respond.

A Week At The Shore by Barbara Delinsky Interview

Q: I notice you don’t only use ‘she said’ for dialogue, which I personally love, though as I’m sure you know well, it’s a DEBATE.

A: I’ve actually spent a lot of time thinking about this. I don’t use half as many other words (“she exclaimed,” “she intoned,” or “she declared”) as much as I used to. Yes, there’s something to be said for simple and real. That said, the constant monotony of “she said” gets boring, so I try to find a comfortable balance. This actually ties in with your next question.

Sometimes, the sub for “she said” can express emotion, as in “she cried,” or “she dare say,” or “she whispered.” So it does add something. Still, though, not quite the “show, not tell” rule (see more on that below).  

Q: Also, the ‘show, not tell’ rule regarding feelings. You sometimes say what emotions Mallory {Ed. the main character} feels (at times). If I wrote that in my creative writing classes, my teacher would’ve jumped out a window, yet it works. Again, love. All this ‘do this, not that’ advice can be confusing for writers, regardless of genre, myself included.

A: Yes, it does work at times, at least, for me. But then, I never took a creative writing class, so maybe I just don’t know how to show rather than tell. Here, too, I think you have to be guided by common sense. If by “show,” you mean having a character “start to huff and puff,” to show upset, rather than simply to “cry in alarm,” I’d opt for the simpler.  

The image of huffing and puffing will distract the reader from what you’re saying. IMHO, the “show, not tell” rule applies to larger things, like rather than saying “her husband could be nasty,” saying something like, “her husband could see her scrubbing the dinner dishes and tell her she was made for this.” So, it’s really giving an example of what you’re saying in summary. Does that make sense?

Q: Yes, absolutely. Also, you write about the past in the present tense – I do this with memoir and blog posts, and prefer to read books or even blog posts/articles written this way. It’s more immediate. When I work with writers in my workshops, they tend to write in the past tense. I haven’t read all of your other books, so I wonder if you do this with all your books?

A: I’m actually not even aware of writing about the past in the present tense, unless it’s a bonafide flashback, in which case it would be in the present. I’ve been experimenting with different tenses book to book. My last book, BEFORE AND AGAIN, was in the first-person past tense, A WEEK AT THE SHORE is in first person present tense.  

The latter took some getting used to. And it’s possible that I botched the flashback tenses simply because I’m not ultra-experienced with first-person present. My editor didn’t catch or change anything, though. I agree with you. There is an immediacy to first-person present tense that is nice. That said, the new book I’ve started is in first-person past tense.

Q: Basic skills – I get it. This is how new writers learn. You aren’t new (after writing hundreds of books and stories), so you break rules – is that it?

A: I’m not “schooled” in writing, so I don’t know I’m breaking the rules!!

Q: You’re so skilled, Barbara. Your characters are intricate and layered. This book is a CLASS in writing. Do you ever think about young writers reading your work and learning from you?

A: You are too kind, Rachel. Seriously. I’m just muddling along, basically doing what works for me as a reader, since I have no formal training. Truly. Now I’m just enjoying it.

Barbara has written a few articles for me on my biz site about breaking the writing rules, which I hope you’ll read. She’s a true writer’s writer. I hope you’ll read her books and articles. She’s also an avid reader herself and does weekly book reviews on her blog.

What I’m Reading Now

I’m now reading the third book in the Discovery of Witches series, The Book of Life, and it’s fabulous, just like the others in this series. I’m not going to spoil it for you if you haven’t read these. Harkness is a wonderful writer, and she weaves history, passionate love, and the supernatural together in a way that carries you into other worlds. Even though it’s vampires, witches, and demons, it’s not glowy, corny vampires and evil witches on broomsticks. Harkness’ stories are wholly imaginative.

When I found out Sundance made the first book into a series, I paid for the app ($5.99/month – totally worth it) and watched the entire series in one day. SO GREAT. Perfectly cast, well-acted, leaving me yearning for more. I’m now re-watching it.

What Else I’m Watching

I never did see Being John Malkovich so I watched it with my daughter. Weird flick. Good, but super weird. Definitely takes the, ’15 minutes of fame,’ motto and turns it on its head. Speaking of heads, I’ve never seen such horrible hair in any movie.

Have you seen it? What are your thoughts?

Space Force just came out on Netflix and it’s hilarious. If you’re super conservative, you may not like it, so beware (though they poke fun at both parties). If you can laugh at the ridiculousness of government, please watch. Carrell is great, as usual, and the relationship dynamics are brilliant (and there’s John Malkovich again – great, as usual).

Vanderpump Rules I mentioned previously that this is the one reality show I watch with my 20-year-old daughter, Anya, and we watched the reunion shows – all three of them. I know, ridiculous. Jax is such a joke (his blatant homophobia disgusts me, though he says he supports gays – what?), Jax and Brittany together are just ugh, and Max makes me want to vomit (breaking news – he just got fired – ha!).

And honestly, could Vanderpump be any more white? We’ve been saying this for years.

SO much has happened since last week – wowzers. They’ve fired four people as of this writing for making racist remarks. Either the show will be retooled or canceled. I’m sad to see the epitome of white-girl whiteness Stassi gone – she was at least honest about her privilege. What do you think?

I’d be pretty much done with this show if it wasn’t for my daughter begging me to watch with her (we do watch movies and other shows as well). I’m glad Pumpy fired their asses, otherwise, I’d be done DONE.

Compassion

What’s missing from most reality shows is compassion, which is why I don’t enjoy watching them. We see (and hear, loudly and repeatedly) the negativity, toxicity, and the worst in people because that’s what the editors and producers know will keep viewers coming back – drama.

There are flashes of compassion, e.g., when dealing with the death of a loved one, coming out, infidelity, or mental health issues. I appreciate when Bravo, for example, handles these issues well. I don’t appreciate it when they have not – and they have not in many cases. An overall lack of compassion appears to be missing from many of these people’s lives; however, using The Four Agreements, that’s an assumption on my part; we don’t see behind the scenes or when the cameras are off.

I do have compassion for the casts of these shows who have decided money is worth more than their privacy. They are adults making decisions about their lives, and all that comes with it, as any celebrity does. Now, they’re dealing with the fallout.

“Make good choices!” as Jamie Lee Curtis’s mom in Freaky Friday admonishes a young Lindsay Lohan’s Anna (and we all know how that turned out). Oh, Lindsay. Honestly, she’s such a product of dysfunction, it’s truly sad, but that’s a whole other post.

If only people would listen to their Hollywood movie mothers…

Products Supporting Black Lives Matter

In no particular order, here’s what I’ve bought and am loving:

YUBI: The original fingertip makeup brush is amazing. Worth every penny. How did I not know about this?

Pat McGrath Real Makeup: I’m a sucker for a great eye shadow palette. McGrath’s are pricey but fab-u-lous. Why so spendy? All her products are highly-pigmented so you don’t need much; they’ll last a good long time. Here’s the one I purchased on Amazon. For when, ya know, I actually have somewhere to venture out to.

Body Butter Lady: Lip stuff and of course, body butter. Affordable, smells amazing, and will last a good, long, time.

LipBar: Lips for days, tons of colors and textures to suit anyone.

LipSlut: Awesome colors, and 50% of all proceeds go to support women and children’s charities all the time. Right now, they’re supporting Black Lives Matters. 50% towards charity, 100% against tyranny. Cruelty-free, Vegan.

Their newest shade, F*ck Trump on pre-order, will support civil rights organizations specifically targeted by the Trump organization – I mean, administration. Oopsies.

Here is my current personal selection (F*ck Kavanaugh is a favorite – a pretty brownish-red that wears well):

  ***

So that’s it for this week. Would love your feedback on COVID-19, books, movies, shows, makeup, racism, or whatever you want to discuss. Thanks for stopping by!

Read more about Rachel’s experiences in the award-winning book, Broken Pieces.

She goes into more detail about living with PTSD and realizing the effects of how being a survivor affected her life in

Broken Places, available in print everywhere!

        The post Venture Out Of Quarantine With Me appeared first on Rachel Thompson.

via Rachel Thompson

[jgroffdaily]

[This story contains spoilers for season two of Mindhunter on Netflix.]

If you gaze long into an abyss, the abyss also gazes into you: That well-worn Nietzsche quote might be the best explanation for what happened to Holden Ford, the impetuous FBI wunderkind played by Jonathan Groff, in the season one finale of Mindhunter. Holden, alongside his partner Bill Tench (Holt McCallany), had spent months interviewing incarcerated serial killers in order to glean insight into their mind-set, pioneering the science of criminal profiling.

Having demonstrated an uncanny knack for getting truths out of monsters, Holden started to ride way too high on his own brilliance, alienating his colleagues and jeopardizing the already uncertain future of the fledgling Behavioral Science Unit. In the season finale he paid an ill-advised solo visit to the serial killer Ed Kemper (Cameron Britton), who responded by giving him the most menacing hug ever committed to film. The season closes with Holden in the grips of a long-overdue panic attack after escaping Kemper, the darkness of his work and the recklessness of his approach finally catching up to him.

Season two, which picks up directly after the finale, sees Holden continuing to struggle with panic attacks in private, while still letting his ego run away with him at work. “Though Holden is still engaged with doing interviews with serial killers, now he's getting a little snobby about it,” Groff tells The Hollywood Reporter. “He only wants to interview the killers that he personally deems worthy.” That new attitude, combined with his mental fragility, seems like a recipe for disaster — particularly once Holden travels to Atlanta to tackle the most difficult case of his career to date.

Groff spoke to THR about depicting Holden’s mental breakdown, what’s different about season two’s interrogation scenes and how the Atlanta child murders case unfolds onscreen.

At the end of season one, it feels like Holden has the air punctured out of him by Kemper. He goes from incredibly cocky to total psychological collapse. What was it like to play that very dramatic shift in the new season?

I was so interested to see how the writers were going to pick Holden up off the floor after the finale. In terms of the continuity between his panic attack in the hospital [after seeing Kemper] and his panic attack at the end of episode one after Shepard [Cotter Smith] talks to him, I realized that any time there's a mirror held up to Holden and he can sort of have a moment of self-awareness and really look at himself, it sends him into panic mode. That’s what Ed Kemper did at the end of the first season, he was turning the mirror back on Holden, and I think that’s also what Shepard does at the end of the season two premiere.

He’s in his element when he’s probing into other people’s psychology, but when it’s turned on him he can’t handle it.

Yeah, and when he’s in work mode, and he's a dog with a bone, it sort of evaporates and he's fine. It's just these little moments when his blinders are removed that he sinks into panic. The minute he pulls his shit together for the [David] Berkowitz interview, and Tench says “I think he’s back,” I love it because it adds a layer of drama to every scene moving forward. We’ve logged this information as something that can happen to Holden, and now that factors into every interview, knowing that potential is there.

What goes into depicting a panic attack onscreen?

I’d forgotten about this until just now, but when we were filming the season one finale, in the moment right before Kemper hugs me, David [Fincher] had me do this (inhales and exhales rapidly), just a lot of breaths really quick in and out, I think just to get all of the blood out of my face. I did almost pass out. That was the scene right before I run out of the room. The panic attack scene in the season two premiere was sort of the same thing — we did it at varying levels, and I started out by overdoing it. I think I was making noises, it was a lot, and David was like, “OK, Groff, take it down a notch.” I love working with him because he can say something like, “Take it down 50 percent from that,” and I’ll know what he’s talking about. I tend to just throw it out there, and then he shades and shapes the level of explosion.

