sometimesmewrite

[sometimesmewrite]

"What do you want from a remake" I DON'T WANT THEM. I DON'T WANT ANOTHER SOULLESS NOSTALGIA-FILLED CASH-GRAB. I DON'T WANT ANY OF THEM. I DON'T WANT ADAPTATIONS THAT KILL THE ORIGINAL MESSAGE OF THE THING THEY WERE BASED UPON NEITHER THE SHOT-BY-SHOT DESATURATED RECREATIONS. I WANT ORIGINAL STORIES!!! NOT REMAKES OF MOVIES THAT AIN'T EVEN 30 YEARS OLD!!!​AAGGGGGHHH

[sometimesmewrite]

characters have to be a little bit awful in ways that you cant defend. its good for the ecosystem. your honor he did do that. He did in fact do that

[sometimesmewrite]

characters who are so inauthentic. characters who only show what they want other people to see of them. characters who simply must have control over every part of themselves. do you even get it

[sometimesmewrite]

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[sometimesmewrite]

TONIGHT. WE’RE DRINKING FROM THE POND.

[sometimesmewrite]

in the past you could just show up at somebody's house and they could point out that you look unhappy and you could say pardon me, these dark moods come upon me sometimes... perhaps i should not have come here at all...

[sometimesmewrite]

[sometimesmewrite]

Let the Reader Know Something the Character Doesn’t

This is how you make readers scream at the book. Let them know the murder is waiting just beyond the door. Let them see the traitor slip poison into the drink. Let them watch helplessly as the character walks into a trap. The best tension isn’t just about surprise, it’s about dread.

[sometimesmewrite]

characters have to be a little bit awful in ways that you cant defend. its good for the ecosystem. your honor he did do that. He did in fact do that

[sometimesmewrite]

best ship dynamic is when they go from "you fool" (derogatory) to "you fool" (desperate)

[sometimesmewrite]

the appeal of jensen ackles lies in how he consistently does his best acting when he’s not speaking. the type of tv that spn is (campy, cheesy, trashy, soapy, whatever -y you want) means that the actors often move through the dialogue more like action figures than people. they take turns announcing the themes at each other, everything unfolds with the inevitability of rehearsal, and jensen ackles and misha collins are both Doing Voices. this isn’t a bad thing; it’s just a type of storytelling that relies on exaggerated emotions and broad, archetypal characters. to quote barthes’ essay about pro wrestling, “at this pitch, it no longer matters whether or not the passion being expressed is authentic. […] what is expected is the intelligible figuration of moral situations ordinarily secret.” jackles recites his lines like everybody else, but he happens to be good at physical comedy and have a very expressive face, and every once in a while there will be a shot of him so genuine in contrast to everything else that’s going on that it effectively disrupts the show’s architecture of signs. you wonder where it came from. this tension between spn’s inherent theatrical stiffness and jensen ackles’ flashes of unaffected physicality contributes to dean’s appeal to lgbt audiences by giving the impression that dean can, both textually and metatextually, be freed from his own performance. in this essay, i will–

[sometimesmewrite]

[sometimesmewrite]