#╰☆╮show me the universe & beyond {self promo}

[one-additional-time]

Daft Punk in Chronic'art 2007/2008 - scans & translated interview

Here it is, the long-awaited monster interview that sat untouched on my bookshelf for 6 years. I bought this magazine on eBay in 2017, fresh off the Grammys performance with The Weeknd, and I was really excited when I realized it was a huge 10 page spread... Until I started translating and realized the content was extremely in-depth and complicated. So, it got put to the side and accidentally left there for many years.

Anyway, here we go. Buckle in for a long read! Please note that I did not translate the extra sections of the article titled "Discovered" and "Very Disco" as these are just basic information about DP's discography and samples they've used- they are not part of the interview.

My usual disclaimer- I am not French, nor am I fluent in French, so some of this may be incorrect or interpreted differently than the author intended. If you find any glaring errors, my ask box is open for feedback and I can update the post/files as needed. (Post updated May 2023 with corrections)

Feel free to repost to other platforms/social media sites, but I humbly beg that you link back here or give me credit because I really spent a lot of time slaving over this (like 50+ hours).

Thank you so much for sticking around my blog after so many years. I really appreciate this fandom and community and I'm excited to experience new music with you all soon!

(Trigger warning for discussion of suicide [Electroma] in the interview!)

Download full scans and translation at my Dropbox.

Full translation below the cut.

In ten years, from Homework in 1997 to Alive 2007 and Electroma, the electro duo Daft Punk have popularized electronic music, launched fads (the French Touch, filtered house, monumental live shows), and transformed a simple music project into a verifiable universal, even metaphysical, concept. Are Daft Punk dropping the helmets?

BY: WILFRIED PARIS & OLIVIER LAMM | PHOTOS: © MAUD BERNOS

SCANS AND TRANSLATION BY STEPH @ ONE-ADDITIONAL-TIME.TUMBLR.COM

(Please see the downloadable PDF file for translation notes/comments)

Everyone has been hearing about Daft Punk for the last two months, because their live CD (Alive 2007, from EMI) and the DVD of their robotic road-movie Electroma are being released for the holidays. We wanted to go a little bit beyond the obligated promo, and the repeated wooden language found in all the media, by trapping Thomas Bangalter and Guy-Manuel de Homem-Christo for an hour and a half in a restaurant in the Latin Quarter, subjecting them to questioning, and if possible, making them drop the helmets a little bit, over ten pages and many questions.

We’re not going to harp on what you already know (the French touch, the robot helmets, the live pyrotechnics), we’ll just say that we wanted to do this thorough interview with Daft Punk because they’re more than a CD or a DVD, more than music, more than any current pop group. They are an essential symbol of our post-post-modern times, speaking in a very clear yet always paradoxical voice (between hedonistic joy and profound existential sadness) on the human condition, no less. Over the ten years of their career (Homework, like Chronic’art, again, decidedly, appeared in 1997), Daft Punk have invented a new way of presenting music to the world. The robot helmets reveal (social uniformity) more than they cover (buried humanity) and have given them perfect anonymity, which seems like the anonymity of those who succeeded, not in annihilating the self, but becoming self-less. This anonymity accentuates the dominance of the art over the artist, and it has made Daft Punk a universally well-liked and famous group.

A conceptual, pop, philosophical, even metaphysical group, Daft Punk mixes Andy Warhol (seriality, pop art, emptiness) and Friedrich Nietzsche (the man who wanted to die in Electroma, the superhuman for and against technology), mass culture (disco, Albator, Star Wars) and esoteric symbols (the masonic pyramid), the dancing body and thinking brain. In that respect, they are a purely manufactured product of our culture and likely represent the completion of the pop figure began by the Beatles: fragmented culture (the sample) and repetition, theatricality and abstraction, universalism and experimentation, technological innovation and advanced marketing, refusal of the embodiment and worship of the personality…

The current tour (Alive can also mean “en vie”) also refers to an interstellar voyage, like Discovery and Interstella, which seemed to mean that humanity is, by nature, dispossessed, that humans do not belong on Earth but came from Heaven and are destined to return there, that they are “stardust.” They themselves [Daft Punk] are probably not aware of the symbolic and almost metaphysical significance of their creations, and they always prefer to talk about “emotions” rather than thoughts, the heart instead of the head, and they act as the “guinea pigs” for their own experiments. Listening to them, we realized that Thomas Bangalter and Guy-Manuel de Homem-Christo do not really theorize their work, their music, or their image, but that they react to the infinite accumulation of data from our culture of abundance, that they are indeed the guinea pigs of an experience that has outrun them, marionettes played by “high culture,” pop culture, and the entertainment industry. Maybe Daft Punk really are robots, and no one is pulling the strings, certainly not them.

Chronic’art: Between Homework, which would correspond to your schoolwork or your learning phase, Discovery, which would represent your adolescence, the discovery of the world, microscopic to macroscopic, and Human After All, a moment of reset before a new cycle, it seems to us like you have come full circle, which would be represented by the mirroring of your two live albums, in 1997 and in 2007. Could you have scripted your career?

Thomas Bangalter: It’s strange. We have never written out any part of our career, because even ten years ago we didn’t think we would do this for a long time. After the fact, without having planned it, we realize more that we had sort of reset prior to the live show from 2007. For us, these concerts, this tour, this CD, they are more of a new step than a conclusion. We had not done concerts for 10 years, and there was something very exciting about doing things that weren’t technologically possible when we started. With the last live, we wanted to produce something original, that could predict what might become the norm of tomorrow. We know that we’ve done certain things in the past that were five years ahead of their time, and we are happy to be trying something no one else has done right now. We feel like, during each album, we’ve started back at zero and have had to create a new process, even if it’s true that there is a consistency which emerges in the straight line of our career. But this consistency is not defined a priori, we just emphasize working on projects that can become sort of a realignment of everything we’ve accomplished until now. Interstella was consistent with Discovery, the live show was consistent with our third album compared to the two previous albums, but each step represents, in the moment, the desire to start a new cycle. As for Human After All and Electroma, they’re about something darker, less celebratory… Maybe the live show is a loop; our record label released a Best Of last year, but the concert itself and the way we worked on it is more a way of combining things and expressing them in a new way, rather than celebrating a sort of anniversary or something from the past. We definitely didn’t want to give people the impression that they were in 1997, in a continuation of past music: we instead wanted to give them the chance to feel like they were really in 2007.

During the live shows, you mix together your own tracks, referencing and quoting yourselves. It’s like being simultaneously and precisely between 1997 and 2007, as if the past and the present were merging. All of your songs evolving in a sort of loop…

T.B.: It’s almost the third generation of sampling: us sampling ourselves. At the same time, it’s like having created a universe and an aesthetic that is more than the music, or that the music isn’t actually a central vector. Our approach isn’t at all demonstrative, it’s entirely sensory. There isn’t another message to understand. That being said, there is a desire for cohesion, to make sure that each element added to the structure resonates with the others, with the little mythology that governs this universe. It’s a bit like in a video game, each new element opens a new level in a new environment rather than replacing an older element. We wanted, for example, to break these things with Human After All, but in the end we realized that the album was very cohesive in the continuity of our work.

There is a very strong sense of nostalgia, mixed with a strangeness, in the timeless juxtapositions listeners are subjected to in the tracks. They seem to be complementing and responding to each other, as much musically as thematically… 

Guy-Manuel de Homem-Christo: It’s especially very exciting to see that twelve or thirteen years after our first maxi, our music has not aged too much. There is a sense of nostalgia1, but it still works in the present, and it’s very strange to see that we can mix four tracks from four different eras simultaneously, and not a single one kills the mood. Right after we started making music, we were seeking timelessness. It’s the same with Electroma. At our core, we are fans of timeless things. If you listen to the Beatles, aside from their very first period which is a little bit stuck in the past, you notice that time doesn’t touch their music. We are following that: we are trying to move through time without getting stuck in it. In the same way, we are trying to make sure that our music can be listened to by a lot of different people, without having to worry about languages or genres.

The Beatles were, for that matter, the first group to reference themselves, for example in All You Need is Love, where John Lennon sings She Loves You… 

G-M.H-C.: We don’t compare ourselves to the Beatles, either… 

T.B.: The idea is constructing a cohesive universe from a series of spontaneous attempts. If you watch Star Wars, people don’t seem to come from when the film was made. It’s as if the 70s have no effect on the film’s universe. Its atmosphere is its own, even if mixes a lot of things together. For about five or six years we have tried not to let the times we live in make an impression on us.

You are very privileged to be in a time when everything moves so fast, or everything ages so fast, right in the middle of acceleration. For example, you did a massive world tour without having an album to promote… 

G-M.H-C.: The day before the first concert of the tour, at Coachella, we were terrified, we weren’t sure of anything. Every time we try something new, we start back at zero.

T.B.: It’s the live show that sparked the craze, I think, truly. The success was really unintentional. Separate from that, being immersed in a certain underground before our first album taught us a lot. We’ve seen all the trends come and go—jungle, speed garage, electroclash, new rave, French touch, revival—and we are really surprised to have slipped by all of that. We didn’t want to be specifically concentrated on music, we only released three albums in 15 years, and we had a lot of luck. The legitimacy of our music, the future of our music lives in the combination of different forms of expression, the scope of influences, the mixing of techno with funk, with metal, the intermingling of rules and cliches. A lot of important decisions have been roughly made; also by means of spending time solidifying this roughness in order to share it. In fact, electronic music, in the 90s, put you in a state of experimentation, urgency, innovation, it literally prohibited you from repeating yourself. Electronic music was still very elitist, because it was expensive—you had to go to the library to find out about these musicians, you had to go to Beaubourg to make photocopies of books on filmmakers, you had to go to small shops to buy old drum machines. We know what changed, we’re familiar with the saturation that followed. We were also lucky because actually there wasn’t much of that happening when we started out.

The permanence of Daft Punk is also really linked to your image. People don’t only dance to your music, they dance with your personas, with the robots, like you predicted the fatal characteristic of the embodiment of rock (John Lennon, Kurt Cobain). With your robot helmets, you have made the entire process of love, requisition, and the sacrificial reclaiming in your place impossible. You come across as impersonal and therefore verifiably impossible to sacrifice. Not gods, rockers, heroes, nor rulers. The helmet prohibits any kind of identification process. When put on, they show the listener-viewer their own reflection. By giving nothing, the helmet says (silently), “Know thyself.” Can your work be considered an invitation for people to know themselves?

G-M.H-C.: Yes, I agree with that interpretation. At least, that’s what happens with our concerts. Audience members, rather than being lost in the view of a far-off guy, Mick Jagger or another inaccessible idol above the audience, find themselves between us, or even with themselves. It’s kind of like a rave, without superstars, like in the era of anonymity. The robots don’t give the audience much except music. There are robots in a pyramid, but the audience enjoys it in a more selfish, more self-centered way.

T.B.: It’s a mixture—the chance to show the listener their own reflection, to respond to a question with another question, but also the opportunity to go back to a fiction, in a cult that isn’t the cult of a personality, but of an art, of an image, of an aesthetic. Without personification. Then we can let ourselves to be two robots in a pyramid of light. If our faces were uncovered, it would be the most megalomaniacal thing in the world; with the helmets, no one sees us because we stay within the fiction. And without wanting to make a joke, there is also a degree of separation, a distance. A distance from the reflection, like in Electroma, or a distance from the entertainment, softer.

All the lines from Human After All work in the same way. They recall Kraftwerk, but Kraftwerk developed a precise message about celebrating, in a way, the immediate future. Your messages are a lot more ambiguous: are they critical, ironic, devoid of meaning? Like we see so well in Electroma, your helmets are, above all else, mirrors…

T.B.: Ambiguity is good, because it allows for a certain interaction between the viewer and the artist; between what the viewer interprets and what the artist is trying to depict. It’s very participative, and that comes from a desire to go against the demonstration. We are the first consumers of our music, and we hold the view that we can’t make any judgement values by calling things into question. In speaking about technology, about consumer society, which completely inhabits our art, we don’t want to teach a lesson, or offer a point of view or a judgement, we just want to find paradoxes and point them out as is. For example, we’re dependent on consumer society and it’s so appealing, productive, optimized, and at the same time totally terrifying, horrible, and very funny.

Your work is dialectical: sometimes it seems to denounce a sort of robotic totalitarianism (like in the Technologic video which depicts propaganda of a robot on top of a pyramid) and at the same time it plays with this imagery, strikingly. The video for Around The World also shows how robots surround and surveil the population; they are in the last circle, and they are the ones who chant the phrase “Around The World.” Does the video denounce the surveillance of us by nonhumans, or does it condition us to accept it? We never know if you’re denouncing a conspiracy against humanity or if you’re participating in it. You use of language is equally dialectical. Your language is refined, born from catchphrases and words of totalitarian order (Technologic), and if taken literally, it’s this: the phrase “Television Rules The Nation” can be taken as the assertion of an established fact. It then becomes constraint, manipulation. At the same time, the distance imposed by the performance can give the words a double meaning, and adds to them a critique of this established fact, even the denunciation of a totalitarian power. This recalls the “doublethink” in Orwell’s 1984: the capacity to simultaneously accept two opposing points of view and thereby put critical thinking on the back burner. Where do you situate yourselves in this in-betweenness?