The Atlanta child murders is the most contentious case that the show has tackled so far. There are still a lot of unanswered questions about the case itself, and the FBI’s role in it was specifically controversial. How does the show approach the case?

I listened to [podcast] Atlanta Monster and read James Baldwin’s book, The Evidence of Things Not Seen. And Courtenay Miles — who was our first AD in season one and one of our head writers on season two — could have a degree on the subject of Atlanta between 1978 and 1982. She did so much research, she spoke to police officials that were there during that time, and tried to really get all the conflicting opinions and ideas about what happened. They really try to lay out in the scripts the political atmosphere of what was going on at that time in Atlanta — the first black mayor had just been elected, “white flight” was happening in the city center, the new Atlanta airport that we now know as this giant hub was about to open in 1980.

It was just a huge moment of change in Atlanta, and the last thing that the city needed — in some people’s minds — was a lot of publicity about these children being murdered. On top of which you have the FBI coming in there and trying to prove this core theory of the Behavioral Science Unit, that you can actually take this psychological work and these interviews, and make a profile of someone and use that to catch an active criminal while it's happening.

Why is Holden so stubbornly determined that his theory of the case is correct?

One of the conclusions the BSU has drawn is that serial killers rarely cross racial lines, and so Holden firmly believes that this killer is black. A lot of other people think it’s the Ku Klux Klan, some people think it's a child pornography ring, there’s a bunch of different theories. But Holden is there to help catch what he believes is a serial killer, in order to help the city of Atlanta and also to prove his theory right, to prove that this method of profiling works.

Season two brings back Jim Barney (Albert Jones), the African-American agent Bill wanted to hire in season one. What’s the dynamic when Holden is doing interviews with Jim versus Bill, whom he’s used to working with?

I love Albert, he's a phenomenal actor, and they knew in the first season when they cast him that he was going to come back to play this bigger part. What’s interesting in those interview scenes is that this season, though Holden is still engaged with doing interviews with serial killers, now he's getting a little snobby about it. He only wants to interview the serial killers that he personally deems worthy, which is a stark contrast from the first season where he's like, “Feed me, I want everything, I want all the information! I want to meet everyone!” Now he’s a little more picky about who he’s gonna spend his very valuable time with.

So in episode three, he sort of begrudgingly agrees to go to Atlanta to meet with these killers who he deems unintelligent, and Barney ends up being sort of the Holden in those interviews, in that he's the one that's actually engaging with the person in a deep way, and ends up gleaning the information that Holden would normally glean. I loved reading that when I got the scripts, because there’s a clear evolution of these interviews in the second season, now that Holden kind of thinks he’s above it to a certain extent. Obviously not Charles Manson or David Berkowitz, but he maybe feels he’s outgrowing the interviews a little bit, and the character of Jim becomes my foil in that regard.

John Douglas, the real-life inspiration for the show, eventually moved away from FBI work and became more of an author and consultant. Holden is only loosely based on Douglas, but do you think he could take a similar path?

Well, I don't know this for sure and I'd have to ask John, but my feeling from meeting him and reading his stuff is that he didn’t move away from the FBI because of disinterest. He had a total mental and physical breakdown from how intense the work was. He was, I think for his whole career, a very obsessive worker. His breakdown happened much later [than Holden’s], when he was a little bit older and had been in the thick of it for much longer, so I think Holden’s panic attacks are kind of a nod to that. We deviate a lot in terms of the characters’ personal lives.

When Holden is hospitalized he calls Bill — who’s not thrilled about having to fly across the country to get him — and says he didn’t have anyone else to call. That line was interesting. Does he not have family?

I think at the end of the first season, we saw him kind of shut everybody out and go off on his own, so in my mind when I was reading that, when he says, “I didn’t have anyone else I could call," it was a moment of self-awareness. He realizes that he has put himself on an island. I mean, the only person he could turn to at the end of season one was Ed Kemper! But when he calls Bill, I thought it was kind of a beautiful nod to the fact that at the end of it all, the person I'm gonna call, for better or for worse, is the guy that I've been through all this shit with. Sometimes we have those people where we experience something insane, and the only person who gets it is the one who was in the room too. I think that line from Holden is a reminder, at the top of the season, that these two are kind of bonded forever, in a way. As different as they are, they have this very specific fucked up world that will bind them together for the rest of their lives.

This interview has been edited and condensed for clarity.

[dotthings]

All right here we go, my notes on SPN 14.17 “Game Night,” which gets into parental issues and closure, domesticity on SPN, Cas and loneliness and connections with others, parallels between Dean and Cas, waffles, Dean’s facade, Sam’s heartbreak, my boredom and dislike of villain characters who I am supposed to dislike anyway, the nature of souls, and God as absentee parent.

First off, S14 has to be possibly the most domestic SPN season ever. We’ve had glimpses. But S14 is really digging in showing us this family’s life in the bunker. Add to this, even though Cas wasn’t present for game night, how accepted and normalized it is that Cas lives there. That’s his home. He’s expected and if he goes he at least tells Dean and it’s temporary, it’s assumed he’ll come back. Our bunker family includes 2 characters who aren’t blood related to the Winchesters, Cas and Jack, but they are part of the family nonetheless, something S14 has made abundantly clear. 

Why is this domesticity important? Isn’t SPN about killing monsters? It’s important because SPN is about killing monsters. It adds texture and layers to our heroes, makes their lives even more real, and ups the drama factor when we can see them have moments of domesticity and being a family to contrast with the harshness and the monster fights and the darker aspects. SPN from the get-go, has as its primary fuel the bonds between characters. Most of SPN is about Sam, Dean, and Cas as charcters who have MHI and PTSD and how they keep on keeping on, and their bonds with each other and other characters. 

We also need to be reminded of the stakes. Our heroes need to be shown living the world they’re trying to save and we need to see why they care if their loved ones are imperiled. We need to see them being a family to understand what could be lost. Remember in ep 300 alternate Sam and alternate Dean we learn are isolated characters and we see Cas devoid of personal attachments, and that was their tragedy. 

The monsters are really just a backdrop to explore these characters. Because SPN is a horror/urban fantasy series, we aren’t going to spend a whole lot of time on the domestic stuff, it needs lots of monster-killing action, but all in service of revealing character, and the domesticity needs to be there as part of the emotional weave. It stood out to me how extra domestic the start of Game Night is, with Mary and Jack putting snacks together, Mary trying to talk to Jack, and Dean trying to fix the mouse trap game, they reference that Sam is off getting pizza and will be back shortly, and we have a reason Cas isn’t there but we know if Cas were he’d be right in the thick of the domesticity.

They also did it because of how hurty this ep gets later on, for dramatic contrast.

Dean, our smart little engineer. Dean seems really, really frustrated he can’t fix the mouse trap game which you might think is just there for comedy but it’s not. He’s really minds he can’t fix that mouse trap game. Dean hates it when he can’t fix things, doesn’t he. When someone in his family is hurt or something’s wrong with them and there’s nothing he can do. He’s also not over that PTSD from having Michael screaming and banging in his head. It’s the little things. You think SPN actually forgot he has PTSD, look again.

And where is Cas? Why, he’s off meeting with the angel Anael to get a fix for Jack’s soullessness, without telling Sam and Dean, because Cas...he’s still got issues which I’ll get to a moment.

Interesting Cas orders a waffle he’s apparently not eating. Maybe just to not appear out of place in the diner. While Anael doesn’t even get coffee. Like it’s important to Cas to behave as a human, even if he’s not actually going to eat that waffle. Maybe Cas just wanted a waffle. It’s a really cute waffle, I’d want that waffle. This is reminding me of Cas and the milkshakes in 14.15. Why do they keep showing us Cas and cute milkshakes, Cas and cute waffles. It’s tantalizing. Almost lampshading the fact that this idea of Cas and milkshakes, Cas and waffles, is appealing, the idea of Cas enjoying these things, and maybe Cas would enjoy these things, yet he’s not going to actually consume them. 

So Anael was Joshua’s right hand. That was a reveal that shows she was an angel of some importance.

I love the Anael and Cas dialogue. “Ill-conceived lone-wolf desperation.” Anael has seen some things. There’s several moments here where she sees through Cas’s bullshit, and several moments where Cas sees through hers. 

Cas is not only hiding his deal with The Empty, he’s gone off to find God to fix Jack’s soul without telling Sam and Dean.

Oh this Dean and Mary scene. I’ve talked about Mary’s arc before, and how purposeful the distance and remoteness is, why the character is meant to be brittle, and wondering what kind of progression we’d see, a softening on that. Here’s another moment of it.

“You’re here, okay?” “But I should’ve been here more. I know I can be closed off, hard.” “That’s where I get it from.”

Oh, this is making me worried for Mary. That’s an awful lot of emotional honesty and softening and I’m thinking about John in ep 300 and closure and how that ended up. Dean got to say what he did to Mary near the end of S12. “I hate you and I love you and I forgive you.” And that was why Dean needed Mary back. But Mary has stuck around for several seasons and there are still unresolved things there. Which this scene offered one step towards a resolution for. How very John paralleling of you, SPN. 

Dean relating to Mary’s facade isn’t spn vilifying Dean. SPN doesn’t think Dean is actually closed off and hard, the narrative doesn’t show us that, and the authorial voices don’t believe it. Dean does however construct a facade for himself and I’m not sure how people can claim it’s vilifying Dean for SPN to remember that. (People want consistency and SPN to remember Dean’s characteristics...it does). Dean references his facade here. 

Remember that Dean’s perception of himself is that he’s a hardass. The Dean we actually see--and yes SPN is not only aware of that dichotomy but plays with it consistently--is a big-hearted squishy vulnerable softie who outbursts his emotions often and does a terrible job of hiding how much he cares. But in his Dean’s own mind his face is impeccably forged.

He’s acknowledging here he realizes Mary has a facade too and her brittleness and remoteness isn’t because she doesn’t care. 

I think also Dean wants to relate himself to his mom. He modeled himself on John much of his life and had to find a way to being his own person away from that shadow, but he’s actually always been more like Mary and he wants to be close to her. So here he purposefully spells out a connection between them, even though Dean isn’t really just like Mary, their facades are still a commonality.

Mary saying “I’m grateful” for all the time she gets to spend with her kids. Her adult kids. Not the babies she lost. Her children as they are.

Ohhhh something bad is going to happen I can feel it.

We get smart researchy Sam, and Mary and Dean mother-son badass hunting team. I’m sorry we haven’t seen more Mary and Dean team-ups, I’ve been waiting for that. (See why I’m nervous? There’s a lot of Dean and Mary stuff in this ep I’ve been waiting for and was denied and now getting it...Marty, I’m scared. I know how SPN operates).

So Nick is basically a complete amoral psychopath now and I am both bored yet weirdly relieved the story isn’t even going close to trying to make him someone relatable or intriguing. Nick is one of the only things most of this fandom in all lanes agrees on: he has to go. And SPN is making him as unpleasant as possible, reflecting that.

Jack and Donatello have no soul and yet they show more conscience and care of others than Nick, who has his soul still, which is raising questions in my head about how souls work on SPN and can empathy be learned even if the soul is gone. It’s not that Jack isn’t incredibly dangerous without his soul, his inner compass is completely borked. But not totally absent. Donatello also has judgment about how to treat others. But Nick...Nick is only murderous. 

“Because you’re a good man. You are. It’s one of the reasons I’m so proud of you.” 

We are John paralleling like mad here. Sam gets to hear Mary is proud of him. Dean gets an apology for her distance and her letting him know she appreciates being with him.

Closure, closure, closure. Something terrible is going to happen. 

These Cas and Anael scenes are utterly delightful. Not just because Misha and Danneel have a great rapport but the themes the dialogue is wading into is making me rub my hands together in metaish glee.

“I believe in Heaven.” 

Anael was a believer. Joshua’s right hand. She was a good soldier. Unlike Cas, it doesn’t sound like she had much inclinations to rebel. It seem unlikely Anael ever needed a reset, but like Cas, she eventually did.

“I don’t need Heaven and I don’t need God. I’m happy,” Anael says.

There’s that theme of actual happiness vs. false happiness again.

“Really?” says Cas, who we know has figured out how important bonds with others are. “Because that sounds lonely.”

“We’re all lonely because we’re all alone,” says Anael.

Well this just got deeply philosophical. We can feel alone even when we’re with others. Anael feels God abandoned everyone and she’s not wrong, and she hasn’t found a connection with others the way Cas has. And Cas, even though he has found those connections, is still a lonely figure. Isolation, alienation, feeling he doesn’t belong have been major themes with Cas for years. But Cas knows things Anael doesn’t about how life one earth works.

Oh I so am enjoying Dean kicking the crap out of Nick.

Jack is soulless yet still cares about helping Donatello.

“My father was a monster.” “He loved you...and you broke his heart.”

Shut up Nick, you manipulative psycho. Love isn’t enough. Lucifer “loves” like Thanos “loves.” 

Back to Cas and Anael, “I’m doing this for Jack,” Cas says. Which he is, in part, but it’s not the only reason. Anael may have passed on coffee but she’s packing tea. “You’re doing this because you’re afraid. Because in your mind it’d be easier to call God than tell Sam and Dean Winchester the truth. Jack’s soul is gone.”

Here is my whole separate post of its own on over-protective Cas trying to shield Sam and Dean from the storms and while it’s done out love, it’s misguided and his methods of shielding them often end badly.

But if you think Jack is all Cas cares about? Jack is the only reason Cas has done anything lately? You aren’t paying close enough attention (also that’s ignoring big chunks of canon anyway but I’m talking specifically, that even some of Cas’s Jack decisions have been about protecting Sam and Dean from pain...read my post). 

There’s another samulet. Cas recognizes the object most likely to be the telephone to God because it’s similar to the Winchester samulet. It’s not identical to Sam and Dean’s. Similar but different design. Slightly different purposes. One glows in the presence of God. Another acts as a voicemail system. Are there others, with other purposes, related to God?

Chuck abandoned humanity and the angels but made sure means of communicating with him were left, perhaps scattered all over the world? In case of emergencies? Was it a full abandonment? 

Cas sneaking away from his family to call his father for help out of their sightline because he’s scared and worried, why is that familiar. Where have I seen that before...oh yes, Dean calling John way back in “Home” in season 1.

This while Sam and Dean are going through closure things with the Winchester parents and Cas is again looking for his absent father.

“Go home and tell Sam and Dean the truth.” GOOD PLAN, ANAEL. 

I love this exchange with Cas and Anael so much. This is the whole lynchpin of what Cas has learned.

“Just because God’s not with us doesn’t mean we’re alone.” “Why? Because we all have each other?” “Yes.”

Similarly to how Dean had already accepted himself without needing John’s approval to do it, Cas has already figured out he’s not alone even though his father is a chronic abandoner.

Now Sam is beating Nick! It’s the Nick gets beaten up episode and I am so here for it. Sam doesn’t kill him of course because Sam is a good person but I am also sort of sorry Sam doesn’t kill Nick. Which I don’t think is the takeaway they intended and yet.

Sam’s Nickrage. Sam tried to see the good in him and give him the benefit of the doubt. Nick turned out to be completely amoral, and Sam was wrong. And now there’s something wrong with Sam’s shared Team Free Will adoptive child, Jack, who Sam needed to believe in. Sam has had something wrong with him and he’s not all bad, he was worth saving, others are worth it too and Sam needs to believe that. Jack maybe will vindicate Sam in this by the end while Nick is proving to Sam that isn’t always true and I think being faced with that is breaking Sam’s heart. No not everyone is worth saving. Not everyone can be saved.

It’s almost like survivor’s guilt. Sam is a good man. Sam had demon blood in him, he’s made mistakes, he’s done some terrible things, he’s been through some stuff, and he is worth saving. Sam doesn’t seem himself as worth it while others as less worthy, and he’s having trouble not over-identifying on this issue. This is a very long arc for Sam--think back to S8 and Sam talking about knowing as a child he was tainted, that he’d never qualify as a knight, as a pure hero he saw in the books about King Arthur. 

But those are idealizations of the heroic paradigm. Someone can still be heroic while being tainted and imperfect. Sam’s figuring this out but he’s still struggling with the object of the proof that not everyone is worth being saved: Nick.

I am not here for Nick beating up Sam. :((((((((((

I am here for badass Dean which is always good to see.

Oh no Sam. :((((((((((((((

“Count with me.” “You always put me first. Your whole life.”

Look I know Sam won’t die-die for good yet but this is still upsetting, Dean trying to keep Sam with him and Sam deciding that should be his final words to Dean, because he’s aware of all Dean took on and he’s grateful. Sam knows. This is also a mirror flip on Dean’s head injury in Ouroboros. This made my heart ache. :(

No can we not have Lucifer back please? I adore 98% of the characters on this show, I’m serious, I am an ensemble gal, but Lucifer’s story has, for reals, played out. Nick is irredeemably awful and dull, Lucifer is boring and selfish and cruel and petulant and I’m bored. Luckily for me neither is being presented as someone I am supposed to or expected to feel sympathy for and I hope it stays that way. 

Hey SPN, you’ve successfully made me feel zero sympathy for characters who I clearly am supposed to feel zero sympathy for! You did your job! But do you realize how dull this is? I’m not sure this is supposed to be so dull.

Jack just saying no to Lucifer. Bye, Lucifer! Thank you, Jack!

Thank you Jack for saving Sam!

Hey Jack’s not doing too badly for someone’s who’s soulless...oops wait. No this is not good.

Look I get the way Jack killed Nick is not good and soulless Jack is really dangerous and that was a horrible way to kill someone which Jack didn’t have to do, he could have done it mercifully and didn’t. Of course Mary is horrified witnessing that, and I would be too, but otoh thank you, Jack for dispensing with Nick who is not just murderous. Murderous can be interesting, there are lots of interesting villains out there. But he is just so boring. The drama of Mary’s distress at what Jack did is undercut a bit here because I’m not sorry someone kills Nick. I rarely ever root for any character to die, even ones I dislike (just write them off maybe) but I’m making an exception.

Really Jack’s doing me some solids in this ep.

And then a bad. 

Okay, bad Jack. No, Jack, don’t hurt Mary. Which, I been knew, something bad would happen to Mary, telegraphed all ep, and there it is, after all that closure. It’s left ambiguous exactly what happened though. Is she dead? Is she banished to another AU world? Turned into a woodland creature? Was it even Jack who did it? We don’t know what exactly happened yet. 

[angelofberlin2000]

A wonderful article about the recent blossoming of the Keanu orchid ....

By Stephanie Zacharek                                                            

June 21, 2019          

One of the great things about living in the modern world is that everyone is finally hip to Keanu Reeves. Right now he’s everywhere: Not just in the superb sequel John Wick: Chapter 3—Parabellum, but on talk shows, as a character in the upcoming video game Cyberpunk 2077, and as a hotter-than-hell but also endearingly insecure Canadian daredevil doll in Toy Story 4. He’s on Buzzfeed answering the public’s questions as puppies scramble around him, and he has a cameo in a Netflix romantic comedy, Always Be My Maybe, playing a version of himself, if he were sort of a jerk, which, from all reports, he surely is not. Reeves has become the Internet boyfriend du jour, thanks in part to a series of photographs swirling around the web that show how respectful he is when posing with random fans—or even with Dolly Parton—taking care to avoid anything that could be construed as inappropriate touching. Keanu enthusiasts have even launched a change.org petition to make him TIME’s Person of the Year. That choice is made solely by TIME editors, but hey, you never know.   

Keanu here, Keanu there, Keanu, Keanu everywhere: This is a 54-year-old overnight sensation who has been making movies since 1986, the year he appeared in Tim Hunter’s teens-in-trouble thriller River’s Edge. At last, he’s getting the unqualified love he deserves, and those of us who have always loved him can rest easy. Now is not the time to gloat.

Who are we kidding? Of course it’s the time to gloat. There have always been people who love Reeves, ferociously and defensively, as a personality and as a vibe. How could you not like him as a time-traveling, mop-headed swain in the Bill and Ted movies, as a surfing cop in Point Break, as earnest, searching Neo, the One, in The Matrix movies? But historically, even people who like Reeves as a performer have often been quick to add that they’re not sure he’s a good actor. Before the Internet, there was a thing called dinner parties, and when the conversation turned to Keanu Reeves, you could be assured of hearing some variation of the following: He’s a bad actor. What he does is not really acting, he’s just playing himself. He’s good in action roles. He’s OK but he really shouldn’t attempt Shakespeare. He has no emotional range. He’s just bad.

The problem most likely lies not with Keanu’s gifts as a performer but with a general perception of what good acting is. People are often afraid to say anyone is a good actor, unless it’s Meryl Streep. They don’t want their judgment to be found wanting, and thus they make their own insecurities the actor’s problem. In 1993, it was almost impossible to defend Keanu’s performance as the resentful, conflicted villain Don John in Kenneth Branagh’s Much Ado About Nothing without being laughed at. It’s true he’s not Shakespearean in, say, the Laurence Olivier mode—he hasn’t lived inside the words of Shakespeare for a lifetime, perpetually kicking away at the best and truest ways to push those words out into the world. His Shakespearean acting is a movie-star version, a kind of pop interpretation that speaks to us more through an understanding of movie images than through deep Shakespearean study.

At one point, the preternaturally miserable Don John lies on a massage table, his muscles being worked over by Richard Clifford’s Conrade, who seems to feel his friend’s unrest rippling through his skin and asks him about it. Don John springs from the table. Anger and envy have been coiled inside him like the instinctive energy of a snake—they snap out into the air, a visible force. This physical outburst sets us up for a flurry of bitter but self-aware words: “Though I cannot be said to be a flattering, honest man, it must not be denied that I am a plain-dealing villain.” The line spins out in a pinwheel of self-degradation. This Don John knows himself, and hates himself for it.