T.B.: But it’s inside this paradox where we progress. In terms of our experimentation, we are in fact the heart of the system; it would be totally obscene to lean more to one side or the other, to claim to be part of a totalitarian system, as if we were giving lectures. It’s because this is so interesting that we refused to do any promotion for Human After All, because there couldn’t be a willingness on our part to encourage people to buy the album, because of this paradox. Because it’s like an unbiased opinion on technology, on consumer society. The video for Technologic actually gives you the keys to derive an ironic and scary message from the track, but it has since been used by Apple in a commercial for the iPod, and there the lyrics turned into blind praise for technology! It’s funny seeing to what extent the double meaning has effectively functioned. That’s why we so often refer to Andy Warhol who had an experimental approach through his connection to pop culture that, depending on the project, had as much a place in very elitist and private circles as it did on supermarket shelves. Creating with perplexity, in short.

Nevertheless, you use very strongly significant symbols, like the robots or the pyramid. The pyramid that you use on stage is a Masonic symbol. It is on the dollar bill, with George Washington and the note, “New World Order.” The pyramid represents the structure of society, from the masses up to the elites and the leaders. The cornerstone with the “all-seeing eye” surely represents the summation of technology which, though it could be plainly operational, will make sure that the “New World Order” can truly start coming forward and establishing itself on Earth. Some interpret it like the construction of a new technology, a technologic eye that would see all, through a generalized surveillance. With that said, the presence of robots like operators of this pyramid makes a lot of sense. How do you fit in with regard to these symbols and this story?

T.B.: We work a lot with the senses, with the power of symbols on the subconscious, and the pyramid, in effect, is a very heavy symbol, in terms of the senses. We don’t want to discuss the details of the symbolism, but to question its power without its history. The pyramid has become a symbol because, geometrically, harmonically, it’s a magical, occult, mysterious object. There is also this mysterious and occult, on the verge of paranormal, power in music. No one can really theorize about the effects of music on the body and mind, so it’s incredible. We just try to pass on that magic in a rather empirical way. Moreover, we could carry out experiments on the way in which light or sound intensity acts on the body and on crowds, to see which types of sensations or emotions are provoked by one frequency or another. But we could never really explain the reason for these effects.

G-M.H-C.: We are the guinea pigs of our own universe. We managed to create a sort of self-sufficiency between the two of us, which lets us experiment with a consistent voice, and what works for us tends to work for the audience, it’s like a small miracle. We put a pyramid on stage because we think it’s cool, and it makes everyone trip out.

When you talk about guinea pigs, it’s as if you were manipulated from the outside, by a mysterious third-party, as if you were also puppets. There is a determinism there, but one that serves humanity. According to the Laws of Robotics by Isaac Asimov, it’s humankind who constructed the robot, and the robot is at its service…

T.B.: Above all we want to express a paradox on the discussion of human dependency on technology. We’re not virtuosos and we rely on technology like a crutch. We could never do it without technology, and at the same time, we try to value, like any artists, the human element in our work. The process we’ve used for these fifteen years has been to try merging the machines and us. We are the operators of these machines, the editors of the experiments: we select them, we choose them, and we decide to keep them or not. Daft Punk is the product of a tug of war between human and technology, always questioning the place of technology in the project.

Electroma addresses this discussion between human and machine, in a sort of grand general inversion. Electroma seems to be the account of a traumatic experience: in the world of robots, the two characters presented a human face to the others, in openness, generosity, expressiveness. The result of this demonstration of humanity leaves them ostracized, chased, and reduced to aimlessness and suicide. Do you think that showing your humanity is dangerous?

T.B.: Yes, that’s the background of the film. But speaking more broadly, formally, it’s part of the same approach as what we’ve been able to do before; to know how to create emotion while using machines, in a creative process. Without actors, without a script, without a real plotline, but with photography, color, framing, made from machines, objects, just like a still life. We began with creating an environment around the spectator, who is almost like the only actor in the film, and wondering how to make them experience these emotions, which are not the same as those on the dancefloor, but aesthetic emotions, where the spectator can project onto themselves. The film is totally open, and we thought a lot about Magritte when making the plans. What you can see in Electroma is essentially sensation, that’s a lot more at the level of the gut or the eyes than of the brain…

Robots After All by Philippe Katerine was clearly inspired by your album Human After All and touches on the idea that human society has attained such a degree of conditioning and conforming that humanity became a species of robot, a determined creature, ruled by automation, in their language as much as their everyday comportment. When we recently asked what he thought about your music, Katerine told us, “I hear nothingness in it, so I want to find a place there.” Is the universality of your music due to the fact that it’s also, in a sense, empty?

T.B.: It’s empty because it’s more sensory than significance, yes. Theoretically devoid of sense, it allows people to see something from nothing and project themselves there. We just heard Katerine’s single. Our music is open, it can be interpreted and taken in different ways.

The musical abstraction and loops that by and large make up your music allow each person to take possession of the music and go beyond it. There is a shamanic aspect in this usage of emptiness and repetition. As a matter of fact, musicians like Animal Collective, who were inspired by shamanic trances, now cite you as an influence. Also, you could interpret the end of Electroma, when the two robots die by explosion and combustion, as referring to shamanic initiation rituals, in which one goes through a symbolic death by division of the body or self-combustion. Could you say that the end of Electroma represents, in some sort, this symbolic and initiatory death? In other words, do you perceive a shamanic side to your music?

T.B.: Yes, it’s a trance: the loop, the heartbeats… We use samples to express the desire of prolonging a strong sensation that comes during one or two seconds in a track, and wanting to repeat this sensation, not only feeling it for ten minutes, but also seeing what consequences come from ten minutes of that feeling, how everything unfolds. Visually, with Electroma, our desire is the same: to create images or an assembly of images that produce a physical sensation, a feeling of hypnosis, wandering, or weariness; in any case a state of mind that you can only reach by feeling this sensation for a certain time, for quite a long time. 

Wandering, loss of identity, and expropriation are pop themes in a sense. If you think of the Beatles, the “Magical Mystery Tour,” the transformation of the Beatles into the “Lonely Hearts Club Band.” As of now, you are a group that “turns,” that travels, to those “lonely hearts.” Is there a “trip” pop?

T.B.: It’s true that during this tour, we felt a little bit of a psychedelic thing: there are people who saw and re-watched the concert multiple times, almost like a Grateful Dead concert, with this idea of there being, during the concert, something imperceptible that you can never capture on disc or on film: an experience which was unique and can only live in reality, at a time where everything is virtualized. We felt like people wanted happenings, concrete experiences, which could consequently be produced by advanced technology: we could multiply the giant screens, have a very strong sound, and combine everything into these unprecedented audiovisual processes, which had never been seen anywhere before. Even a film projected in an IMAX theater could be no more than the “ghettoblaster” from another experiment with new technologies. Our music is moving: it was within an industrial system which ended, it was dependent on the economy. And the economy was destroying itself, it influenced new formats and new ways of creation, like the tours we’re doing currently.

Today, music needs to find new ways for distribution, with the death of the record industry and the virtualization of music. The live show, as a unique experience, is a response to this situation. You were the first to start a download site on the internet, with the Daft Club in 2001, which didn’t work out. Was it five years too early?

T.B.: Being current five years too early is really better than we can hope for. It’s good to be precursory, it’s almost our principal objective. Speaking about the musical economy, I think that music has never been as important as it is now, and the concert isn’t a response to difficulty selling CDs nowadays, because live shows are also very expensive. Economic upheavals are interesting: I read a book recently by Jacques Attali, Bruits, which talks about the musical economy and its power since the Middle Ages, and if you look at the place of music in the world in the last 2 thousand or 3 thousand years, the place of the record and pop music industries will have not been an end in itself, compared to music as a whole. It’s interesting to try to find out where music will go and what it will generate, in the sense that it is often a precursor of the relationship to come between social and economic powers. But we define ourselves less as musicians than as artists and creators, in trying to combine things and experiment with new formats and new technologies. We aren’t uniquely musicians.

Homework represents a sort of pinnacle of the age where a certain technologic novelty was expressed directly through music. You could literally hear knobs being turned. Does Daft Punk necessarily have to excel technologically in an age where all these methods have become normalized? Were the concerts from your new tour sort of like an advantage?

T.B.: It’s not an advantage, it’s a set of challenges that could be technological, actually. You wind up with a concert that looks sort of futuristic, like a remake of Close Encounters of the Third Kind or a mix of a Grateful Dead and a Kraftwerk concert. Making something that we couldn’t make before. We pick up the tools, we manipulate them, we try to progress. Electronic music in itself, in 2007, doesn’t seem to me to be very conducive to experimentation from a strictly musical point of view. I’m waiting for the new generations to prove to me otherwise… We pay attention to technological developments because we’re interested in them, and because they are at the heart of our art. Musical instruments are advanced technologies which have continuously reinvented music.

Since Human After All was released online, there were a lot of rumors about the album, which was an indication that people were waiting for you. In that context, are you able to feel free as musicians? Have you produced things in reaction to the public’s expectations?

T.B.: Actually, we aren’t free relative to our own expectations. We can’t totally set the public aside, but we have our own demands and we respond to our own vision of what we make, while taking into account paradoxes, contradictions, restarts, new beginnings. But we don’t think about the public: it’s both selfish and more respectful for people because we don’t have the pretentiousness of putting ourselves in their shoes.

G-M.H-C.: We are our own fans. We work until we find moments of pleasure in our work, and when we save those moments and explore them on an album or in a film which we release, that resonates for people. But within those moments, which are like lightning, we are like spectators—we feel like we’re revealing something, and discovering something we created at the same time. In this way we are ourselves in the position of spectators and fans. I imagine that this process is even more evident in painting: you have a piece of canvas in front of you, and there is a tangible process of creation. Creation is a mystery and you can really speak about magic when it comes to music or art.

Could the image of the pyramid that you use be a graphic representation of your music? With its foundations, progressions, ascents, and its climax? Bercy, it so happens, also has a pyramid shape…

G-M.H-C.: Not all of our songs follow a progression. We have flat songs, square songs, round songs… And in the live show, there are a few final moments where the tension comes back down. Bercy really does have a pyramid shape, but the top is missing. And it’s true that we would have really liked to play on top of it (laughs)…

[kkpwnall]

self rec game

thank you @flashyysins for tagging me! love me some shameless self-promo, everyone should do it!

Rules: recommend three of your own fics (1 most popular, two hidden gems) then tag some people!

i've only posted 3 fics so far, so in no particular order:

love is like ghosts | m | 7k steve and eddie are ghost hunters exploring a haunted university library. the pair banter and bicker their way through the investigation until all that tension finally comes to a head. eddie is a skeptical little shit! steve wears glasses! ghosts are real! (or are they?)

just a little rain | t | 1k when steve sees eddie across the parking lot without an umbrella in the pouring rain, he offers to walk him to class. with just a slight detour...

wine & dine or: the quickest way to a man’s heart (and parts beyond) | t | 2k steve shows up to eddie's house for date night to find the trailer just slightly on fire. he springs into action to save their dinner and get to the bottom of why eddie's so upset about one burnt meal.

no pressure and no obligation tags: @solosnail @aringofsalt @metal-dads + anybody who wants to join!!

[redactedlove]

I guess it’s promo time, sooo…

Welcome to my personal Nowhere. I hope you enjoy your stay!

I’m Vera/Moonlight/Oddity, I go by they/them pronouns (though she/her is also okay!) and prefer gender-neutral terms. I speak 🇬🇧 and 🇷🇺 fluently!

I am a minor! I am generally okay with adults interacting, but no 18+ only blogs for self-explanatory reasons and I ask any and all pr0shippers to kindly stay away from this blog, thank you.

I selfship to cope with stress and to sprinkle a little wholesomeness into my life! You will find all of my f/o content here. This blog exists so I can show appreciation to the funny video game people in my head that have helped my mental health improve so much.

They call me a ‘friend of the Strange and Otherworldly’, and you’re about to find out why. (Most of my f/os are either subtly or not-so-subtly nonhuman!)

I draw and write sometimes, and I will interact from my main blog, which is @otherworldlyoddities

There may be horrors beyond our comprehension in our worlds, but there will always be wonders beyond our comprehension also, otherworldly beauty beyond measure that we may one day discover. Is that not reason enough to fall madly in love with the Universe?

[gwaeddblaidd]

Take it from me, all of what I know

Lay there beside me and show your warmth

It's hard to find peace, buried in so deep

I can only hear the world is shouting

---

Harrison Storm's music always brings an oft-needed touch of serenity to a playlist, a certain calm before - or after - the storm of heavier tracks. Change It All is an interesting case where, beyond just the lyrics, I can see it being the type of song that Gelert might actually play himself. As an acoustic guitar-forward song with a satisfying layering of picking patterns, I could easily imagine this as one of the songs he'd play during one of the guitar-playing sections of the fic.

I should note, though, that it isn't the song he's playing in the beginning of Chapter 3. I have a very specific song in mind for that, though I doubt it would be especially revolutionary to reveal it. A good friend of mine - who proof reads for me frequently - is a guitar player, and his descriptions of playing a specific song formed the basis for Chapter 3's opening. If he used tumblr much, I'd probably tag him in recognition, but alas, he doesn't.

Lyrics-wise, the opening verse of Change It All is of most interest in terms of relevance to Gelert. It evokes the idea of hiding away from the world and finding peace only in the presence of someone else - a comfort person, if you will. A part of Gelert's social and personal development is realising that there is such a person for him, and more specifically that that person is Enid.