Is this good acting, merely effective acting, or neither? No matter where you stand, I don’t think you can watch Reeves’ Don John and claim he doesn’t understand the character—his intelligence works its way through muscle and bone as well as heart and head. It’s performance as vibration. This might be the key to all that Reeves does an actor, including his magnificent gifts as an action star. Movement is acting, speaking is acting, listening is acting, just being is acting: Reeves reminds us of all that, often silently. There’s thought behind everything he does, and reading those waves of thought is part of the process of watching him.

We often talk of movie stars in the old-Hollywood studio-system sense, charismatic and distinctive personalities—like Cary Grant or Barbara Stanwyck or Bette Davis—who always look like some version of themselves but who create memorable characters by layering multiple, complex veils over their own particular mysterious essence. Maybe Reeves is one of the few modern-day actors whose style fits that model. He doesn’t work elaborate origami folds to transform himself into a character; instead, he beams radio signals from within. With a trim crewcut or a lanky shag, with a stubbly mug or a clean-shaven one, with a scowl or a slow-burning smile, he’s always starting from the base camp of Keanu.

 None of this, though, answers the question of why Keanu, and why now? Other actors have passed through similar portals, seemingly expendable one minute and exalted the next. Before there was a Keanussance, there was a McConnaissance, the point at which Matthew McConaughey shifted from being an efficient actor in lame romantic comedies to being taken seriously in movies like Magic Mike and Dallas Buyers Club. The catchphrase became, “Wow, that guy can really act.”

But the recent blossoming of the Keanu orchid is different, maybe because, over the years, Reeves has proved that he doesn’t always need to be the center of attention. He launched a small art-book publishing house, X Artists’ Books, in 2018. He co-produced, and appeared in, the 2012 documentary Side By Side, an exploration of the differences between traditional photochemical filmmaking and digital processes. He has always been guarded about his private life, though we do know that in 1999 his then-partner, Jennifer Syme, gave birth to a daughter, who was stillborn. In 2001, after the couple had broken up, Syme died in a car accident.

We know this because it was reported at the time, and because it’s right there on Reeves’s IMDb page. But we don’t know about it because he’s talked about it a lot—he hasn’t. Reeves has erected some sturdy barriers against us, and yet somehow the membrane between his public life and what he truly thinks and feels seems fragile and permeable. What’s more, Reeves doesn’t seem to spend a lot of time on the Internet. Unlike most of us, he lives in the real world, and he makes it seem like a pretty good and grounded place to be. When People magazine, on the red carpet for the Toy Story 4 premiere, asked Reeves how he felt about the Internet-boyfriend stuff, he responded with a ripple of surprise: “I’ve been what?” When the interviewer elaborated, he smiled quietly, as if only to himself. “That’s wacky,” he said, clearly amused as he registered this new-to-him but not-to-us information, quickly adding, “But the positivity’s great.”

He also speaks candidly—on television, in the public eye—about things that would leave many of us speechless. In early June he appeared on The Late Show with Stephen Colbert to promote John Wick 3, answering the usual questions about what it’s like to fight while you’re on the back of a horse, and so forth. And then Colbert almost stopped time itself by asking a strange, potent question, as if knowing that if anyone might have the answer, it would be this radiantly centered person sitting just a few feet away: “What do you think happens when we die, Keanu Reeves?”

Colbert presented the question jauntily, as at least a half-joke, both courting and getting a laugh from the audience. That audience may or may not have known about the personal losses Reeves has suffered; they may or may not have known that Colbert lost his father and two of his brothers in a plane crash when he was 10. But what they know or don’t know matters so much less than the way Reeves responds, with composure and generosity and grace: “I know that the ones who love us will miss us.” Keanu Reeves is the man of the moment. Keanu Reeves is trending. Keanu Reeves is hotter than hot. But when our attention turns elsewhere, as it inevitably will, Reeves will still be out there surfing, not worrying whether we’re watching him or not. Because surfing, not trending, is the way to keep going.                                                               

[fordarkisthesuede]

At the Brink of Midnight - Chapter 9

*Arrives two days late with Starbucks* ‘Sup, guys! σ( ▼∀▼)σ These past 96 hours have somehow filled me with a weird chaotic energy, and I pumped out the longest roller-coaster of a chapter I’ve ever done in such a short amount of time!!! Thank you, whoever sent all the writing vibes my way!!!! ★>d(,,･ε´-,,)⌒☆ I’m sending out strong vibes to everybody in return! *May you get hit by the writing bug and have the opportunity and energy to completely translate your ideas to printed words!*

Buuut a big note before we get to the good stuff:  I realized too late that the original events of S2 take place in Spring. Like…April. I was writing all of this with the thought that S2 took place in fall; I mean, the characters can wear a leather jacket or a couple of layers comfortably, so I thought “yeah that sounds like early autumn”. Nope! So that means that for this story’s timeline, everything gets shifted into where it should be. On the downside, that means I had to go through and edit all the bits where it said “it was totally spring, you guys”. On the upside… IT’S NOW OCTOBER!!!!! THE SPOOKY SEASON THAT COMPLETELY FITS WITH WHAT’S GOING ON!!! And coincidentally, it’s my favorite time of the year, so I love writing about it even more! I get to add in a thing here and there about the spookiest time of the year, so I’ll have a nice list of what those little changes are uploaded here soon if you don’t feel like re-reading the whole thing. A re-read isn't necessary though, just keep in mind that the humid air of rainy spring in the city is replaced with chilling fronts and even more cloud cover than usual. Why am I bothering with this? Because I’m a stickler for keeping with canon as much as possible and I feel like an absolute fool for not remembering what goddamn time of year it was to begin with. (I mean, I went so far as to download all of TeamFourStar’s play-through because I watched it so often, you think I'd remember to go back and watch the very beginning once in a while…)

Anywho, thank you all again for your continuously loving support!!! 

♡~(ɔ ˘3˘)˘⌣˘ c)

Important Spoiler Tags: drugs (mentioned), swearing, canon-typical violence, electric shocks (mentioned), torture of flowers, flirting, almost an excessive use of emoji, crying, romantic dirty thoughts

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Read on Ao3 or continue below:

Chapter 9:  Grapevines

Bruce Wayne couldn’t remember the last time he’d conducted a meeting from his home office. It wasn’t as if he didn’t use it – the desk surface had hardly any dust settled on it and two empty coffee mugs he’d forgotten about on two different occasions just happened to be stacked behind the monitor – but it felt strange, like a lot of things did lately.

He knew part of the reason for that was watching houses down in the Batcave right now. Knowing he wasn’t alone in the house was comforting, but knowing there were two cops outside the Manor’s front door just waiting for a chance to grab his best friend-cum-houseguest was not, and knowing that they were both close to being thrown in hot water was even less so.

He figured the other reason he felt strange was because he was slipping back into his old habit as if it had never been shelved in the first place. He had time to kill before the video meeting started, so he’d been scouring for information on “Pam”, Jonathan Crane’s ‘old friend’.

There were a few Pamela’s in Gotham, but only one fit within Crane’s age-range and attended Gotham University at about the same time:  Pamela Isley, a forty-four-year-old former botanist with a record that ran the length of his arm. Theft, assault, threats, and attempted poisonings all done in the name of extreme environmentalism and social activism were sprinkled in her history before and after her days as a researcher, and according to GCPD records, she was now suspected of running her own drug-ring under the moniker of ‘Poison Ivy’. (Bruce found several recorded instances of people claiming to be Poison Ivy, most of whom were already arrested.)

Bruce would’ve wondered why on Earth she hadn’t been thrown in prison when she made a bomb-threat at a wealthy businessman several states away nearly a decade ago if he hadn’t seen her mug-shot from back then. At thirty-five, she looked every bit as beautiful as a top-billed Hollywood star, with natural orange-red curls cascading over her pale shoulders and ample bust in chemically-tamed waves, flashing the camera a come-hither stare that made it look like she was trying for a part in a high-budget porn flick rather than standing in front of a height chart for her criminal record. Pamela’s charges were mysteriously swept under the rug.

The latest photo he found of her reminded him a bit of those ‘cougar’ dating ads he’d seen – the older Pamela was blowing a kiss to the camera with a mocking look in her dark green eyes. Bruce glared at it. There was little doubt she was using people to cover for her constantly, and when she was in trouble, she managed to wriggle out of it with her looks.

Not this time. She was friends with Dr. Jonathan Crane, and that meant she wasn’t going to get out of this unharmed. The second his virtual meeting was over, Bruce was heading towards Toxic Acres, and hopefully the wounded Crane would still be there to see Batman’s fist hit his –

Bruce snapped out of his thoughts at the buzz of his phone. A message from the BatComputer…?

I’m bored :/

Bruce blinked down at the screen. John had found the emergency messaging system. Of course he had. He was just grateful that the encryption software on his phone was still up to date. Just what else did John poke his nose into down there…? (There was the chance that John would see files he shouldn’t, but Bruce kept those under a thumbprint encryption. He shouldn’t even entertain the thought.)

Stake-outs are usually pretty boring.

It wouldn’t be so bad if you were down here tho! :)

Bruce hovered his thumb over the keyboard, unsure of what to say. The feeling was kind of mutual, if he was being honest; having another person around on a stakeout would at least keep his mind wandering into the worsts of what-ifs and double-checking every last security issue…

No movement on either houses btw. Been reading Crane’s docs in the meantime but it’s DREADFUL!!! I feel like I’m reading a sleeping pill… =_=

You finish your WE stuff yet?

Meeting’s not for another 20 minutes. Been looking up stuff on Crane’s “friend”.

Oh??? :o Do tell!!!!

Bruce couldn’t help but smile at the enthusiasm.

Pamela Isley, former botanist w/ criminal rec., mostly extreme protest kind of stuff. Good chance she’s the head of a drug-ring that moved here a couple months ago; their leader goes by “Poison Ivy”.

They went to college together, but Pamela moved back here recently.

hMmMmm…. That means no burning the place down if we’re stuck! Bad fumes everywhere xP

Bruce focused on the word “we’re”. He hadn’t been planning on bringing John along. He wanted him safe, at home, where no one had a chance of seeing him and he wasn’t put in harm’s way…

Oh!!! You’ve got a bunch of sticky electro-shockers around - do you mind if I tinker with them? :3c pleeeeaaasssee?

What are you thinking of doing with them?

Making one BIIIIIG shock-bomb, of course! ;D I can wire them together so the shock spreads evenly in the space while it’s discharging.

Bruce reconsidered bringing John. He was still learning to curb his impulses, so being outside in a fighting environment would be a serious gamble, but... Maybe that could be their advantage, too. Bruce made a mental note to go dig out the spare bullet-proof vest from his closet’s secret panel.

You can do that?

I played around with making something like it before, but……well, you know.

Time + supplies for that project were low att. I figured I could always go back to it later anyway.

Bruce felt like his heart had deflated and swelled in such a short time that it hurt.

I mean I’m fine with throwing knives around too but I figured that would be less discrete ¯\_(ツ )_/¯

He’d been thinking of different methods of entering the “house”. Most of them featured a silent slip-in and as little combat as possible, but he knew that there would likely be some muscle around to stop any would-be intruders, and getting a quieter jump on them would certainly be helpful. He would certainly be lying if he said he wasn’t impressed that John had thought that far ahead even back then.

If you think you can get it done within 1.5 hours, then yes.

Ha ha ha with these supplies I can get it done in like 40 mins! >:3 just you watch!!!

Btw have you seen the news?

Not yet. Why?

I was on the morning edition! At least they used a good pic ;D

But also saw a guy getting fished out of the harbor. Your handy-dandy invasion software said he’s a registered Ryde driver.

I told you not to fiddle with that.

Sorry, but I only used it the once! Promise!!!

Bruce sighed through his nostrils.

Besides I thought you’d want to know. Think Crane stole his ride and dumped him by the docks? :v

Probably. I can get the plate from up here to verify. DO NOT TOUCH THAT PROGRAM AGAIN.

Yes sir ( ͡° ͜ʖ ͡°)

Bruce wasn’t sure if that message was supposed to be flirtatious or mocking.

The incoming call from Iman Avesta stopped him from responding. He figured it had to do with John’s escape and the extra security added at Wayne Tower this morning, but why was she calling him now, rather than several hours ago?

“Iman?”

“Hey, Bruce. Hold on a sec – there we go, now we can both -”

“Bruce, what the fuck?” Tiffany asked over the line. “Are you at home right now?”

Bruce almost sighed at the attitude. “Yes, Tiffany, I’m at home, in my office.”

“Uh-huh. I keep getting alerts that your basement’s messaging system is being used. Care to explain that?”

Oh. Of course. He’d forgotten Tiffany had linked her phone to that, too. It’d just…been too long, he supposed. (She couldn’t read them, though, could she? He was fairly sure it didn’t give out mass-texts unless prompted.) “…where are you right now?”

Iman responded instead. “We’re in your second office.”

“…the line’s secure?”

“Of course.” Iman paused, and Bruce knew his new CSO was choosing her words carefully. “I’m guessing you have John Doe in the Batcave?”

“Yes.”

“Bruce, did you fucking break him out?” Tiffany asked with no shortness of impatience.

“I rescued him,” Bruce said firmly. “I know what you’re thinking, and I have a pretty good idea of what you’re going to say, but listen:  I had no choice but to take him with me. One of the doctors working at Arkham has gone rogue – he’d been doing experiments on patients, and I have a feeling he’s going to continue them on civilians. I need to find him before then, and John has been helping me.”

“Helping…? You’re not bringing him in the field with you?” Tiffany said disbelievingly. “After that psychopath almost killed us?”

Bruce could still see Joker running at Tiffany, knife in hand, his psychotic breakdown in full force. He could still see him being smacked against the railing, sheer madness played over his long, bloody face as he desperately fought to stab what was his hero.

But John and Joker were as much the same as Bruce and Batman were, and they were constantly changing.

The Joker in the Batcave wasn’t the same one from Ace Chemicals.  

“I know what John did,” he answered, trying to breathe even as something wanted to hitch in his throat, “and I know how far he’s come since then. I know you both regret-”

“No, I’m not listening to this right now,” Tiffany scowled, her voice fading in the middle her sentence like she was leaving the room. “Talk some sense into him.”

Bruce heard Iman’s voice call after her, and then nothing for a beat.

Iman sighed. “I’ll talk to her. But Bruce,” she started seriously, “Tiffany isn’t the only one worrying about you. Six months can’t possibly cure everything wrong with a man whose spent his life in an asylum.” He could practically hear her chew over her phrasing. “I need to know… If John goes too far – if he shows signs of regressing…or just becoming more volatile – I need to know you’re going to put your foot down.”

“I’m more than capable of handling him, Iman.”

“Please, Bruce, I’d rather not have to pull you off another broken pipe lodged in your kidney.” She paused, and Bruce let her continue, feeling the scar in his side twinge at the painful memory. “I know you care a lot about him,” she resumed in a softer tone, “and I know you trust him. But if you doubt him at any time, you need you to step back and re-evaluate your choices. I don’t want him to regress back into the Joker.”

That was a different Joker, Bruce wanted to say. He knew that wouldn’t sound the way it should. “I promise I won’t let that happen.”

“Good to know,” Iman replied, sounding somewhat relieved. “This doctor you’re hunting – is there anything we can do to help?”

Bruce shot a look at the clock in the corner of his monitor. He didn’t have as much time left as he would’ve liked before his virtual meeting started. “Tiffany can fill you in a bit, I had her help searching Arkham’s records before. Can you run a plate for me? I think Dr. Crane is running with a stolen car; I’ll send you the details in a bit.”

“Sure. We can check traffic cams for it, too, if you’d like.”

“If you would. And the second I have anything concrete on Dr. Crane, I’m sending Tiffany the details – I need her pull as Oracle to get the word out to the GCPD before anything happens. They’ll listen to their number-one informant more than a vigilante coming out of retirement.”

“…you’re…?”

He could almost see the shock in her face. They’d had a short discussion about his alter-ego when he decided to quit the first time; she’d been incredibly understanding about the whole thing. It was almost as if she’d seen it coming.

“Are you sure?”

He was as sure. She didn’t know about the instincts broiling underneath his surface every day. She didn’t know he never really stopped being half of himself. She wouldn’t know or really understand that he just shoved it all down and aside like he did so much else just to get through things. “I don’t have any other options at this point.”

“…you know you can count on us if you need the help.”

“Of course I do.”

“Right. Well, in the meantime we’ll keep the fort over here running as smoothly as possible.”

“Thank you. I’ll talk to you later.”

“Good luck.”

The line went silent, and Bruce pulled his phone away, catching a glimpse of three unread messages.

Sorry, buddy, I was just kidding around, you know? Ha ha

Bruce???

Hello???????

Sorry, had a phone call and couldn’t reply. It’s fine.

Seconds ticked by, and Bruce began changing out of his black t-shirt and into his button-down. It wouldn’t do to appear as a CEO in anything less than a proper suit. He could leave the jeans on, at least.

“Oh! Uh…sorry, Bruce…”

He felt his heart stop for a second. That was definitely John’s voice, even though it crackled slightly from the speakers. The monitor didn’t show anything out of the ordinary. John must have been using the spy-camera feature on the Batcomputer; it was linked to most the devices in the house, and Bruce’s webcam was no exception. He’d almost forgotten it had a loudspeaker function, too.

“I didn’t realize you were…um, changing.”

Bruce glared at the webcam’s lens. “John, what did I tell you about fiddling with the Batcomputer?”

“…sorry. I was worried when you didn’t answer me.”

He sounded genuine, at least. Bruce could easily picture him running upstairs to find him, if there wasn’t a chance he would’ve been seen. “I answered you a minute ago. I was on a call with Iman,” he stated plainly, fixing the buttons on his sleeves.

“…oh, ha ha, there it is! Uh, I guess I’ll just…go, then…”

Bruce almost questioned why John was sounding nervous and distracted, but it wasn’t until he saw the webcam light wink off again that he realized his shirt was wide open, the scars littering his torso half on display from the waist up.

Thankfully, no one was around to see Bruce bury his face in the palm of his hand for a moment, feeling like his face was on fire from first and second-hand embarrassment.

It didn’t last long. Bruce took a few deep breaths as he fixed himself up, and dialed into the meeting with a fixed expression of calm, firmly ignoring the heat that had settled in his stomach that threatened to go lower at the thought that John was bound not to forget any of that.

Driving the Batmobile in full gear again was certainly something else. Bruce felt the weight of the Kevlar body armor press against his limbs as he sped down Gotham’s twisting alley streets, no one any the wiser that the Wayne’s red sports car was hiding Batman behind it. The city’s CCTV signal was scrambled with the flick of a switch as he came into driving distance of the alley’s camera, making him almost untraceable.

He’d given the Honda Accord a head-start; it couldn’t go nearly as fast as the Batmobile, and Bruce had to find a spot to safely change before going to go pick John up from his drop-off point, and the post-working-hours traffic had already gotten its usual early start. It was a slower drive than he’d like it to be, even with Bruce’s shortcuts.

The setting sun was completely obscured by a dark overcast. It made the orange streetlamps glowing over the decorations sitting here and there in windows and doors even more energetic, like every corner of Gotham was slowly growing with the energy of Halloween.

Bruce clicked the communicator in his cowl. “John, are you there yet?”

Silence for a few seconds, and then a rustling noise. “Sorry, I had to take this off for a bit. What?”

“Are you there yet?”

John giggled slightly. “Oh, yeah, I’m here. Just waiting on you, pal.”

He was already at the meeting point? How did he get there so fast? “You put everything back where it was supposed to be?”

“No, I stripped the seats and threw everything into the garbage,” John grumbled with dripping sarcasm. “Of course I did, it’d be rude not to put Jerry’s stuff back. What do you take me for?”

“…I’m just making sure you didn’t forget anything.”

“I didn’t.” There was a loud slurping noise, like the last of a liquid being sucked from a straw.

“John, where are you right now?”

“In the alley, waiting for you.”

“Did you make a stop?”

John giggled, a little louder, but not at all nervous. He was enjoying himself. “What can I say? Going out on the town with you like this makes me thirsty,” he said with a strange purr. “Besides, no one bats an eye at me when I look like this anyway.” He paused. “Well, no, I’ve gotten some eyes on me, but, uh, I think they’re more the appreciative type. I guess ZZ Top was kinda right about the sharp-dresser thing.”

Bruce felt his brows knit together. “You’ve always looked sharp,” he said truthfully, turning down a narrow alley.

“Yeah, but not thousand-dollar-suit sharp. There’s a difference! Plus I think this bullet-proof vest makes me look a little bulkier than I actually am.”

Bruce spotted him leaning against the graffiti-covered wall, a Burger Lord cup in one hand and a plastic orange bag in another. Just how much time did Bruce lose while he was changing?

John tossed the drink in the dumpster and practically jumped into the car, shoving the orange bag behind the driver seat and slamming the door shut as Bruce switched off the communicator. He took one look at Bruce’s questioning glower and gave a nervous sort of grin. “Hey, don’t look at me like that, there’s something in there for you, too.”

Bruce almost asked what, but decided that a lecture on keeping a low profile and not taking money from his house’s various hiding spots would have to wait. (Though he supposed whatever John got wasn’t expensive. He was quite frugal, and it wasn’t as if Bruce couldn’t afford to buy John whatever he wanted anyway.) He concentrated instead on heading down the twisting path towards Toxic Acres. At least the traffic over there was a hell of a lot lighter.

“Hey, when you drove me to the Batcave, did you go in fourth gear, or third?”

He wasn’t sure why he asked, but he honestly couldn’t remember. He just recalled putting his foot to the floor and keeping his eyes on the road, occasionally reaching over to check John’s pulse. “I wasn’t really paying attention to that; I concentrating more on driving as fast as possible.”

“Oh – so you didn’t know you could punch the shift down into third whenever you wanted? It was so fun! I can say I literally punched it out of the Batcave!” He laughed. “I’m guessing you can’t do that in this car?”

“…I’ve got paddle shifters.” They were starting to travel into the more deserted road leading into Toxic Acres. Bruce took a sharp turn onto the hill with the broken Do Not Enter sign, and checking that no one was behind him, flipped the switch to shift the car into armored plates and pressed the wheel-paddle for a lower gear.