Chapter 8 is still taking some time. Despite having finished university and having entered the supposed downtime of summer, it feels like I have less time from day to day now more than ever. But, it will be done. And once it is, I get the feeling that my pace will quicken; I just need to build up some momentum.

In the meantime, posting these every day keeps the fic in the back of my mind, helping me both maintain interest and brainstorm ideas as I do these mini-analyses. And, as with each of these posts, the promo cometh...

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Title: Feed the Wolf

Fandom: Wednesday

Rating: T

Chapters: 7 of 12

Links: AO3, FF.net

Summary: As the dust settles on the Hyde incident, Nevermore is slowly but surely returning to a calmer, safer state. But for those involved, the scars may take a while longer to fully heal. Gelert Davies, a half-werewolf student, has always kept himself out of trouble as best he could, but a chance encounter will test his resolve and force him to face parts of himself long abandoned.

Tags: Enid Sinclair, Wednesday Addams, Original Character(s), Enid Sinclair/Original Male Character(s), Hurt/Comfort, Angst, Wolf Instincts, Loss of Control, Injury Recovery, Self-Hatred, Non-Sexual Intimacy, Courting Rituals, Werewolf Courting, Werewolf Culture, Eventual Romance, Family Issues, POV First Person

Thank you for reading, and have a wonderful day! :)

[stardcstinhereyesarchived]

                                                  stardust

[nymph-of-books]

a list of she-ra fanfics that i would recommend

these are gonna be little at first because i only want to be sharing the ones i truly deeply love; i will be editing this post as i go along. additionally these are like... basically all catradora as a general psa !!! i will be adding my own summary of the plot w/o spoilers (if i can help it), whether it's multi-chaptered or a one-shot & complete or ongoing, and my personal reaction to it !! if you didn't notice i adore au fics more than anything note: i'm posting this w/o having completed it because i just want to get it out rn, but i've read much more & these r definitely not the only ones i'd recommend !!! i just have to sort through my history to find the fics i actually read and adored and i don't have all the time to do that all the time rn :) before season 1 in-canon timing (season 1-5) the blood in your mouth written by artemiswords - alternative season five & beyond - written before season five was aired. catradora aren't automatically together - happy ending though! - multi-chaptered, complete - this was the first multi-chaptered fic i've read since like. fanfiction.net days & it got me into multi-chaptered fics because it's just so good. honestly the author's mind >>>> i keep sitting here waiting for something (but i know nothing will happen) written by nymphofbooks. - conversation between catra and adora after the events at the battle of bright moon. they talk about some things and reach a little bit of a mutual understanding - oneshot, complete - not actually one of my favs but self-promo ha. the first of my upcoming one-shots, mostly dialogue & i am a bit rusty on it. hiraeth written by erce3 - mara and angella find each other in the portal, and together they make the eternal loneliness a little less bad. - oneshot, complete - wasn't exactly sure where to put this because technically it's both before, during, and after canon... anyway this literally made me cry & it is very beautiful :( sad face bc it made me sad :( but it's beautiful! after season 5 alternate universe as long as we stay together (if we just stay together) written by herothehardway - astrophysicists in antarctica au. catra & adora are lab partners but aren't allowed to interact outside of the lab due to extenuating circumstances. they used to be roommates (and there's tons of flashbacks) and maybe they'll become something more than lab partners, despite the rules. also, hockey!catradora - multi-chaptered, complete - god, this fiction is incredible. it's clear the author knows a lot about the subject & spent a lot of time on it & it's just great. nsfw scenes though so read w discretion!! anyway this is one of my all-time favourites & i've loved herothehardway's writing ever since. seriously, the way they incorporate the show details... yes more grown up and a better daughter written by herothehardway - multi-chaptered regency catradora au. adora's family is on the brink of financial ruin, and she has to marry someone rich. she is presented to society & on the day of her coming out ball she meets catra, an old childhood friend who mysteriously disappeared without any notice. turns out catra is pretty rich... - multi-chaptered, ongoing - very neat, definitely recommend. again, herothehardway shows they're engaged in the situations of their characters & take a lot of time on accuracy which we stan (and i don't really do myself because i am lazy) the place where we fall written by herothehardway - oneshot wizard catradora au. adora and catra were apprentices to shadow weaver & shadow weaver cursed them before they died to make sure they dueled each other every year until one of them is dead. this is the fifth year - oneshot, complete - HELP IS IT OBVIOUS I ENJOY HEROTHEHARDWAY'S WRITING??? okay i swear this is the last one rn !!! i love it & the vibes & it's generally gorgeous 10/10 recommend :) baby, i'm a house on fire (and i wanna keep burning) written by wittchers. - arranged marriage au between catra and adora, set after the horde win over bright moon. slow burn & neither of them wants it. - oneshot,

complete - fluid & natural & amazing writing, and the original summary completely drew me in. would definitely recommend! i picture it soft & i ache written by erce3 - modern au wherein ceo!catra fucks up in wording & non-profit charity founder!adora defends her in an interview. she says that she knows catra and... you know the internet. everyone believes they're dating & they agree to start fake-dating in order to boost both their public figures - one-shot, complete - i'm normally not one for fake dating but i rly liked this fic !! i rly like how erce3 handled the trope. the writing is amazing! i made myself better to love you written by fairytaleslayer - feral children catradora au wherein catra & adora escape from the horde and find their home in the whispering woods. they are healthily co-dependent & eventually join the rebellion - multi-chaptered, complete - amazing au. i love this sm & it's so accurate to their characters. it's written beautifully & the relationships are absolutely gorgeous

[stevenuniversallyreviews]

I don’t need you to respect me, I respect me

I’m gonna miss writing about Amethyst.

As the most sisterly Crystal Gem, a firebrand in the new role of middle child after spending millennia as the baby of the group, Amethyst’s story is about growing from a wild teen to a responsible adult. Like Steven, she feels the need to prove that she’s a Crystal Gem too, but unlike Steven, she already is a Crystal Gem, so she carries a different kind of resentment as she continues to be treated like a child. It’s made even worse by her warrior instincts clashing with her small frame: she lives with the constant anxiety that she’s a mistake, a Gem who came out wrong and doesn’t belong in her family, so she comforts and distracts herself with hedonism and shapeshifting. Her problem goes beyond not feeling respected: deep down, she fears that she doesn’t deserve respect.

But she changes her mind.

“This isn’t normal.”

The Return and Jailbreak culminated the first act of Steven Universe, giving our characters subtle achievements (Amethyst and Pearl casually fuse into Opal, Greg reveals a deeper understanding of the Gems than we once thought, Beach City comes together as a community when Steven is in danger) and huge changes (Steven summons a massive shield, Garnet’s status as a fusion is confirmed, Lapis goes from prisoner to imprisoner). While not an official finale, Beta and Earthlings culminated the second act, narrowing the focus to five characters as they each reach one milestone or another: Lapis and Amethyst find a level of peace, Peridot defends her new home, Jasper succumbs to corruption, and Steven helps his friends but fails to help his enemy.

In a way, Change Your Mind culminates the third act with an even narrower focus. Sure, it gives big moments to a ton of characters (there’s fanservice galore, and we see the three Diamonds in particular take enormous steps), but we zero in on Steven in the same way the entire act has zeroed in on Steven, because this is a story about identity. It isn’t only about who he is, but who he wants to be moving forward, and fusing all the insights he’s learned from his human family, his Crystal Gem family, and his Diamond family into a song that encapsulates his growth over the course of the series.

We start in the most lifelike of the Diamond dreams, so real that Steven still sees himself as Steven rather than embodying Pink. Once again, this connection emerges from sleeping in a location where Pink once dwelled, but while he wasn’t feeling her impatience and rage in Jungle Moon, nor her hardening resolve in Can’t Go Back, nor her whimsy in Familiar, this time they share the same headspace when they’re both locked in a tower.

Considering how bombastic things get in this episode, I love how low-key this final dream remains until White Diamond interferes. We’re as lost as Steven at first, worrying about Connie and baffled at Blue’s recognizable mood but incongruous accusations, but as the truth becomes clear, he transforms into Pink off-screen without any fanfare, both in body and in mind: Steven isn’t questioning Blue’s warning about Pink Pearl, Pink Diamond is apologizing for her own behavior in Zach Callison’s voice. Still, looking down jolts him out of it, and after seeing the Crystal Gems poofed at the ball for a more definitive Steven memory, we cycle in Rose’s horror at her family launching a final attack on Earth. The rapid-fire identity shifts that follow inspired the most haunting piece of promo art for the episode, drawn by Rebecca Sugar herself, but I didn’t wanna display it without a seizure warning.

It’s excellent exposition, hitting the highlights of the Diamonds’ many wrongs and establishing Steven’s fraying sense of self in a way that’s both artful and brief; it’s important to remind younger viewers about the stakes, but Change Your Mind doesn’t pretend that anyone should be watching this episode without context, so it doesn’t prioritize thorough explanation. And despite how frightening the nightmare becomes, Steven gains a new sense of clarity after seeing the pattern laid out in front of him. The Diamonds are hurting him in the same way they hurt his mother, and if he’s going to help everyone, he needs to help himself.

When Blue Diamond returns to the tower in modern day, Steven isn’t afraid, and he isn’t alone. The first of many puns riddling the finale emerges (“Déjà Blue!”) before Connie proves why she’s the perfect partner for our hero, platonic or otherwise. He’s terrible at confronting the people that hurt him—this would require him to acknowledge he’s hurt in the first place, which he’s also terrible at—but if she was comfortable enough with confrontation to call out her best friend when he wrongs her, Blue Diamond doesn’t stand a chance. Connie comes out swinging, loading the bases with candor and sass despite Blue’s confusion over why a human even gets an opinion about this stuff, which makes Steven’s refusal to apologize hit the Diamond like a grand slam.

I love that Steven’s flat “no” takes Connie by surprise as well as Blue, because yeah, it’s uncharacteristically blunt for someone who’s spent his entire trip to Homeworld bending over backwards like he usually does to accommodate others. When he doubles down by explaining that he isn’t sorry about creating a show that celebrates queer characters whoops sorry I mean fusion, Callison makes it sound like the most obvious thing in the world, and this is what upsets Blue enough to inflict her tears on him. We’ll learn even more about Pink’s temper in Steven Universe Future, but the simple act of not bowing to authority makes Steven “worse than ever” in Blue’s mind: violence is more acceptable than insubordination. (Also, violence in cartoons is more acceptable than queer folks just sorta existing in cartoons, but that’s neither here nor there.)

Change Your Mind is about combating bigotry and cycles of abuse, and Blue is the obvious first test. She’s a bigot who doesn’t think she’s a bigot (compared to Yellow, who doesn’t care that she’s a bigot, and White, who’s quite proud of being a bigot). She passively perpetuates a toxic status quo (compared to Yellow, who actively perpetuates it, and White, who established it in the first place). It makes sense that she’s the first of the remaining Diamonds to change her mind, because all it takes for her to realize that something is wrong is thinking about it a little harder.

This doesn’t let her off the hook, of course: Blue’s sloth—the sin, not the animal—might not look flashy next to Yellow’s wrath or White’s pride or Pink’s envy, but she still chose to do nothing for thousands of years rather than contemplate how her actions and her society might have wronged Pink. If it was this easy for Blue to realize she was hurting Pink, it makes it that much more of an issue that it took her this long to figure it out. Unintentional bigots might be the “best” option by default, but they can be just as harmful as intentional bigots, and there’s a special sort of damage that can come from an oppressor who truly believes themselves an ally.

That said, while it’s important to acknowledge her blame (emphasized here when she only stops attacking Steven when he calls her out rather than the Diamonds in general), Blue is also a victim. She’s one of the most powerful beings on Homeworld, but she’s still trapped by White Diamond, and resorts to putting others down as a means of reclaiming a sense of that power. In the same way oppressed people often turn to sexism and racism and homophobia to make themselves feel bigger, Blue (and Yellow) reinforce White’s sweeping bigotry in the same way they echo her family-specific abuse. It’s not a good coping mechanism, in this show or in the real world, but understanding the problem is key to fixing it.

So it still feels like a victory when Blue turns, even though it should’ve happened ages ago, and even though she’s a tyrant. She isn’t just deciding to help Steven, she’s breaking out of that cycle in a way that allows for growth beyond our hero’s immediate concerns. Lisa Hannigan captures this transformation beautifully, shifting from manipulative whining about Pink’s behavior to a crushing realization that she’s the one who’s wrong. And even as she joins Steven’s side, she remains weighed down by her longstanding prejudice: Hannigan stutters as she refers to the Crystal Gems as his family, and her triumphant defense of Steven’s name to Yellow comes with the caveat that she’s still misgendering him.

But before we get to Yellow, we take a pit stop that grounds us back to Steven and Connie’s hunger. It may seem small, but this is a critical moment in establishing Steven’s humanity in a way the show has quietly done from day one: with food.

The very first scene of Steven Universe establishes our hero’s human half in a donut shop, upset about dessert. From there, the next five episodes drill in that Steven will take a unique approach to his magical Gem heritage, and they all involve food in a major way: Cookie Cats, then his father’s saying about pork chops and hot dogs, then the Cheeseburger Backpack (important enough to be the episode’s name), then the Together Breakfast (ditto), then creating a monster based on fries.