They flew down the road with a whirring whine of the engine, John’s notorious excited laugh mixing with it, and Bruce allowed himself to smile a little at it, knowing his own little joyful thrill wouldn’t last very long.

John was soon tapping his fingers together in some kind of rhythm as they passed by more empty houses, Bruce moving a little slower to keep his eyes out for trouble. Sitting close to the river on the outskirts of the city, they were originally meant to be a long neighborhood for the middle and upper class to build their lives, but as the unemployment and crime rates rose, the place became abandoned. It didn’t help that the piping structure to carry water there had been faulty, making either lead poisoning or unfiltered dirty water a prominent problem and giving the section of Gotham its nickname.

“How do we know which place is the botanist’s?” John asked, his green eyes scouring the houses in front of them.

“I sent out another drone earlier for some aerial shots. There’s a place with camouflaged green-houses in the back on Aster Place.”

“Wow, you did that before I left? That was fast…”

“It was a quick job. I’m not picking up the other drone until later.”

They turned the corner onto Aster Place; the road would dead-end in a while, but Bruce knew the house wouldn’t be situated at the end.

“Oh, there’s the spot Jackie got shot at!” John pointed ahead. “I wonder if there’s a bloodstain left…!”

Bruce tightened his grip on the wheel. “We’re close.”

It was oddly quiet out there. There was no other sign of life in what was a hot-spot of criminal hide-outs. Bruce turned on the thermal vision in his cowl; a lot of the houses were actually empty for once.

Except for one. 1801 Aster Place. There were a group of people scattered around on the bottom floor and what appeared to be a lot of heat-lamps running on the top floor. If one of the people in the group wasn’t Pamela Isley, then she might have been holding up in the basement…

They left the Batmobile out of sight down the road, and Bruce and John moved swiftly behind the backs of the houses in the chilly night air, the taser bomb safely in John’s coat pocket; John was surprisingly quiet, only humming a familiar tune here and there. (Wasn’t it the theme from that old spy-thriller…?) Bruce managed to quiet him with a look, and John mimed locking his mouth shut and throwing the key away.

Two unknown people were standing in what used to be a kitchen; three more people were up in the front room of the house. There were no security cameras to be seen.  

“Stick close to me,” Bruce whispered, the modifier in his cowl deepening his voice. “We go in through the back window, take out the two in the kitchen quietly and throw the bomb up front so we can cuff the lot. If none of them are Ms. Isley, we find the basement.”

John gave him a thumbs up, pulling out the riot baton he had hidden away. (Bruce had still not remembered when he or Alfred bought that, but vaguely remembered stashing it in the towel cupboard with some other emergency gear. He wasn’t surprised John found it.)

The bathroom window’s locks weren’t difficult to break. They looked like they had been broken several times already. Bruce slid the insect screen up and slipped in through the thin opening feet-first, twisting his limbs just right to softly land on the floor. He had to help pull John through the rest of the way after he smacked his head on the bottom of the window; thankfully he hadn’t made any noise, but he did give Bruce a strange look as brushed himself off where Bruce had gripped his sides.

Bruce didn’t have time to think about it.

The two people in the kitchen stood in semi-darkness, watching through the patio windows with rifles leaning against the wall. There wasn’t so much a bare bulb to give off light. Bruce figured their eyes might have adjusted to the dark, and signaled John to follow as he crept up behind the two goons.

“I dunno, with all the hype surrounding episode four, you just know those guys are going to mess up somewhere. Remember when they decided to let Celestyne drop to his death back in season one?” The one with dreadlocks asked.

“Oh, come on, that was just to test the game’s limits. Besides, Celestyne couldn’t die; I don’t think Jane can, either,” the second person responded in a higher voice with a casual shrug.

“Dude, you know the game’s gonna make her a villain in the end, though, right? She might die…”

Bruce was ready. John was gripping the baton with a widening grin…

“Are you kidding me? They have her affection meter up so high I’m surprised the game doesn’t have a dating opt-”

Bruce slammed dreadlocked goon’s head into the wall just as the baton crashed down on the other goon’s skull, little smears of blood marking the plaster and paint with a satisfying crack.

John clutched the collar of the goon he’d struck, gripping the slightly bloody baton a little harder in his other hand. He seemed to be thinking.

Bruce took a zip-tie out and cuffed the goon’s hands behind their back, and wondered just what John was staring at until he’d turned the person around and caught a glimpse of them in the light of the window.

They were both women with little tattoos of vines creeping along the back of their necks.

If Bruce guessed right, those were ivy leaves on the vine. Poison Ivy had a loyal gang.

John zip-tied the wrists of the woman he’d struck and patted the part of her head that wasn’t wounded. “Sorry,” he whispered as if she would hear it. “Lauren’s ex,” John mumbled, gesturing to the woman on the floor as if he knew Bruce had raised his eyebrow at him.

Bruce simply swept onward, spying the door for the basement. There was a light on in the front room, and three women who looked like they could be professional boxers of different weight categories were sitting in different areas. One was sharpening a knife at the table, and another was cleaning a semi-automatic rifle as the third kept watch over a monitor showing security camera footage; three looked to be by the greenhouses (Bruce recognized the Foxglove variety growing in one under an opening in the glass, sitting next to something that looked primeval), and two were watching over the plants upstairs (marijuana, by the looks of it) and in the basement.

There was a figure in the last screen, working over a row of potted plants with low lamps. A zoom-in with Bruce’s lenses showed long red hair.

Bruce felt a hand on his shoulder, and John crept ahead him, the taser-bomb in hand: it looked like a mass of the sticky-bombs grouped together, colorful wiring connecting them all like some kind of net, and before Bruce could do or say anything, John threw it into the living room, where it tumbled into the middle of the floor.

The group began to shoot out of their seats in a second, and in the next the ball seemed to expand like a geometric toy, the wired tasers being thrown in the air with a flash before smacking people and surfaces alike as they discharged. All three people fell to the floor in trembling heaps, and John dashed out and started to cuff them, Bruce close behind.

The electric bombs were safe to touch now that they had fully discharged, so Bruce had no qualm about stomping on the lightly-burning sections of carpet underneath some of them to prevent any spread of fire as he pushed them aside. The bulkiest goon wasn’t quite down for the count; she was still conscious.

She yanked John off her fallen comrade by his shoulder and threw him into the table’s edge. Bruce threw a Batarang at her arm just as she was about to punch, and John gave a swift knee to her stomach as she flinched.

She fell to the floor with a louder crash and a grunt, pulling the Batarang out from her arm and letting it drop to the floor. “You fucker…” She said, glaring up at John before looking over at Bruce, her eyes widening as he approached with more Batarangs at the ready. “B-Batman…?”

“Yup! He’s real,” John said playfully before smacking the side of her head with the baton. “And so am I,” he added with a growl. He decided to tie her wrists behind the nearest table leg. “I hate not being able to call myself Joker like this… Really sells it better.”

Bruce felt his heart twitch at the name. “You can call yourself that, if it helps,” Bruce said gently, tying the monitoring-station woman’s wrists together, “Just not to people’s faces.”

“Kinda defeats the point,” John grumbled.

Bruce shot a look at the security monitor – Pamela Isley didn’t seem to have heard anything. Still, precaution should be used. “Let’s go,” he said plainly, sweeping out of the room with a swish of his cape.

John tucked a hand into his pocket and followed.

The basement stairs were carpeted and quiet, but Bruce was careful to walk on the outsides rather than the middle. Spiders had clearly made themselves right at home in the damp corners of the walls, and he had to duck to avoid getting the tips of his cowl’s ears stuck in one of their webs. A soft sort of click was heard behind his back, and Bruce figured John had gotten out his grappling gun.

Pamela Isley was bent over a row of exotic-looking orchids posed under heat lamps, dabbing something into the center of a blue orchid’s petals. Bruce saw several troughs full of hallucinogenic mushrooms sitting on the other side of the wall.

“There you go, my darling,” she cooed in a honeyed voice, acting like she was carefully painting the center of the flower, “You’ll soon be the belle of the ball…”

Bruce eyed the electrical box on the other side of the room. It wouldn’t do to drown the place in darkness; he’d be able to see, but John wouldn’t. The best bet was to tackle and restrain her.

Or…

Bruce took out his own grappling gun, and aimed it at Isley’s collar. One click, and it snagged her shirt with practiced ease.

“What the-?!”

Pamela Isley was suddenly dragged yelping through the air at an angle, smacking hard into one of the tables and spilling several unusual potted flowers to the floor.

Bruce grabbed her and threw her to the concrete floor, standing over her with several Batarangs in his hand as John cackled beside him.

“Jonathan Crane,” Bruce growled out, “Where is he?”

Pamela Isley sat up, shock written all over her face as she processed exactly what happened – it quickly morphed to a steely stare. “Batman,” she said slowly in a sweet voice, “I thought you were an urban legend,” she continued, wiping the corner of her mouth where a dribble of blood leaked out. “Do you always treat a lady this way?”

Bruce dragged her up by her collar and threw her against the wall, keeping her at arm’s length. “I know he bought plants from you today. Tell me where he is.”

“Or what?” She taunted, smirking widely at him. “You think I haven’t been knocked around by men before? I’ve been in whole worlds of hurt, honey.”

There was the distinct sound of the grappling wire rushing through the air, and then an enormous crash – John had taken out one of the mushroom tables, the fungi now breaking and bouncing against the floor it the scattered in the dirt.

“Whoopsie,” John hummed, a wide unnerving grin on his face, “butter-fingers.”

Isley looked rather taken aback, but the expression quickly warped into a mocking glare. “You think destroying my inventory is going to intimidate me?”

John shrugged, leaning back against a table and knocking over a several small tropical plants with a slide of his hand, shattering the clay pots and sending the plants scattering to the hard floor.

That definitely got her attention; her face paled slightly and there was tremble in her. “Stop that!”

Bruce glared at her, mentally thanking John for his quick thinking. “Tell me where Crane is and I’ll consider stopping him from tearing this place apart.”

Her dark green eyes glared at him with a slow-boiling dislike. “Let me go first.”

Bruce did a very quick once-over; she didn’t seem to have a gun holster on her, and she was definitely a lighter build than the rest of her gang. Knives were still a possibility. He decided to let go, keeping a Batarang between his fingers just in case as he stepped just out of her reach.

Pamela dusted off her green turtleneck. “I don’t know where he is, and I don’t care. He bought a few of my flowers and left,” she said, crossing her arms.

John laughed, fingering the leaves of the blue orchid she’d been attending. “With a hole in his shoulder? You didn’t even offer a band-aid for that?”

Pamela was closely eyeing the plant in John’s hand. “What if I did?”

“I know he’s a friend of yours, Isley,” Bruce growled. “You’re the only one who could know what he’s planning.”

“I told you, I don’t know,” she stated, “and I don’t care. I’m not his mother.”

“I can see why you were paying such close attention to this one,” John hummed, fingering the petals with a gloved hand. “It’s so pretty. You put a lot of effort into keeping all these, huh?” He grinned at her, almost looking like his usual self. “It’s not just some financial scheme for you, is it?”

“Of course it is,” Pamela stared at him, trying to keep her voice level; Bruce noticed her eyes kept flicking slightly downward, like she was watching the plant. “I breed and sell rare plants to collectors on the side.”

“Oh good! So this won’t bother you!”

In a swift move, John cut the blossom off the stem with the bowie knife one of the group upstairs had been sharpening.

The blossom fell to the table, and Pamela Isley looked as if she’d seen a ghost.

John picked up the blossom. “Let’s see – she’s honest,” he said playfully, plucking a petal from the stem, “she’s not!” He pulled another.

“STOP IT!” Pamela shrieked, making to rush at him – Bruce pulled her back and pointed the tip of the Batarang at her face. She glanced at it fearfully, but then looked back at the flower being torn apart in John’s hand, and it looked like she was watching a child die before her eyes.

“Stop that,” Bruce instructed; John hummed and held it still. “Talk, or my partner and I crush every plant in this place.”

Isley stared at the flower in John’s hand. “I… I don’t know what he’s planning,” she said quietly, her voice cracking slightly. John only touched the tip of a petal before she spoke again – “But-! But I know… He’s building something. He didn’t say what, but he asked for some muscle - I hooked him up with some of Maroni’s old boys.” She shut her eyes and took a breath before glaring at John like he was a complete monster. “I hope the lot of them tears you limb from limb.”

Bruce forced Isley’s hands behind her back and zip-tied them. “Down on the ground,” he growled, pushing down on the top of her head. John pointed the grappling gun in her face with a smirk; a good insurance if she decided to try and elbow Bruce in the face.

Pamela shot them both a hateful glare as she knelt down, and it didn’t waver as her ankles were tied, too. “I won’t forget this,” she spat.

Bruce sent off a message to Tiffany regarding the coordinates of “Poison Ivy”’s headquarters from his gauntlet. He knew she’d get the word out before he could even get back in the car. “Tell it to the judge,” he taunted, leading the way out of the basement, not missing the sparkle in John’s eyes as he followed, the severed, torn orchid blossom having been carelessly thrown at Pamela Isley’s feet.

John gathered up the sticky bomb device before they hustled back to the Batmobile, and it wasn’t until the doors closed that he spoke, and when he did it was in a tone Bruce would almost call revered.

“So, what do we do now, partner?” He asked, a definite glow on his face.

“We go look at some of the Maroni gang’s old haunts and see if we can find anyone recently hired,” Bruce said, the voice modifier in his cowl now disabled. He glanced at his recent text messages:  one from Tiffany giving the ok on Poison Ivy, and another from Iman with the last known location of the stolen Ryde car. “After we look into the motels in the red-light district. Crane might’ve stayed there.”

John laughed to himself, but for once he didn’t share the joke; instead, he pulled out a packet of jerky from the plastic bag he’d brought along. “I knew this would be a long night,” he said cheerfully, as if he was really looking forward to the whole thing.

It was well past one in the morning when Bruce arrived back home through the front gate, the Batsuit stowed away and the plates flipped back to red. The two patrol officers were only somewhat surprised to see him arrive back. Naturally, they reported nothing new, since John had been dropped off in the Batcave first.

Sore muscles were nothing new to Bruce. The old strained climb back up to his bed was just as annoying as ever. He honestly didn’t feel like he wanted to sleep, but after following several empty leads over the city and bruising a few heads alongside John, he did admit that he was physically exhausted. He knew lying down was better than nothing, and he still had to go to work in several hours like he didn’t have a double life. At least he wasn't starving, thanks to John thinking ahead and buying him protein-and-carb-filled snacks.

He forced himself to go through his usual nightly routine, despite the temptation to just flop into bed and lay there. He looked at the bruises on his back and ribs from where John had struggled against him under the influence of Crane’s drug, and decided not to bother putting the bruise-away cream on them, nor on the new ones forming on his shoulder from where one of the former mobsters had hit him.

When he did finally collapse onto the master bed in nothing but his boxer-briefs, his brain still decided to chat away at him.

There were no leads as to who exactly Isley had hired for Crane. Bruce cursed himself for not trying to work the specifics out of her. At least he knew she was arrested for drug possession and manufacturing, as well as smuggling illegal fauna.

There was no word on the whereabouts of Jackie Lant. Her car was missing, and she’d called into work sick. Her apartment hadn’t been visited in the entire time Bruce had his drone’s eye on it, and neither Tiffany nor Iman had seen anything when they looked into Jackie’s friends’ places, either. All Bruce knew was that she hadn’t called an ambulance to fetch her from Toxic Acres, that she hadn’t been admitted to a hospital, and that there was no sign of her body either in the Acres or in the Gotham River.

She was alive, somewhere, and Bruce didn’t know what she was going to do next. He hoped she was just going to lie low until he caught Crane.

Jonathan Crane was nowhere to be found. His house was still empty. He didn’t seem to be staying at any of the motels – or hotels – around the red-light district or its surrounding streets, and nothing had come of a quick credit-card check. The Ryde driver the GCPD fished out of the River that morning had been shot in the head, and his car was so common that if Crane could’ve switched the license plate with anything and been completely invisible. They’d done a quick search of the warehouse district and found no sign of him there, either.

Bruce had the nagging feeling that he wasn’t going to find Crane until the doctor reared his head.

The billionaire rolled onto his stomach, shoving the anxious thought away as he pressed his cheek further into the plush black jersey pillowcase. There were a couple more places he could check tomorrow…

The bedroom door creaked, and Bruce’s eyes shot open, a second away from grabbing the billy-club under his pillow – he could see John’s messy hair in his dark silhouette.

“Bruce? You awake?”

“Yeah,” he mumbled.

“…can I come in?”

“Sure.”

Bruce noticed he closed the door behind him. Like he was planning to stay there.

That definitely put a new light onto the situation. A tense thrill was building in his shoulders as John deigned to sit on the edge of the mattress, his back to Bruce.

John was only wearing his Arkham-regulated pants, and the pale white of his bare skin almost shone in the light streaming in from the window. Bruce saw several bruises forming, one of which was from where he’d gotten grabbed by the shoulder by a Poison Ivy goon, and several more where he’d gotten knocked into.

“…I don’t think I can sleep in that guest room,” John sighed. “I mean, I tried my usual methods of sleep induction, but… It’s too big…and empty. I’m really not used to that.” His voice came out quieter and more contemplative. “I know it’s weird, but do you mind if I sleep in here?” He asked, turning halfway to look right at Bruce.

He felt trapped. If he said no, at the worst John would sulk, and at the best John wouldn’t get any sleep, and that was definitely worse for his mental health. John had mentioned before about how regular sleep cycles were supposed to help with that.

If he said yes, though, he’d know he was sleeping next to John, and there was the tiny worry in the back of his head that John might…try something. Or at least roll over too much.

“I promise I’ll stay over on my side,” John muttered, not tearing his eyes away.

“Alright.”

A sweet smile stretched on his face. “Thanks, Bruce. You won’t regret this.”

“If you keep talking, I might.”

John giggled as he slid beneath the covers on the far side of the bed, flopping one of the extra pillows down between them. “There – a no-roll barrier,” he said as if he had to explain the concept to Bruce.

It did not escape Bruce’s attention that John had decided to lie facing him and rest his arm on top of the pillow. John had pulled the covers up to just underneath his armpits; Bruce could see John's sharp collarbone and the lean wiry muscle of his chest. (Bruce made sure not to look for more than a moment's curiosity would allow.)

God, John’s face was actually his for the first time that whole night. Bruce had gotten used to seeing it in the natural makeup, but it was almost a relief to see it in its normal borderline-luminescent white. He looked like the man Bruce knew.

Acid-green eyes stared at him, flicking slightly and growing soft. “I…did want to talk to you about something, though. If it’s okay.”

“I suppose I’m still awake,” Bruce said in an attempt to lighten the tension in his arms. “Sure.”

“Do you ever…look back on something, and think about the worst thing that could’ve happened in that situation?”

He didn’t like to admit it, but he had. Usually in his worst moods, he’d think about how everything could’ve gone wrong. He’d usually think about everything he could’ve done better, too. “I try not to, but…sometimes, yeah.”

“I’ve been thinking about our fight a lot, lately,” John confessed, “At Ace. I used to think about it a lot when I got recommitted, but… You started visiting me,” he said softly, a light smile tugging at the corners of his mouth. “You remember when I told you I thought I’d messed things up for us?”

“Yeah.” It was Bruce’s first visit to John. He never forgot the sheer hopeful joy on John’s face upon seeing him. It was practically engraved in his memory.

“Ever since I started sessions with Crane, I kept going back to that night. He always tried to weasel my worst secrets out of me,” he said with a low scowl, “but when he started using that…toxin on me… I kept…thinking about what could have happened back there. I… I know I almost killed you.”

The sheer pain reading in John’s eyes was enough to make Bruce want to wrap his arms around him. It was beautiful and raw and honest, and Bruce found himself holding stock still, almost captivated by the expression.

“I kept seeing it. Over and over – it was like I could see myself throwing you over the railing or-or stabbing you, or...” Bruce saw tears welling up as John clenched the pillow between them. “I don’t want to come close to that again, Bruce,” he managed to say, his voice starting to hitch. “I don’t… I don’t want to kill you.”

Bruce threw his pride away and grabbed John’s hand in his. “You won’t.”

“You…you don’t know that,” John said with a light sob. “If…if I…go back to how I was… If I mess up...”

Bruce squeezed his hand, feeling the soft skin twitch under his fingertips. “I won’t pretend you’re perfect,” he said, honesty seeping through every word, “but I know you, John. I know you’re not going after Crane out of revenge, like you did with Waller. You reached out to me for help – but you were already trying to find a way to stop him without resorting to just stabbing him with the nearest shiv.”

John sniffed, a tiny twitch at the corner of his mouth like he was almost smiling. “Yeah…”

“So you’re not the same person you were then, are you?” He soothed with a supportive smile. “Even if you feel you are going backward, I know it won’t be to that same point.”

“Maybe…” he said with another sniff, looking more serious. “But Bruce, you know there are things I can’t ever really stop, right? The auditory psychosis is pretty much going to stay with me the rest of my life,” he started, clutching Bruce’s hand back, “and I’m not going to lie here and pretend my pulse wasn’t pounding a mile a minute when we were fighting those mobsters out there.” He sported a small knowing grin at him. “You know what that’s like, though, don’t you…”

(Yes, he did.)

“…you know what’s funny? I used to think one bad day could turn a person completely upside down.” John managed to stroke his thumb against Bruce’s knuckle, sending a little shiver over the skin, and Bruce wondered if John knew how incredibly intimate that gesture felt as he stared softly at him from the pillow. “Especially after Waller came to town… But…I never really thought things could go back up after it. I guess it just…takes a while.”

Bruce knew there was something right in John’s line of thinking. It only took one day to turn his life on its head, and he felt he knew, despite John having no memory of his life before Arkham, that something similar had happened to him. “Well…they say time heals all wounds.”

“How much passed before yours started to heal?”

He almost didn’t want to answer. The truth was that he wasn’t sure at all if he was ever going to fully heal, despite knowing what his parent’s really were. Maybe it was because he knew the terrible truth about them that they wouldn’t ever heal right. Maybe he’d always have that miserable note in the background of his life.