It’s not just Steven, either. The first few Connie episodes involve eating and drinking in ways that show hints of growth (worrying about trans fats, then sneaking food into movie theaters) and mark key moments in her life (sharing a juicebox, taking her parents to dinner). Lars’s development is tied with his love of baking, and on top of him and Sadie working at the Big Donut, the Frymans and the Pizzas are so tied to their food service jobs that it’s in their names. And speaking of names, we’ve got Vidalia calling her sons Sour Cream and Onion. It even extends to the Gems: Amethyst’s connection with Earth means she loves food, and Pearl’s greater distance from humanity means she can’t stomach it.

Food is fundamentally something that humans require and Gems don’t, and just like we saw in Lars’s Head, Steven’s physical body forces him to think about his own needs despite his usual focus on others. Both his humanity and his ability to stand up for himself are key to his eventual victory, and what could’ve been a generic transition between Blue and Yellow’s big scenes instead becomes a quiet Steven scene. Steven changing into his usual clothes (including his mom’s star) and Connie changing into her own outfit (including her dad’s jacket) is the perfect finishing touch before we dive back into the drama.

True to their natures, Yellow Diamond gets a starker introduction than Blue’s dream sequence: as the lights burst on, we get two shots focusing on a horrifying number of mutated Gem Shards floating around in the room, then the Crystal Gems’ thankfully intact gems in one big bubble, before panning down to the villain who caused all this pain. The menace is palpable before she even opens her mouth, but Patti LuPone’s low tone keeps the mood from boiling over just long enough that when she loses her cool, it hits like a freight train.

Blue’s passive bigotry endured because she lacked introspection, but Yellow’s active bigotry requires constantly justifying actions she knows are cruel by presenting it as a matter of superior reasoning. We’ve known from her first appearance that Yellow’s seething fury undermines her reputation for cold logic, and now more than ever the connection between her behavior and that of “sophisticated” bigots is clear. You know the type: openly, smugly hateful, but couching their hate as something derived from some deep knowledge about the subject, whether in religious convictions or whatever “science” they can scrape together to confirm their worldview.

Sure enough, even in her rage, Yellow lays down what she sees as a rational explanation for why it was okay to mistreat Pink, and why it’s okay that they themselves are mistreated: if they make exceptions for anyone, even other Diamonds, they must make exceptions for everyone, and chaos reigns. Besides the slippery slope being a fallacy, her argument is punctured by Connie’s second big retort of the night, pointing out that this extreme conclusion of Homeworld Gems living free actually sounds pretty nice. But you can’t force this type of bigot to change their mind through reason; if such a person was actually interested in logical worldviews, they wouldn’t have become a bigot in the first place. You need to change their heart.

Fortunately, emotions are Blue’s domain, so she’s just the person to help. Unfortunately, in the same way she still can’t get Steven’s pronouns right, Blue lacks experience with healthy communication, and strikes a first blow against Yellow on instinct. The ensuing brawl is brutal, switching between the massive scale of two warring titans and the smaller scale of Steven and Connie scrambling to save the Crystal Gems as Blue and Yellow unload millennia of baggage on each other. It’s so important that Blue is the physical instigator here, as it fuels Yellow’s white-hot self-righteous streak like nothing else, and it keeps the fight from being one-sided all the way through: Yellow pretty much needs to be the one dealing the final blow for the scene to stick, so it gets balanced out by Blue’s opening punch.

Blue uses her powers on Yellow, and Yellow uses her powers on Blue, but Steven’s power is talking. So just like with Blue’s conversion, Connie gets the opening words while Steven gets the finisher. When he finally gets her attention after being ignored throughout the scene, he makes Yellow listen to him by using the same food-based expression I mentioned from all the way back in Laser Light Cannon. It’d pack a bigger punch if Greg said “If every pork chop were perfect, we wouldn’t have hot dogs” at literally any other point in the show, but it still does the trick.

Blue was emotionally ready to accept that Pink was suffering, but hadn’t considered the Diamonds’ role in that suffering. Yellow knew that Pink suffered thanks to the Diamonds, but suppressed her emotions to the point where she couldn’t empathize with her sister’s plight. Blue needed to be more thoughtful to change, and Yellow needed to be more in touch with her emotions to change, and thus the stage is set for the Battle of Heart and Mind against White Diamond.

Except that this isn’t the lesson of Change Your Mind. Blue and Yellow show that some bigots can be reached, which is great! But despite their differences, Steven uses the same basic strategy in both: he doesn’t let them belittle his identity, he confidently dispels their wrongheaded assumptions, and he gets help from allies instead of shouldering the burden himself. We spend the beginning of the episode seeing that in the right circumstances this approach can work, but from here we’ll see that with some bigots, it’s a non-starter.

So long as you can engage with bigots while maintaining your self-respect, it can be good work to try and help them see the light. It’s not an obligation, but if you want to change hearts and minds, Steven provides a good template for how to do it. Now the rest of the episode can focus on the bigger lesson: if someone refuses to respect your humanity when you’re steadfast and forthright, it isn’t your job to breathe in their poison, or to hold your breath until you asphyxiate waiting for change.

But more on that after the break!

I Can’t Believe We’ve Come So Far

As we reach the end of the original series, it would be criminal not to acknowledge three long-time storyboarders who are on their way out. This isn’t their final contribution to the series, as only one of Change Your Mind’s twelve credited writer/boarders didn’t go on to work on The Movie in some way (Christine Liu, whose tenure was brief but great), and Hilary Florido stayed on as a supervisor for Future. But I wanted to write the big sendoffs here, as this is the last proper “episode” that these three worked on as regular boarders. So it’s time to say goodbye to Katie Mitroff, Hilary Florido, and Jeff Liu.

First up is Katie Mitroff, who clocked two early knockouts with Alone Together and The Test alongside Florido. Mitroff’n’Florido went on to make other classics like Maximum Capacity and Joy Ride before the former teamed up with Lamar Abrams and the latter teamed up with Jesse Zuke for their next batch of episodes.

With Abrams, Mitroff deepened the lore of the show with We Need to Talk, Steven’s Birthday, Bismuth, Buddy’s Book, Three Gems and a Baby, and especially The Answer. She gave us the harrowing revelation of Back to the Moon, and the most ridiculous episode of the series, Restaurant Wars. Her final partner was Paul Villeco, finishing strong with The Trial, Back to the Kindergarten, Your Mother and Mine, Pool Hopping, What’s Your Problem?, Reunited, and Change Your Mind, 100% of which are either in my Love ‘em ranking or my Top Episodes. (Oh, sorry, spoiler alert I love Change Your Mind.)

It’s strange, because she didn’t work on any of the major episodes of Amethyst’s big arc at the end of Season 3, but Mitroff is one of my favorite Amethyst boarders: she’s the consistent thread between Maximum Capacity, Back to the Moon, and What’s Your Problem?, three cornerstones of the character. She excelled at going outside the show’s usual style, as seen in The Answer and Your Mother and Mine, and it’s no coincidence she helped animate Isn’t It Love? to bring Cotton Candy Garnet back for one last ride.

Katie Mitroff is an absolute rock star, I wish her well and you should too.

[thestylesindependent]

Inside Eroda, the fictional Harry Styles island that’s baffled the internet

Full Text from The Telegraph 4/12/2019

It all started on November 20. A Twitter account opened in October released its first post: “The Isle of Eroda’s rich history is embedded in daily life as the ruins of many structures from the past remain standing across the land. #VisitEroda”

It looked like a new marketing campaign for a little-visited, off-beat beauty spot. But a quick search would show it didn’t actually exist. Yet, Eroda had a website. Advertisements for the place were popping up on Facebook and Google. People interested in all manner of nerdy subcultures were foxed – it had the whiff of a clever marketing campaign about it, but what was it for?

Within hours, an Eroda subreddit had been created to discuss it. People dived deep into web hosting details, and only became more baffled as they seemed legitimate: “it ain't no kid doing a school project”. Was it a scam, a game, an elaborate prank? Some were convinced it was the beginning of a new Cloverfield film, World of Warcraft, a new Channel 4 series or even a means of human trafficking.

Meanwhile, scores of “Harries”, the sub-group of Directioners dedicated to Harry Styles, were piecing bits of evidence together. The pop star was due to release Adore You, the second single off his forthcoming sophomore album. “Adore” backwards was “Eroda”, and the video, released on November 23, looked like it had been shot in St Abbs, the Berwickshire fishing village where Styles had been spotted shooting in August. As Eroda claimed more of the internet, Harries  – some of the most forensic fans in the world – were sent into a flurry of investigation.

The goliath churn of a pop star marketing campaign is fairly familiar by now: cryptic social media teaser, excitable release date news, lyric video, full video, rinse, repeat.

Styles, who will release sophomore album Fine Line on December 13 and Adore You on Friday, satisfied many speculating fans on Monday with a near-three-minute-long trailer for the single, along with an illustration of the star standing in the ocean, surrounded by fish.

To those who had been studying Eroda for the past 10 days it was the confirmation they had been hankering for: Eroda was a Harry Styles project, and it confirmed what they had always known – that he is an artist beyond the normal realms of pop frippery (by contrast, former bandmate Louis Tomlinson spent the same afternoon releasing a video in which he sings in a bunker wearing a Stone Island parka).

Styles’ trailer introduced Eroda, showing it to be an island in the middle of the Irish Sea “shaped unmistakably like a frown, it is home to an all-but-forgotten fishing village that has had perpetual cloud cover for as long as anyone can remember”. Scenes appear of a typical coastal village, with crashing waves and brave little houses facing them. It gets increasingly weird: we learn that it is bad luck to “mention a pig in a fisherman’s pub” and to “whistle in the wind, in case you turn a gust into a gale”; the island mustn’t be left on odd-numbered days.  

The inhabitants of Eroda’s village always frown, calling it “resting fish face”. Until, that is, a beaming baby appears amidst the gloom. Deemed “peculiar” (a word that pops up a lot), the boy – who grows up to become Harry Style – was outcast, leading him to deal with his angst by screaming into jars. “He had lost his smile, and without it, the world grew darker, the wind colder, and the ocean more violent” the pan-European narrator explains. “Loneliness is an ocean full of travellers trying to find their place in the world”, she continues, as Harry finds himself bonding with a stubborn fish, before the film ends “to be continued…”

So far, so intriguing. But delve a little deeper into Eroda and you may find yourself wanting to visit. The island’s website – beautiful island views and a template dating back to the late Noughties – looks remarkably similar to those for any other charming coastal holiday destination, say Bute or Oban. “No Land Quite Like It”, reads Eroda’s strapline, before offering a familiar-enough menu: Accommodations, Attractions, Guide, Home and About Eroda. The video is similarly convincing: “Make memories for your senses at VisitEroda.com”, a dulcet-voiced woman encourages over shots of crabmeat and speedboats.

It didn’t take long for the Harries to take over the Eroda subreddit, moderators becoming increasingly rigid in ruling nuggets of unrelated Eroda flotsam irrelevant to the cause of discovery (such as the user who wanted to discuss Eroda, but without any intervention from the Harries). Tumblr users were similarly invested: “What do the ominous references to Him portend? What are they serving at those town dinners? You think it’s a cute little coastal AU [alternative universe] but upon closer examination it’s full-on Wicker Man meets Hotel California meets Nightvale in the afterlife (which is what most of those places are anyway so sure why not),” posted 1D Discourse of the Day.

The whole thing is littered with wordplay. Eroda, for one, is Adore backwards (Harry’s next single is called Adore You). But, as Directioners have pointed out, the copy throughout the website nods to forthcoming Styles songs: The Fisherman’s Pub is located on the corner of Cherry Street and Golden Way (Cherry is one new song, Golden is another); the album will be released on Friday, 13 December and Eroda recommends avoiding a departure on an odd-numbered day. Eroda’s fishermen wear a single gold earring for good fortune – a look historically sported by Styles.

Directioners went further still: the hosting for VisitEroda.com and Styles’ website, doyouknowwhoyouare.com, were owned by the same company, MarkMonitor.inc. Social media pixels linked pages about Styles with Eroda. Fans became suspicious over Visit Eroda adverts appearing not on their social channels or YouTube, but, of all places, on Wikipedia. “I'M FROM FRICKING PORTUGAL,” a baffled Reddit user posted. “NOTHING EVER HAPPENS HERE. WHY IS THIS HERE”.

Eroda had analog presence, too. A4 pamphlets – the kind of thing one could make on MS Publisher circa 1998 – appeared in the freesheet boxes on the pavements of Manhattan. At a promo event in Paris, Harry was asked about Eroda by a fan. He remained silent, but those who were there claim he “made a face”.

By November 29, more evidence arrived. A short film “advert”, which used footage from the trailer released on Monday, was screened by a new Harry Styles fan account from “Eroda”. They said the film appeared in a cinema in Kinlochbervie, on Scotland’s northern coast; the Eroda account then started to tweet about cinema screening times.  Eagle-eyed fans were swift to post screengrabs, showing similar island formations in the background of both the Eroda advert and that featuring Styles. The two were linked.

Kinlochbervie was, fittingly, a bit of a red herring: the footage shown in both the advert and the video trailer was actually taken in St Abbs, a picturesque fishing village in Berwickshire that’s no stranger to a rolling camera – it was “twinned” with New Asgard after being used as a location for Thor’s new home in Avengers Endgame.