“…I’m still healing.”

“I didn’t say you stopped, buddy,” John chuckled with a knowing look. “Still…got good days and bad days, huh?”

“Feels like it, yeah.” Today…was definitely more of a mixed day. Looking at John across from him, though, all honest and open, and thinking back to how it felt to fight alongside him again, and investigate with him, with that warmth and instant familiar comfort between that never faded away, he almost felt like he wanted to call it a good day. “Today might have tilted things right-side up.”

John laughed, a genuine, humored one that was almost infectious. “Now I know I’m rubbing off on you; that sounds like something I’d say!”

John slipped his hand away and turned to lie on his back, still chuckling to himself. The warmth still burned in Bruce’s palm, and he found himself reluctant to pull his hand away at all.

John turned to him once more, an all-too-familiar affection shimmering brightly in the green depths. It pulled Bruce in and made him feel like he should inch close enough to feel the warmth and security it promised. “’Night, Bruce.”

“Goodnight, John.”

John turned over, leaving Bruce to stare at the bruises forming on his shoulders. There was the terrible temptation in his hands to shove the pillow between them aside and wrap his arm around the man’s middle so he could lean into that pale, battered back and bury his face in a head of soft, green hair.

There was a worse urge, one so vivid it almost made Bruce’s head spin – he could just reach out and touch the bruises, feather-light, and trail his fingertips down the curve of spine until it arched with a pleased shudder, and Bruce could follow that trail with his mouth as far as John would let him.

Bruce turned his head away, the memory of John’s lips on his coming to the front of his mind, and he shut out the mental image of repeating that kiss right then and there, telling himself that he really shouldn’t feel that way towards someone who desperately needed support, nor to his best friend who he’d left scarred in more ways than one, and certainly not someone who was both.

It had been a long time since Bruce shared a bed with someone, and far, far longer when he shared one with someone he didn’t have sex with.

He hoped that was all it was. Just the bed’s memory getting to him, and nothing else…

Notes:  Super-sexy-plant-person-in-her-late-twenties Ivy is OUT. Cougar-aged-mobster-botanist Ivy is IN! >:) 

I really wanted a different Ivy. I’m tired of the young, uber-sexy walking plant-human-hybrid that’s immune to all toxins and diseases; plants get diseases, too, and she’s so plant-like she should have some kind of physical humanizing weakness! It’s much more interesting to have a human who’s just built up an immunity and uses her babies for weapons and business; I kept her serious environmentalist trait, though, because while I dislike the anti-hero thing she’s got going on lately and would love to see her as a straight-up villain again, we do have to relate to her somehow, and her love of nature is always going to be a good part of her. Since Harley’s older, too, I figured it would be alright if they had a ten-year gap between them, so when Pam eventually goes to Black Gate one day, they’ll be pals. ;)

And Bruce you complete fool!!!! You should’ve kissed him!!!  Why do you do this to yourseellllfff? D:

I'm sorry it took so long, but as you can tell, I had a lot to work on, and I’m doing my best to write the next chapter as quickly as I can while this nutty energy in my brain is still fresh. I’m trying to keep with my weekly schedule, but I hope you guys are okay with having a gap day, as appears to be the habit now. ( ._. ) I mean, no one yells at me or anything for being late, but I aim to please with my work, and part of that is being consistent. 

I shall continue to try my hardest! (*｀へ´*) 彡3 See you next weekend!!!

[thatvirdiguy]

EVENT BATTLE 2017: DC’s DARK NIGHTS: METAL vs MARVEL’s SECRET EMPIRE

I know I said that this would be an annual thing, and I’ll try to keep this on schedule, and I’ll try to post these on time, and I know I’m posting the one for 2017 as 2018 comes to an end… but writing this took a backseat as I had to finish some projects and write a thesis. C'est la vie, as the French say.

Welcome to EVENT BATTLE 2017, ladies and gentlemen. Thank you for sticking around.

Last time we had what I called a Triple Threat Match: DC vs Marvel vs Valiant. While I was hoping this would be a trend going forward, Valiant Comics took a break from publishing big summer crossover events this year. They’ll be back for the 2018 edition of Event Battle, though. (Side note: I absolutely adore Valiant’s quality over quantity strategy, and I hope it continues despite the recent setbacks.)

So, back to the heavyweights, then?

2017 saw DC Comics handing over their universe to the most successful team off their New 52 experiment, Scott Snyder and Greg Capullo (of the Batman fame), in the form of METAL, or Dark Nights: Metal. While Metal is indeed a continuation of Snyder and Capullo’s run on Batman, it does build itself up on the shoulders of giants. Peter Milligan and Kieron Dwyer’s “Dark Knight, Dark City” being one, Grant Morrison’s seminal run on Batman, Final Crisis, his The Multiversity stuff, and pretty much the entirety of his DC output is some of the few important stories from the past that the creators wove into theirs. However, although Metal leans on and borrows from a lot of stories (like most modern superhero stories do), it does not make them a required reading. You will easily find your way if you have never read “Dark Knight, Dark City” (you should, though) and don’t know who or what Barbathos is. Metal is that accessible to new readers. If you are a long-time reader and know your comics, however, it is oddly satisfying when you catch a reference.

Like I mentioned earlier, Metal brings back Barbathos, the bat daemon occultists in 1776 (including the third President of the United States of America!) tried summoning with their “Ceremony of the Bat”. Bruce Wayne, because of his connection to both the Wayne family and, well, I guess, bats in general, is revealed to be the host for Barbathos’ return. To act as the portal/host for the daemon, Wayne needs to be exposed to five divine metals. It is revealed later that Batman already has been exposed to most of them in previous storylines (Electrum in “Court of Owls”, Dionesium in “Endgame”, Promethium in “Superheavy”, Nth Metal in the prologue of the event with Dark Nights: Casting and Dark Nights: Forge , and finally, Batmanium during the course of this story). The daemon, of course, has evil intentions. It is bringing with itself the “dark multiverse”. It literally wants to sink the Earth and flip the scales.

Oh, and also, it is bringing with itself the twisted versions of Batman… who kinda do look awfully similar to Dark Judges from Judge Dredd?

As you can imagine, much of the story then follows Batman and the Justice League’s attempt at stopping Barbathos and his horde of mercenaries. Metal is filled to the brim with ridiculously absurd and deliciously fun moments throughout. While I did stick with my rule of not reading the tie-ins for events, I did read those that Snyder co-wrote, and they work quite well with the main story. They offer details to the story as you would expect from a tie-in but if you do choose to follow the main book only, you would be good.

While bigger, louder, more ridiculous seems to Snyder’s modus operandi for every story after “Zero Year”, it just kinda works here. Rarely does the story pauses and the characters get a chance to breathe. Even the dialogues are written in such a way that they service the plot forward and not add any depth to the characters themselves. While this does seem to continue on his Justice League run, what I do appreciate here is how he managed to adapt and extend previous stories and add more layers to the cosmic side of the DC Universe, which I have always felt falls a bit short when compared to Marvel. Apart from Darkseid and the New Gods, there’s not much else to it, is there? (Cue fans telling me off in 3… 2… 1…)

Greg Capullo draws every issue of Metal, front to back. This in itself is unheard of for modern superhero crossover events, but that’s not all. The man knocks it out of the park throughout. From huge action splash pages to an eight panel page of a tightly choreographed fight scene, Capullo works his magic throughout. Joining him on the tie-ins are John Romita Jr., Andy Kubert, Jim Lee, Doug Mahnke, Yanick Paquette, Jorge Jiménez, Riley Rossmo, Howard Porter, Bryan Hitch, Mikel Janín, and a host of talented inkers and colourists. While on some scenes in the tie-ins, the transitions between the artists is not subtle and it feels a bit off, the books are a sight to behold. If Jorge Jiménez’s work on Superman, Super-Sons, etc. didn’t inform you, the guy is a superstar.

Marvel, on the other hand, had a rough year. I’m talking about the comic book side of the business, of course. They seem to be doing just fine everywhere else.

SECRET EMPIRE is the continuation of Nick Spencer’s Captain America run, specifically his ‘Hydra Cap’ storyline. You know, the one that caused so much outrage. I wasn’t following his run then, but reading this event now, I learnt that (spoiler alert:) that man is that controversial panel actually is Steve Rogers. While the story very firmly establishes that it is not an LMD, not a clone, not a shape-shifter, etc., that man is still not our Captain America. Something is a bit off – specifically, Rogers gets his history rewritten by a sentient cosmic cube – and this leads to an interesting “What If?” storyline, almost.

Yes, Captain America is a Hydra agent. The bad guys have won. America is under Nazi rule (Which, is not that different from the current state of things, is it?). Spencer’s plays with this idea throughout the story, drawing parallels between the two. For example, the persecution of the Inhumans in the make-believe world is drawn from the persecution of the Jews in the real, and so on. While the story is not that epic in scale as Metal perhaps is, it does work as a summer blockbuster crossover event story regardless. Spencer also smartly limits the active cast. New York is put under a blackout, so half the Marvel superheroes are off the table and a shield around Earth has locked out heavy-hitters like Captain Marvel and such. This makes it easier to follow the action. Not that I doubt Spencer’s ability to write a large cast (he does exactly that so expertly here) or that I doubt the reader’s ability to read a book with a large cast. A smaller cast works here, because unlike Metal, for example, this is not a story about the heroes trying to stop the bad guys from winning. They have won already. It is up to a handful of rebels to overthrow the regime Reich.

The first and the last issue of the story is drawn by Steve McNiven, and rest of the work is divided among Rod Reis, Daniel Acuña, Andrea Sorrentino, Joshua Cassara, Leinil Francis Yu, Sean Izaakse, Joe Bennett, Ron Lim, Paco Medina, …holy shit that’s a lot of artists. To their credit though, the editorial team does manage to avoid any art inconsistencies. The story follows the one artist per issue rule to the dot, or a specific artist(s) sticks with a particular plotline. Steve McNiven hyper-detailed art sets up the mood perfectly in the beginning and that exposition is perfect for the end. Andrea Sorrentino, I think, handles a major portion of the book. His panel structure and innovative use of the borders and the gutters is fantastic.

THE VERDICT

To be honest, this was the hardest it has been in quite some time to pick one of the two. Usually, I like one book over the other a lot. Infinity over Forever Evil, Original Sin over Futures End, Secret Wars over Convergence, Rebirth over Civil War II and 4001 A.D. This year, I thought both worked quite well in their own regard. Neither of them is perfect by any means. There are some gaping holes in the plot of both stories. Dream appearing in Metal to add a convenient layer of exposition to an ‘oh my god, how are they ever going to do it?’ plot, The Punisher and Thor kinda turning Nazis with little to no conviction in Secret Empire, and so on. Nonetheless, I had a good time reading them, and that’s all that matters on some days.

While both Metal and Secret Empire had some lasting impact in their respective universe, most of what was caused by Secret Empire has been hushed over. This is partially, I think, because of all the (unnecessary) outrage it caused. Metal, on the other hand, boosted sales, launched new series, spun new tales. I had so much fun reading that book. And oh, how could I ever forget baby Darkseid doing the devil’s horns?