Styles was there in August, shooting, it appears, a few things for the forthcoming album campaign. He and his crew used Angela Morris’s cottage, in St Abbs’ Sea View Terrace, as a green room during the three days of filming in the village, after Morris had responded to a note being popped through the door from a filming company. “One Thursday I was just coming home from work and there was Harry walking into the house,” she tells me. “All of the costumes were in the living room, make-up was going on in the kitchen.

“I asked if I could wait in the garden before my husband and I went out for the evening, so I just sat there when Harry came out,” Morris said. “I think he was having a coffee, and he sat down and chatted, asked me about bits and pieces about the village. I was talking to him about his Gucci clothes and we had a bit of a laugh. I wasn’t too starstruck, really, and I think he appreciated that.” Later on in the shoot, Styles invited Morris and her husband to share a glass of champagne with him and the crew.

While the shoot interrupted the sleepy pace of life on St Abbs for a few days – Morris says that visitor numbers had already been boosted by Avengers Endgame but small crowds of teenage girls began to crop up after word spread of Harry’s location – most villagers, she reckons, are pleased to see the place put on the map: “Most people I saw were embracing it and interested to see what was going on.”

A German artist named Mario Klingemann was, however, more incensed when his holiday collided with the shoot: “I didn't know who Harry Styles was until today when I learned that he's the guy who blocked off the entire St Abbs harbour and prevented us from enjoying our fresh crab rolls," he posted on Twitter, aggrieved.

But Morris found out about Eroda much like everybody else – through Facebook. “It’s really odd,” she assess. “Lovely footage of beautiful St Abbs, though.”

Long-lens pap shots from that shoot certainly seem to match up with what we’ve seen of Eroda so far. Styles gangles around in Seventies suits, befitting the aesthetic of his trailer. The smoking gun, though, is the presence of a young woman with hair that brings to mind a Dr Seuss illustration, or the hat Princess Beatrice wore at the Cambridges’ wedding. VisitEroda’s “about” page explains: “The primary occupation in Eroda is fishing, however, the island’s art scene has recently started to develop. In particular, Erodean hairstyles have become a rather bold expression of self amongst the island’s youth”. Clearly, these are scenes of Eroda that are being filmed.

There’s an unmistakably ominous air to Eroda, and some believe the video for Adore You will see some misfortune befall Styles – there were reports of a (fake) gunshot being filmed in St Abbs while he was there.

But what happens next is arguably less intriguing than what we’ve been given with Eroda so far. We are well-used to being nudged and prodded by pop stars ahead of a new release. Major albums aren’t so much brought out as “dropped” or “leaked”, arriving online in the middle of the night before their fans disseminate them through the internet. Fans, rather than critics, are given early listens – and under tight NDAs. Artists will clear their channels to mark a new direction, only to give us elaborate photoshoots and contrived poetry to create a “concept”.

Eroda is undeniably a “concept” – themes of loneliness, peculiarity, conformity and happiness have been woven into the fictional island from the off. But it’s been artfully done; look deep enough into the Reddit forums and you’ll see non-Styles fans begrudgingly accepting that this is the work of a former boy band frontman, rather than that of a somehow more “serious” game creator, filmmaker or even musician. Furthermore, it’s fun – and that’s all too rare in a pop world where things have become obsessed with authenticity, and a rogue comment can result in “cancellation”. One Directioner popped up on a thread only to add, “As someone who works in marketing/promotion... This is fucking genius. Harry Styles' team is tops”, and it’s difficult to disagree.

After a decade in which stars have had to up their social media presence to survive, tweaking and teasing their listenership in ever-increasing desperation to retain shrinking attention spans, Styles is closing out the 2010s with the greatest album campaign we’ve seen so far. As an artistic statement, it suggests the 2020s will be his to claim.

[dothwrites]

drowning

because i have many thoughts over the latest promo and @screamatthescreen said that i wouldn’t do it---i DID IT

this one’s extra angsty kids. here there be hints of mcd

---

He makes it back to the bunker. 

The portal is just a slender thread of rippling gold by the time that he stumbles through. Dean lunges through it and falls onto his knees, hard. The floor is unforgiving and pain ripples through his body. 

He barely feels it. 

Once he lands he barely has a chance to breathe before his stomach roils. Hot, sour acid fills his throat and he scrambles towards the toilet, retching all the while. Vomit bubbles out of his mouth the moment that his head crosses the threshold of the toilet and Dean lets it come. His stomach clenches as his system works in reverse and Dean purges it all out. Maybe, if he tries hard enough, he can purge out the memories, the sensations...

After a short eternity, his stomach has nothing more to give. Dean rests his forehead against the cool porcelain and shivers so hard that his teeth clack together. He can’t...He didn’t...

The stench of Purgatory still clings to him, all damp moss and decaying wood. Purgatory smells rotten, like something dead for too long and it’s still in Dean’s nose. He tries to rub away the bitter taste of bile from his mouth but the smell hits him again, just in time for Dean’s stomach to lurch. He leans over the toilet again, but nothing comes out as his stomach twists against itself. 

Purgatory was...The world’s turned upside down and twisted in on itself and Purgatory isn’t what he remembered. In the years that he was gone, Purgatory turned meaner. Its teeth gained razor edges, serrated and barbed, as it focused its claws and fangs on the two of them. This time there was no Benny to help them and in the subsequent storm...

He still remembers how easily his finger squeezed the trigger, how simple it had been to shoot--There were monsters everywhere, crazed beyond self-preservation, crazed into a frenzy. No matter how many he shot, no matter how many Cas stabbed, they kept coming and they kept coming and they kept coming...

It was pure, Dean had said once, and it was true again. Caught in the desperate battle for survival, he’d become nothing more than a machine. Take the gun, point, and squeeze. Point and squeeze. Point and squeeze. Until it was nothing more than muscle memory. 

In the mad craze, with blood spattering his face and gore caked onto his clothes, he had...He’d turned into nothing more than a monster himself, focused on the kill, focused on the pain, the bloodlust thrumming through his veins, the thought of destroy destroy destroy repeated endlessly in his head--Point and squeeze. Point and squeeze. And it had been enough, until suddenly, it was too much. 

Until suddenly it was Cas’ body in his sights and Dean...

Point and squeeze. 

And it should have been fine, it should have been fine, except it wasn’t, except this time when he was shot, Cas staggered backward, hand clutching at his chest. Except this time, instead of moving forward as relentless as time, Cas fell. Except instead of a mere hole left behind in Cas’ coat, now there was...There was...

You’re going to be fine, you’re going to be fine, you hear me you son of a bitch, you’re going to be fine, Dean said, the red faded from his vision. The only red now was the vivid crimson of Cas’ blood spreading across the white of his shirt. What the fuck Cas, you’re going to be fine, can’t you heal yourself, Cas, Cas, heal yourself Cas, Cas baby you need to get it together, come on Cas, come on, don’t leave me here alone, come on sweetheart, Cas, please--

The whorls of his palms and his fingernails are still stained a rusty red. The sight makes his empty stomach clench but he’s wasted enough time already. 

He needs to get back to Purgatory. He needs...

He just left Cas there. He needs to get him back. 

Failure tastes just as bitter as bile. Cas would never leave him behind. How many times has Cas put himself on the line, how many times has Cas thrown himself into the fire, just so Dean and Sam wouldn’t have to? 

Cas would never leave him behind. 

The bunker is still empty when Dean stumbles out into the library. He has no idea where Sam and Eileen have wandered off to, but it might be better that they’re not there. He’s about to do a very, very stupid thing and those things usually go off better when Sam isn’t in the picture. 

He eases his shaking body into one of the chairs. It’s been forever since he’s done this but his body remembers how its done. Slowly, he laces his fingers together and presses his knuckles into his forehead. 

He’ll pray later to Michael and ask him for one more favor, make whatever deal he needs to make in order to get another portal. He’ll dig up whatever Rowena needs for a spell, he’ll cut and threaten his way into Purgatory if he has to, but he can’t...He can’t leave Cas behind. Not again. Not now. 

Right now, however, there’s another prayer that he needs to make. 

It’s too little, too late, especially now, with Cas’ blood still ground into his hands, with the memory of Cas’ chest stilling underneath him. Too little, too late, but he needs to say it, needs to put this weight off his chest and put the words out into the universe. 

“Cas?” he murmurs. He clenches his fingers so tightly that the webbing between them hurts, that his knuckles hurt. “Cas, I don’t know if you can hear me or not. I don’t...” His voice catches in his throat and he forces the next words out through a rapidly closing airway. “I don’t know how we’re ever going to be able to get you back. But...”

Regret crashes into him, strong and unrelenting as a tsunami. All the times that he yelled at Cas, the times that he snapped at him, standing in an abandoned house and spitting out You’re dead to me, watching as Cas walked away, all the thousands of times that he could have said I’m sorry, eleven years when he could have told Cas I need you, I can’t do this without you, please don’t leave me--

“I can’t do this without you. I can’t...I need you. I want you. And I’ve tried and I can’t stop. So wherever you are, whatever it takes...I’m going to get you. I’m coming for you.” He swallows down the lump that rises every time he gets too close to the truth, every time he brushes too close to the always open wound that Cas causes in him. “I need you with me Cas. And I’m not going to stop until I find you and get you back.” 

There’s more that he wants to say. Three words crowd at the back of his teeth, but Dean closes his jaw on them. He’s waited this long to say those words. He can wait a little bit longer. Cas deserves to hear those words from his lips and not delivered via an angelic dropbox. He wants to watch how Cas’ face changes when he says those words. He wants to whisper them into Cas’ skin, watch how they shape themselves against the angel. He wants to say them every day, wants to open and close his days with those words. 

And he’s going to. 

He’s going to get Cas back, so he can show Cas, for the rest of his life, how much he’s wanted and needed. 

Dean turns around, ready to start, only to stumble backwards. His startled yelp echoes through the bunker and he’s viscerally glad that Sam isn’t here to hear him. 

Scythe in hand, Billie stands nonchalantly at around the same place that he takes his breakfast every day. “Howdy,” she says, blinking slowly at him. Pinned by her gaze, helpless as a butterfly on a corkboard, Dean freezes. Billie flexes her fingers on the handle of the scythe as she looks around, calm as if she’s sizing the place up for a new living room set. “Forgot what a nice place you had.” 

“Yeah.” Dean swallows down the acrid taste of adrenaline. “It’s all right I guess. Haven’t found it popular with the ladies lately.” 

The joke comes as a reflex, a knee-jerk reaction to finding the unfamiliar and terrifying in his living space. From the look Billie turns on him, Dean can guess that she didn’t appreciate the jest. 

“Is that what you care about? Being popular with the ladies?” There’s something coy in Billie’s voice that’s extra disturbing when he considers that she’s possibly the most powerful creature in the universe. Before Dean can answer that question, she throws him another curve ball; one that he’s so unprepared to catch, it slams into his chest with the force of a meteor. 

“Couldn’t help but overhear your prayer. If you’re going to pray like that, then you might want to try doing it to someone who’s alive to hear you.” 

Though Dean remains in one piece, he shatters. He’s gone, dispersed, and nothing on this earth could ever hope to gather the remains. 

Nothing that is, except for what Billie says next. 

“You mean it? You’re willing to do anything, make any deal in order to get your angel back?” 

There’s a trap here. Dean’s familiar enough with the life now to see it, not that Billie’s trying to hide it. But he’s also desperate enough not to care. 

Such a good thing that Sam’s not here right now.

“I meant it,” Dean says, through a suddenly dry throat. “Whatever it takes.” He lifts his chin and plants his feet. “I need him back.” 

“Well, lucky for you, I find myself in the same situation. Much as it pains me to say, there are bigger things afoot here, and pride doesn’t hold a place anymore.” Billie fixes him with a gaze as sharp as an angel blade. “So what do you say Winchester?” Her thumb strokes over the white ring predominantly placed on her finger. “You ready?”

I’m coming for you Cas. I’m coming.

Dean bares his teeth in a feral grin. His hand finds the ever-present Colt tucked into his waistband and the angel blade pressed against his thigh. “Say when.” 

Billie snaps her fingers.

---

tags! message/ask/reply to be added or removed~~

@screamatthescreen @queenvee08 @dizzypinwheel @misha-moose-dean-burger-lover @stay-inside-the-salt-ring @deansbff @spaceshipkat @rogerslouis @mishtho

[snarkwriteswrasslin]

FFT: punch drunk princess; jay white [m]

Notes:

okay so.. this one was another sent to my main’s ask. but it was sent so long ago that I honestly forget who exactly sent it, oops? Anyway, this belongs to the whole vamp x human universe that I created for Jay White and my oc, Esme. Maybe one day I’ll make something out of it.

Summary:

Jay put a glamour so strong on Esme years ago that she’s totally forgotten him. But when they’re reunited because he sought her out and chose her to do his interview Jay decides that maybe he wants to remind her exactly who he is and what they were to each other. Fingering and hand jobs, body fluids. Mature.

Pairing:

Jay White x OFC, Esme

Warnings:

hand jobs and fingering, body fluids, risky sexual situation, use of mental manipulation / a glamour and some pretty intense bickering and banter back and forth.

Esme took a deep breath and smoothed her hands down the black leather strapless dress. One quick glimpse at herself in the mirror and she was ready.. Well, as ready as one gets to go out and give a tempermental self proclaimed vampire an interview.

… just get out there,  let him do his promo and  don’t ask any of the questions on the no ask list. It’s not that hard, Esme… she reminded herself as she reached for the door handle and took two long and deep breaths to center herself  a little bit.

Having never met a man who claimed to be a decades old vampire before,  Esme was torn between believing the stories she’d heard and thinking the man was all show and no go; secretly leaning more towards the latter if it really mattered.

Given the men  she /had/ encountered -and been let down by, it wasn’t a real stretch for her imagination.

“You’re on in ten, Essie.”

“Mark, we’ve discussed this. It’s Esme.  E-S-M-E. Surely you can remember a four letter name and stop trying to make it cute?” Esme’s tone was sharp and Mark, the stage hand winced, but Esme just fluffed his hair and  straightened his tie. “Is my coffee ready too?”

“Already out front.” Mark assured her.

Esme stared at the black velvet curtain separating her from the professional wrestler she was about to interview.

“Four seconds.” someone called out and Esme started to make her way to the curtain. When she stepped through, she took her seat quickly.

The man sitting next to her was decked out in a designer leather  trench coat, leather skinny jeans and a pair of pretty pricey biker boots that she was almost certain she’d seen in a top end boutique that she shopped right next to. She didn’t realize  she was staring, - or that he was staring right back, until he cleared his throat and chuckled, leaning in ever so slightly.

Esme got the distinct sense that it was more to throw her off or unsettle her than anything, but there was this underlying note of seduction there that she’d have to have been the most oblivious person in the entire world to miss.

She smirked calmly as he whispered,  “Y’ look tense, princess.”

“Not  tense at all, sir. Let’s just do this interview  with no cute stuff and no outtakes, yeah?” Esme whispered back, careful not to let on just how much the man was truly getting to her.

She’d been warned about him before she’d been told that he specifically chose her to give the interview and asked if she  would,  so she was not about to let him play whatever game he was going to try and play to make her lose her level of professionalism. She took a sip of coffee and almost the second the cup was level with her lips, her mind was absolutely flooded with all this mental imagery..

The man sitting next to her, standing behind her, cock standing tall and straight, one hand tangled in a fist full of her hair and the other hand wrapped around his shaft, guiding it over her dripping cunt, teasing her with a shallow thrust here and there. She nearly choked and he chuckled from beside her, reaching out to pat her upper back as he muttered calmly, “Thought y’ were like steel. Nothin  could rattle ya.”

Esme gave a non amused glare, he gave a playful wink and clearing her throat firmly, Esme asked the first question on her spoon fed list from his personal manager. “Are you happy with the block you’ll be wrestling in for G1 Climax this year?”

“Very satisfied, yes.” Jay answered, studying her intently. Seeing her on a screen and being face to face  with her again after all this time were… two totally different things  and if he said he wasn’t beyond affected by being around her same as he had been that last night with her, he’d be lying. The thought had him shifting in his seat and he raked his hand through his hair, taking a deep breath, trying like hell to keep the mental images flooding his mind from doing so right now.

After all, he didn’t need Esme knowing the deepest inner fantasies he may or may not have had about her before the interview even took place.. The way he wanted to sweep all the shit off  the  top of the table they currently sat at, tearing down that dress, letting his mouth roam over those perky tits.. Grab a handful of her ass… No, he wanted to reach between her legs and rub her cunt til  she was arching her back and whimpering; begging him for more, telling him not to stop.

She tensed next to him  and he gave a satisfied smirk the second she did,  glad that she couldn’t see it. If he had to suffer the mental imagery, it was only fitting she suffer it too.

The program went to commercial and Esme leaned in, a smug look of determination in her eyes as she whispered calmly, “I don’t know what your game is, Jay White.. But it stops now.”

He met her gaze with the most innocent of looks and a haphazard shrug as he chuckled. “I’ve got no idea what you’re talking about. It’s Esme, right? Pity.. you know  my full name. I don’t know yours. Maybe we should change that?” for the moment, Jay was pretending not to know her beyond having seen her show. In reality, he knew her… Oh,  he knew her quite well..  And it stung a little that the glamour he’d used on her years ago after a very intense and passionate night together worked so well that she didn’t even feel some tiny spark or  shred of recognition.

… well  I’ll just ‘ave t’ change that, given that I’m back and I aim t’  make her all mine…

“That’ll be a hard pass from me, Jay. Pretty sure you’re like the rest of the men I’ve had on to interview from that profession.” even as Esme said it, she had this feeling somewhere deep down..  There was something tugging at her mind she couldn’t quite make sense of..  This sense of familiarity where Jay White was concerned.

“You mean like yer last boyfriend, yeah? No, nothin like him. For starters I’m more ‘f a man in one of my fingers as he is overall.. To do th’ things I heard he did behind yer back…Only a coward sleeps around on the woman he supposedly loves.” Jay met her shocked expression with a smug look and Esme’s mouth opened and  closed because for  the first time in probably her entire life,  she had absolutely no quick comeback. She muttered the word jackass under her breath and Jay leaned in, mused against her ear quietly, “Tell  me somethin,  princess?” - he knew he shouldn’t ask the question, because he didn’t want to have it confirmed that yes, he  had done such a good job with the glamour  he put her under while she slept  the morning after  their night together that she’d completely forgotten, but he… had to know.  So, he asked.

“I have a name.” Esme started to correct, but then her eyes met his and she felt this… Sudden lucidity washing over her.  She couldn’t even really remember what she’d been so irritated by  in regards to him by the time the fog wore off. She shook her head and stared at him a few seconds, curious. “Well?”

“Do y’ even remember me at all?”

Esme raised a brow  and bit her lip, wondering why he’d ask her such a strange question when she’d never met him before in her entire life.

“ I’d have to have met you first to remember you.” Esme answered calmly. The show picked back up and Esme started her interview again. Jay watched her intently, mulling over just how good he’d glamoured her all those years ago after their night together.

The problem was, even recalling the night with her… Bought it all rushing right back to the surface.

Esme nearly choked on her coffee again when her mind was flooded with another round of erotic mental imagery.

Her hands tied to a metal bedpost that looked vaguely similar to an old frame she once owned.. Legs spread wide.. The feeling of facial hair and a warm, wet and oh so thick tongue as it trailed slowly up the inside of her right thigh. His eyes as he stared up at her. The white of his fangs  as his mouth turned upward in that devil’s smirk. The feel of his hands  against her bare skin.

The way he fucked her with his tongue - and on two separate occasions that same night,  his cock. The way he pulled her hair and the way he lie there holding her in the semi darkness of the room for a few hours after that night.

Esme tried to keep her face blank and the tension out of her body, but the mumbled swear  was definitely heard by Jay and all he could do was smirk to himself a little, calmly answer the question she’d asked and flash her his best flirtatious grin.

Her side brushed against his and it was like a jolt. She tried not to react in any way, but she tensed before she could stop it. When she felt his hand squeezing her thigh,she bit down on her lower lip just to keep from purring at the contact. Sad to say, yeah.. It had been a while.

By the time the interview was over, she found herself thinking, she was definitely going to need a long and cold shower. When Jay leaned in and whispered against her ear quietly, “You’ll remember exactly who I am soon enough,  princess. After all, I am the one who erased the memory t’ start with..Only I can fully restore it. Maybe I will, princess..” in a slightly smug tone,Esme boldly met his gaze and raised a brow..“You really believe you erased my memory? Well okay then..  whatever helps you get by, Jay. And I do believe, sir, you have me mistaken with someone else. Because I’m telling you, I have never met you until your publicist reached out, saying you requested me  to do this interview.”

“Oh no.. I’d never forget the way those legs feel around my waist.. Or the way it feels to wrap my hand in your hair and tug on it as I take you from behind.. Tell me somethin, princess… Do y’still have that little birthmark on yer bum? The slightly heart shaped one.”

Esme’s cheeks flushed bright red and despite her best efforts, warmth pooled to her cheeks and between her thighs. Her panties were soaked. She clenched her thighs tighter, trapping Jay’s hand just as it slid between them. Jay shifted in his seat as he felt the sticky warmth coating her inner thigh. His hand crept higher and Esme jumped a little in her seat, thankful for the front of the table being made to look like a desk and thus, being totally hidden from view. Her heart started to beat wildly against her chest and she took a labored breath.

Jay stopped, meeting her gaze with the calmest look on her face.

Irked by it, she decided to get a little payback. She lowered one of her hands covertly, slipping it right into his lap. The second he felt her hand rubbing at the bulge strained against his leather jeans, he gave an audible grunt and smirked to himself.

Esme bit down on her lip just to keep from whimpering into her mic as she felt Jay’s thick digits brushing the soaked cotton covering her cunt to the side. As his fingers trailed lazily over her folds, she fought desperately for composure.

Jay wasn’t going to allow it, apparently because nearly the instant she got herself reasonably composed, she felt two of those thick fingertips working her open. Just to see if he’d stop if she called his bluff, she shifted in her seat, bucking against his fingers as she did so. As all this transpired, the two of them were masks of composure, carrying on the interview as if absolutely nothing else was taking place.

Esme started to rub at the bulge strained against his jeans a little harder and faster as soon as she felt Jay’s own pace changing and heard him swear under his breath.  She worked the zip down  and her hands slipped into his silk boxers, circling his cock, pumping up and down slowly and lazily, lingering long enough at the tip to trail a fingertip over it. Jay’s legs opened wider to give her more room and his fingers continued to fuck in  and out of her cunt, his thumb pressing against her clit, rubbing a  circular motion. He bucked as carefully as possible against her hand, biting his lip. Esme smirked and slowed  down her strokes drastically under a warning look from him during a third break.

Jay  slowed down the movements of his own fingers as he felt her starting to tighten and tense at his touch. He leaned in and muttered so that no one could hear, “Goin t’ give me somethin’ t’ taste?” as he sped back up. Esme did the same, groaning as she felt his cock throbbing in her hand, felt the warm and stickiness of his seed as it lazily drizzled down his length. Her own orgasm shattered through, leaving her no choice but to dig her  toes into her shoes and grip at the edge of the table they sat hidden behind  as it  took over. Jay felt her cunt tighten around his fingers and he felt  the spasms, the warmth of her release as it flooded her panties and covered his fingers. Slipping his fingers out, he smirked as he cleaned himself up as covertly as possible -careful to make it seem as if his hands were merely resting in his lap out of sight.

The interview was ending and on shaky legs, Esme stood. She felt like she’d explode if  she didn’t get somewhere with a locking door  and collect herself.

Jay stood too and as soon as he went in for  the handshake, he pulled her against him; suddenly not giving a fuck how it looked on screen. His tongue dragged along the outer edge of her ear covertly and he whispered; “Was good to see you again, princess. You’ve no idea how much I missed you.. We’ll be together again soon enough.”

Esme stood there, floored by his  words.  About five seconds into it, she was hit by all  these crystal clear memories.. Of a night that until just now, she’d long forgotten about. Given  the nature of her memories of Jay White from back then, she was hard pressed to figure out why in the hell she’d managed to forget all about him, but somehow she had.

… seeing him must have stirred it all up again, that’s all…  she shrugged off remembering as a mere coincidence and from where Jay lurked out of sight around the corner, he  smiled to himself while rubbing his chin.

Oh yes.. He would most certainly be seeing her again very,  very soon. Because just like last time, he thought  to himself with a smirk, she would invite him in… After all, she had to be curious what a repeat of  the last night, which he’d just restored the memory of, would feel like….

[pynkhues]

What do you mean Beth is terrible at self care? I believe you, but I need Examples

Oh, gosh, anon, this is such an old ask (the oldest in my inbox rightnow!) and I’m so, so sorry it’s taken me so long to get to it. It got swallowedup unfortunately. Hopefully this reply being so long makes up for it.

WhenI say Beth is terrible at self-care, I mean it actually pretty functionally onevery level. I don’t think she looks after herself physically, which we seeboth through her total lack of self-preservation when it comes to puttingherself in dangerous situations and her tendency to over extend herself; oremotionally, which we’ve seen through her compartmentalisation, avoidancetendencies and catatonic bed-ridden states. 

Ithink this all really stems from the fact that Beth’s somebody who has spent somuch of her life putting other people ahead of herself that I’m not sure sheactually knows how to understand her own needs beyond whatever herimpulses are telling her in a moment, and I think the show’s demonstrated thatin a few different ways.

Physicalself-care is probably the easiest, so I’m going to start there. 😊

I think our clearest example of the facets of Beth’slack of physical self-care - both her lack of self-preservation and herdifficulties with taking care of herself more specifically, is in 2.07 - TheDubby. 

It’sa pretty universal opinion in the fandom that going back into that house was a stupidact, right? She deliberately put herself, Ruby and Annie, into a dangeroussituation over something that really boils down to her daughter’s comfort. Evengetting to the door - where both Annie and Ruby are seeing red flag after redflag and trying to pull the plug, Beth barrels forwards into danger with reallyno heed at all as to what could happen to her.

Andthe thing is, Beth ‘going into the house’ so to speak is actually apattern of behaviour for her. It’s the rule, not the exception. We really seethis as early as 1.02 when Beth’s got Rio’s boy’s gun to her temple andchallenges him (although you could also argue that that was a last ditch effortat self-preservation, as opposed to the reverse), 1.03 when she goes toRio’s warehouse on her own (the warehouse being the criminal operation of a manwho literally just tried to have her killed), we saw it after Rio held a gun onher again in 1.06, and then when she threw the keys at him in 1.09.

Season 2 really doubled down on this. We saw it in 2.01when she gave Rio back the gun (after he’d just beat the shit out of herhusband no less), when she faces him at the end of 2.02, when she robs himagain in 2.06, when she goes unprepared to the baby gangster’s apartment to gether money back in 2.08,  and when she handsherself over to Turner in 2.13.

Of course, I think some of this you could argue –namely that some of this is her trusting Rio way more than she should, hershort fuse, and a broader naivety and an impulsiveness too, but I think when youmarry it with everything else too, it really boils down to a core lack ofself-preservation.

When I talk about physical self-care though, I’m not justtalking about her putting herself into dangerous situations.

So let’s jump back to 2.07 again.

While we have Beth running recklessly into thedrugdealer’s house, we also have another example of how she doesn’t take careof herself, namely through the opening montage. Beth is working. She’s morethan working, she’s leaving before sun-up and not getting home before sun-down.She’s compulsively leaving notes to her children while struggling to keep aholdof everything. She’s stretching herself thin, again, something that’sreally emphasised across both seasons. Beth bites off more than she can chew,and she pushes past her gag reflex to swallow it. We saw that with her committingherself, Ruby and Annie to washing more money than they could manage for Rio in1.06 (albeit that time they outsourced it through the secret shoppers), she didit with getting Rio arrested in 1.10 / 2.01 and the fallout with Boomer, shedid it in 2.06 when she strong-armed the deal with Rio, and the fallout intheir partnership, even in 2.10 with all her obsessive baking and organisingfor Jane’s school event.  

Some of this is cause-and-effect, some of it isdistraction, some of it is probably a means of managing anxiety (i.e. literallycatering an incredible spread of food for her arrest in 2.13), but it allresults in Beth spreading herself beyond reason to prove something to herself,to somebody else, or to commit herself to an image in a way that on it’s ownwould be a quirk, but when paired with how quickly she falls apart when thepeople she’s doing these things for are removed from the equation, issomething more indicative of a lack of self-care.

What I’m saying here is that Beth doesn’t take care ofherself unless it’s serving other people. 2.09 is, of course, the clearestexample of this. After Dean takes her kids, Beth stops cooking, relying insteadon microwave meals, she doesn’t clean up – something that is pointedly unlikeher, she doesn’t even dress herself with the degree of care she normally would –namely, her socks don’t match. It’s directly paralleled at the end of theepisode by Dean bringing the kids back and Beth cooking a feast andcompulsively cleaning her house.

I actually think we see this in other ways toothroughout the series. Particularly in 1.01, we see it when she’s getting herwax (the way that scene is presented to us almost immediately after showing usher and Dean’s disconnection, and then her talking about her lack of sex lifewith him with the beautician ergo implying that Beth’s getting it for him, I’dsay probably in the hopes of sparking interest / reconnecting in some way), butalso particularly in when Beth is struggling generally, that translates verypointedly in the way she dresses in a way that it doesn’t in Annie and Ruby. Whenthings are rough, Beth sticks in her pyjamas and she usually stays in bed.

Which brings us to her emotional state generally. I’vetalked a lot on here about how Beth compartmentalises and avoids. She bottlesshit up. She bottles it so tight that it erupts in one of two ways – an act ofrage and destruction i.e. destroying Dean’s office in 1.01, arguably having sexwith Rio in 2.04, certainly robbing Rio blind in 2.06, and, of course, shootinghim in 2.13. The other way it erupts is that she collapses in on herself – wesaw that with Dean telling her he had cancer in 1.04, and with Dean passing herthe divorce papers in 2.11, and, from the promo pics, I think we’re going tosee that in some way, shape or form in 3.01 too.

Neither of these are healthy ways to handle anything,but they happen because Beth doesn’t take care of herself emotionally, and hasno outlet to pour her feelings into. Ruby has Stan, and Annie has Beth, butBeth? Beth doesn’t have anyone, at least not in a way that she’s willing touse. Sure, Ruby and Annie would hear her, and have, on occasion, but we’vealso seen how reluctant Beth is to share anything about her interior life withanyone (even, arguably, herself).

A lot of this seems to be learned behaviour. As 2.08showed us, Beth was a caregiver by the time she was in highschool, both to hermother and to her sister, and all in all that’s shaped her into being a personwho lives in the service of others. The fact that she fell into a relationshipwith Dean at a very young age and didn’t work beyond highschool, I think,further cemented those feelings of domestic servitude and needing to put asidepersonal care to be a caregiver. Beyond that, as I said above, I alsothink it blossomed into Beth being out-of-touch with her needs and her feelingsboth broadly and specifically, but that feels like a whole other post, haha.

[erinptah]

Super Drags review (tl;dr Show Good)

The post where I do my best to spread the Good News, that there exists a saucy gay drag-queen magical-girl animated comedy and everyone should watch it.

Okay, not everyone -- I'll give some caveats at the end -- but definitely a heck of a lot more people than Netflix has bothered to advertise it to.

Look at this! Why did nobody tell me about this??

What is Super Drags?

Fast facts:

It's a 1-season, 5-episode adult animated comedy series, released in November 2018

Here's the official page, with a free-to-view trailer

It packs more explicit, unashamed queerness into those 5 episodes than any other cartoon I can think of

The only possible competitor would be if you took the whole 5000-episode run of Steven Universe and pared it down to a supercut of Just The Gay Parts

This in spite of being produced in Brazil, which (in my broad understanding, as a total non-authority on the subject) is more oppressively, dangerously homophobic than the US

The original is in Portuguese

There is an English dub, fabulously voiced by contestants from RuPaul's Drag Race

It's wrapped in "for adults only!" warnings, not because the content is any less child-friendly than (say) your Bojacks Horsemen or your Ricks and Mortys, but because Brazilian authorities tried to get it shut down on the grounds of this much gay being Harmful For Children

It was (heartbreakingly) not renewed for a second season

Here's a promo video, in which the main characters (Portuguese, with subtitles) play Drag Race judges for Shangela, who ends up voicing Scarlet in English.

And here's a beautiful flashy music video of the big musical number! (Also Portuguese, no subtitles, but the melody and the visuals stand on their own.)

Plot and worldbuilding stuff!

The elevator pitch is "What if Charlie's Angels, but also drag queens, with superpowers, because magical-girl transformations?"

In this universe, all LGBTQ people have magical energy. The Big Bad is an evil magical-drag-queen nemesis who tries to drain our energy for her own purposes. It's like if Ursula from The Little Mermaid was a first-season Sailor Moon villain.

...sidenote, in case you were worried, the representation isn't "cis gay men and nobody else." There's a butch lesbian in the recurring cast, a genderfluid person (in that specific word!) as a one-off love interest, and all the ensemble scenes are wonderful collages of different races, body types, and gender presentations.

Our heroes also fight non-magical everyday homophobes, who get written with scathing realism.

The moment I knew the show wasn't pulling any punches was in the first episode, where a newscaster complains about being Silenced by the Law of Political Correctness, then chirps "however, we have a special guest who is thankfully above the law!"

According to the reviews I've found from Brazilian viewers, it's also pitch-perfect when it comes to local queer culture, community dynamics, slang and speech patterns, even memes. All of which flies right over my head, so here's a post (with no-context spoilers) about one viewer's favorite details.

The handful of reaction posts on Tumblr have a dramatic split between "Brazilian viewers fiercely defending the show as culturally-accurate, uplifting, and brave in a terrifying political moment" and "American viewers complaining that the show is problematic because it's a comedy about drag queens with no perfect role models and lots of sex jokes."

As the Super Drags tell their nemesis (and this is also in the first episode): "How dare you try to turn the LGBTQXYZ community against each other? We do enough of that on our own!"

In between missions, our girls work sitcom retail jobs and deal with other everyday problems. All of which are written in amazingly nuanced and thoughtful ways for a show that also features "defeating an orgy monster with a lip-sync battle."

Detailed character stuff!

Our heroes are Color Coded For Your Convenience!

The Super Drags themselves go by "she" in-uniform, and a lot of the time when out of it. Like the Sailor Starlights, only more so. I'll roll with that.

In blue: Safira Cyan, or Ralph by day, an excitable college-age kid who's built like a football player and squees like a fangirl. (She's an anime fan in the original, and for some reason all the otaku references were replaced in the dub, but you can see them in the subtitles.)

Ralph lives with her younger sister (they play video games together!) and their dad, comes out to them mid-series, and is very shippable with another young guy who starts out reciting the homophobic beliefs he was raised with but whose heart clearly isn't in it.

Safira's weapon is a classic magical-girl wand that casts protective force-fields. Which are shaped like condoms. Because of course.

In yellow: Lemon Chiffon, aka Patrick, the oldest of the group and generally the smartest/most strategic. In most cases, the other two treat her as the de facto team leader -- unless she pushes it too far.

By day she's a single guy with thick thighs and thinning hair, who has some body-image insecurities on the dating scene. And this show has Things To Say about unrealistic beauty standards within the community...not to mention, about masc guys who look down on anyone too flaming or femme because straight people disapprove.

Lemon's weapon is a fluffy boa that can be used as a whip or a lasso, especially when there's a bondage joke to be made.

In red: Scarlet Carmesim, also Donizete, the loudest and most aggressive teammate with the most cutting insults, who refuses to suppress that attitude in an attempt to appease racists. (But will give it a shot when trying not to get fired.)

Donny still lives in her religious/homophobic mom's apartment, and I'm pretty sure it's because neither of them can afford to move out. Her rock-solid sense of fierce self-confidence is the reason it doesn't bring her down.

Scarlet's weapon is a fan that she uses to throw shade. Yeah, you knew that was coming.

The Charlie to these angels is Champagne, who runs operations from a cool magitech compound and breaks the fourth wall at the end to petition for viewers' support in getting a second season.

...we let her down, folks :(

So here's a thing. The show never draws a sharp line between "people who become drag queens because it's a way they're driven to express themselves as gay men" and "people who become drag queens because they were trans women all along." That's consistent with how South American LGBT+ culture works. (Again: best of my knowledge, not personally an authority on this, etc etc.)

Many of the characters, including Champagne, never describe themselves in ways that translate to one of our sharply-defined Anglo-USian identity categories. And I'm not going to try to impose any English labels on them here.

But I can say (in contrast to Safira, Lemon, and Scarlet), Champagne never switches out of her "drag" name/voice/presentation, not even in the most candid off-duty scenes, and still has the same bustline when naked in the tub. Make of that what you will.

You Should Watch This Show

If you have a Netflix subscription, watch Super Drags!

If you ever do a Netflix free trial month in the future, make a note to yourself to watch Super Drags!

It's one of their original productions, so there's no risk of missing your chance because the license expired. But it's absolutely not getting the promotion it deserves. Which means potentially interested viewers won't find it, which means Netflix will think there's no interest, which means they'll keep not promoting it...etc etc etc.

No idea if there's any chance of getting it un-canceled, but maybe we can at least convince them to release it on DVD.

And the sheer gutsiness it took for a group of Brazilian creators to produce this show in the first place -- that deserves to be rewarded with your attention.

In spite of various anti-discrimination laws that sound good on paper, the country has serious problems with homophobia, transphobia, and anti-LGBT violence (warning, article has a violent image which is only partly blurred).

Maybe the creators could've gotten a second season if they made this one softer, less sexually-explicit, more restrained...but honestly? I bet that wouldn't have helped.

Consider Danger & Eggs, an Amazon original cartoon. It was made in the US, thoroughly child-friendly, and restricts its LGBT+ representation to things like "characters go to a Pride celebration...where nobody ever names or describes the quality they're proud of."

And it didn't get renewed past the first season either.

(Note: it had a trans woman showrunner and a queer-heavy creative staff, so I blame all that restraint on executive meddling, not the creators themselves. The showrunner even liked the tweet of my review that complains about it.)

So there's something very satisfying about how Super Drags went all-out, balls-to-the-wall (sometimes literally), all the rep explicit and unapologetic, packing every 25-minute episode with all kinds of queer content that would be censored or muted elsewhere -- but here it's exaggerated and celebrated and just keeps coming.

(...as do jokes like that, and I'm not sorry.)

Okay, there are a few legitimate reasons to not watch this show

Some caveats.

None of these things are Objectively Bad Problems that the show itself should be shamed for...but maybe they're genuinely not your cup of tea.

It does have actual Adult Content beyond "the existence of gay people." This show loves to swing barely-clothed cartoon genitalia in your face. There is, as mentioned, an orgy monster. If that kind of humor is going to bother you too much to appreciate the rest of the show, give it a pass.

I wasn't kidding about how realistic the homophobes are. Opening of the first episode has a guy trying to murder a busload of people while shouting slurs at them. If that level of hatred on-screen is gonna crush your soul, even in a show about sparkly queens flying to the rescue with dick-shaped magical weapons, don't push yourself.

Any fiction with this much crossdressing and gender-transgressing is going to hit some trans viewers in a bad way. Because trans people are such a broad group, with so many different experiences, that Every Possible Trope Involved pushes somebody's buttons. (See also: "some trans readers complain about a storyline that turns out to be drawn from a trans writer's actual life experience".) If this show goes does gender things that turn out to be personally distressing for you...or even just distressing for this specific time in your life...don't feel obligated to keep watching.

It has aggressively-sassy queer characters making jokes and calling each other things that are affectionate in-context, but would not be okay coming from straight/cis people. If you can't wrap your head around that, go watch something else.

Other Than That, Go Watch This Show

For all its big heart, big ambitions, and big gay energy, Super Drags is tiny enough that I've binged the whole show 2 times in the past 2 weeks. Thankfully, it's highly re-watchable -- lots of fun background gags and subtle foreshadowing that you don't catch on the first round.

(Pausing one last time to appreciate that a show with elements like "the high-tech robot assistant is called D.I.L.D.O." can be subtle at all, let alone be this good at it.)

I've also paged through all the fanart on Tumblr and Deviantart, looked up the single fanfic on the AO3, and started brainstorming plans to request it in Yuletide next year. Someone, please, come join me in (the English-language side of) the itty-bitty fandom for this ridiculous, glittery, over-the-top, fabulous series.

[quintessence-sentimentalist]

quintessence-sentimentalist Takes on 30 Days of W.i.t.c.h.versary!: Week Three

Week Three already! Days 15 through 21 below the cut!

Day 15 Something that needs a quick fix

Ahaha, well, some 99.9% of things that need fixing with this series can’t be completed quickly, so let me just go with the simplest thing that comes to mind:

The uniform color errors.

In both the comic and cartoon, there are color swaps between the top and bottom, with Irma being the most frequent offender (frankly, I only remember Cornelia’s top being purple on the cover of one of the final Ludmoore arc issues, and maaaaaaaybe Hay Lin got a color swap once too, so basically it was all with Irma). I don’t know if it’s because she and Will might look a little similar in black-and-white or something and that’s why there was confusion over whose top is which color (although if that’s the case then why didn’t it happen to Will too?), but it just kept happening throughout the series. It’s even wrong on the official promo art/opening sequence end card for the animated series. 

So yeah. Easiest fix I can think of is to please check which color goes where before inking them in.

Day 16 Something that needs an overhaul

I’m just going to spin the wheel here...

Better executed romantic break-ups/avoidance of shitty break-ups altogether. Consistent lore. All the arcs New Power and beyond. New Power Matt. That one self-indulgent what-if I had about leaving Medina, McTiennan, and Sylla’s memories intact and they basically become the girls’ non-magical mentors and trusted adult figures who help them balance their lives between Guardianship and just being normal girls.

Uh... I can’t choose. 

I’ve talked at length about and reimagined a lot of these before (and will do so again, for sure), and those I haven’t people have discussed much more eloquently than I can. And I’m sure I’m still missing some, so I’m not going to get too deep into this and save that all for inevitable rambles later on.

Day 17 Something that needs to be revisited

The Astral Drops, hands down. Why bother sending them off to live new lives of their own, while pointedly leaving them with magical tattoos that will light up when Kandrakar must call on them, if you’re not going to loop back around to that? Honestly, this is something that should have slid back into the narrative in at least some way before things wrapped up.

Day 18 Something that needs more love from the fandom

It’s going to be too predictable if I start chanting “animated series Matt and Will/Matt” (but really, they do deserve all the love), so let’s go for a different angle this time.

Oh... well, I guess since I was already at it, maybe the animated series itself? 

Alright, look: I was a comics purist for a solid eight years. I watched the show in full and enjoyed particular (largely season 2) parts, but I still had the frequent complaint that it wasn’t a faithful adaptation and didn’t watch it again for years even when I regularly reread the comics. 

But then the English translations of the comic ended, and I was left without any real new material. A couple years later, I was about to go off to college and came across something that reminded me of the cartoon (more on that later on), and I figured what the hell.

It’s still not a perfect or even great adaptation of the comics, and sometimes I still struggle with getting through the first season, but going back to the animated series as a young adult - after years of distance from it and easing up on my rigid stance on comics-only - helped me gain a newfound appreciation for it. The animated series did some things I liked better than in the comics. It had a badass theme song. From a fan creator perspective, I found the cartoon universe a little bit more malleable and full of possibilities than with the comics, partially because it unexpectedly got cut short.

I’ll be the first to admit that I don’t necessarily have impeccable taste when it comes to media (I have a guilty pleasure for short-lived and long-forgotten early 00s sci-fi action shows. I unabashedly enjoyed the live-action Birds of Prey series, and that’s even more wildly inaccurate a comic adaptation than the W.i.t.c.h. cartoon). Still, I think about some other animated series that are based on beloved comics/manga but not direct adaptations, and some of those are considered just as good or even better than the originals (and potentially subsequent accurate adaptations). I feel like at the very least, the W.i.t.c.h. animated series could be a guilty pleasure, or even enjoyable AU adventures of the girls as they are in the comics. 

Day 19 Something small but unforgettable

Nothing was immediately coming to mind, but then it hit me. I love that the animated series changed the name of Will’s power to quintessence in the second season. 

In the comics, her powers were a bit of a nebulous space, while the others’ were clearly defined elements. I remember it being called “energy” or “absolute energy,” which... while not wrong, it’s just such a broad term, and frankly is missing some pizzazz to it. It wasn’t even a consistent name, since oftentimes Will just called out for the Heart, and then with New Power it became “the power to unite them” or something (uh... what?). I just think it’s weird to have one of your main characters without a clearly defined - or simply named - ability, unless it’s intentionally vague to allow for various deus ex machinas from the Heart, with Will serving solely as the conduit.

And that’s kind of what happened with the first season too, where Will was honestly only able to activate the Guardians and close portals and had no inherent offensive ability. So season 2 was great in the respect that they actually gave her a power, but then there was that name!

Seriously, quintessence. Even before you really know what it is, it’s a pretty kickass name, right?? It definitely has the mystical quality to it, and the fact that it literally translates as fifth essence/element makes it just too good. Guys, there’s a reason why it’s in my username.

(Well, that and the fact that seeing the word and its definition again after many years reminded me that I should rewatch the animated series, and that was what kicked off my spiral back into W.i.t.c.h. fandom. It did tie into the “sentimentalist” aspect in the end.)

Day 20 Something you’d always come back to

Hmm, I’m a little unclear on the prompt for this one, whether it means something I’ll reread/rewatch, or some idea from the series that just sticks with me. I’m going go with the first interpretation, which I guess also ties in with the second.

Hardly a surprise at this point, but I regularly rewatch the most pivotal episodes of the Shagon arc - those being L is for Loser, M is for Mercy, and S is for Self. I just love seeing Shagon in the forefront as a villain, and how Will knows how to deal with Nerissa in some respect at this point (staying suspicious - maybe a little bit too much - and learning to out-strategize the ex-Keeper), but goes absolutely ballistic and loses her calculating edge whenever she’s facing Shagon on his own. He knows exactly how to needle into her vulnerabilities, and the two of them engaging in emotional warfare is just so good. Watching these always gets me wondering how the fallout from this arc would have gone had we had more time and the series had a different tone (maybe more along the lines of Young Justice, to borrow a different Weisman show), because I’m firmly of the mind that Matt would have some lingering trauma from the experience (which he’s had to put aside to take on a new role and deal with everything else that came after he was freed) and I would have loved to see that play out.

As for the comics, though, I like to loop back around to the girls’ potential futures from issue 50. Their careers just fit them all so well, and the way their designs and friendship evolved into adulthood just felt right to me. They’re all grown up and more sophisticated now, but they don’t simply look like a slightly older version of their Guardian forms, and manage to maintain a semblance of their styles from their young teen days. And even though they’re no longer active Guardians and are busy with their own lives (sometimes in various other places), thus not being in each others’ back pockets anymore, you can tell their bond is holding just as firmly as it was forged back in the day. I vastly prefer this glimpse into the future over the one we’re shown in the post-New Power era, so I like to use it at least as a basis for when I imagine the girls post-Guardianship. 

Day 21 A memorable architectural design

I do love the design of Sheffield Institute. It’s just so elaborate and wildly different than what you’d normally see for a high school, at least from my view and experience. It certainly looks like a place with a rich history, and honestly I think it’s a great parallel to Kandrakar and the castles of Meridian and Arkhanta - not quite as regal or mystical, but still a structure with some elegance.

[salvatoreschool]

5 Reasons You Should Be Watching Legacies

October is, just objectively, the best month of the year. Exhibit A: Golden autumn leaves. Exhibit B: All things apple. Exhibit C: This gif. Exhibit D: Witches. Like, it’s just science.

Around these parts, though, the best best thing about October is, of course, the television. Yes, I’m talking spooky, kooky Halloween specials—love a good Halloween special—but also I’m talking fall premieres. Specifically, I’m talking The CW’s fall premieres, which have been landing in mid-October (later than most other broadcast networks) since at least the first season of Arrow.

This fall, the teen-skewing network’s biggest draws are, arguably, the series debuts of Batwoman (October 6th) and Nancy Drew (October 9th), and the final season bows of Arrow (October 15th) and Supernatural (October 10th). But while I’m professionally interested in seeing how all those premieres play out, the CW joint I’m most personally invested in getting back on my screen (also October 10th!) is Julie Plec’s supernatural boarding school double-spin-off teen drama series, Legacies.

Friends—you should be watching Legacies. I know there’s a lot of television out there, but really and truly, if you like television that likes being television (more on that in a minute), Legacies is absolutely worth tuning in to. Why? Well, let me just count the reasons:

1. You don’t have to do any television homework to join the fun.

Yes, TECHNICALLY Legacies is a hybrid spin-off of two different long-running Julie Plec series, The Vampire Diaries (eight seasons) and The Originals (five), and sure, technically it was in those series that the mythology driving the character arcs/motivations of Legacies’ most central leads, Hope Mikaelson (Danielle Rose Russell) and Alaric Saltzman (Matthew Davis), was developed. After spending a cumulative thirteen seasons not just telling stories on television, but telling stories on television from this specific world, Plec’s ability to set efficient narrative groundwork under fast-moving vampire feet is nothing if not masterful. Genuinely, aside from a few single-episode cameos of side characters from Hope and Alaric’s TVD/Originals past, the only thing you need to watch to make sense of Legacies is this official promo for the first season:

…and honestly, most of that soliloquy, plus much more, is folded into the cold open of the series premiere, “This is the Part Where You Run,” which uses new lead Landon Kirby (Aria Shahghasemi) as audience avatar as he gets introduced to this particular supernatural world for the first time.

2. Two words: Julie. Plec.

That said, if you are familiar with Legacies’ double, er, legacy, you’ll get a kick out of how precisely Plec has taken her signature whip-fast storytelling and fitted it to a breezier, more “teen” setting, and how deftly she manages to weave in both key characters and core emotional beats from both her previous series.

The most obvious example of all of this is Matthew Davis’ Alaric Saltzman, who became such a fan favorite during his time as vengeful-vampire-hunter-turned-loyal-teen-vampire guardian-turned-rogue-vampire’s-best-friend on The Vampire Diaries that not only did Plec resurrect him from the (very truly) dead to keep Damon Salvatore (Ian Somerhalder) on the straight and narrow, but she then brought him on as co-lead of this series to do the same for every supernatural teen in the contiguous United States. Now, as both father to a pair of Gemini twin witches (Kaylee Bryant and Jenny Boyd) and mentor/father-figure to Hope, the teen witch-vampire-werewolf tribrid with a hero complex, Alaric gets to flex all the emotional muscles TVD fans know and love. Plus, as the Salvatore School’s headmaster, he also gets to take charge of the dramatic supernatural research and heroic (and/or chaotic) supernatural missions that are key to a Plec series’ fast-paced success. Beyond all of that, though, in positioning him as the central human adult foil to a whole pile of supernatural teen protagonists, Plec has also found a way to let him be funny, bringing a uniquely fun dynamic to the fast-moving monster drama of the TVD universe that hasn’t always gotten such pride of place.

In other words: Julie Plec, still running wild supernatural stories turned up way past 11.

3. Three words: Supernatural. Boarding. School.

One more time, in case that didn’t sink it: Supernatural. Boarding. School.

I really shouldn’t have to elaborate on this, but Legacies is set at the Salvatore Boarding School for the Young and Gifted, which is the school for young witches, werewolves, vampires, and Hope that was funded by Hope’s (dead) dad and is located at/on the Salvatore family’s Virginia estate, just outside Mystic Falls. All the moody opulence of Damon and Stefan’s TVD homebase, all the zingy, angsty tropes of great Teen TV.

More than just being a fun setting, though, the Salvatore School gives Legacies a chance to sprawl out and complicate the consequences of being a teenager consigned to eternity as part of the supernatural world. These consequences are still very real and very serious in Legacies, but while The Vampire Diaries mined dramatic tension from supernatural teens (or at least vampires who looked superficially like teens) living in dangerous proximity to human teens, its kid sibling series looks inside for its tension. The teens at the story’s core need, first and foremost, to find a way to come to terms with their own inhumanity, and what it means to be good as they define it. And honestly, after so many years of TVD stories focused on the former, spending time with a bunch of super compelling, super different supernatural kids working through the latter is just a treat.

4. A diverse cast and diverse stories

This leads directly into a key update to the TVD legacy: With such a sprawling cast of teen characters brought to the Salvatore School from all walks of life and corners of the country, Legacies gets to improve on one of the original series’ greatest weaknesses: A lack of diversity. While both Alaric and the three central female characters of Legacies—all carried over from the previous series—are still white, the characters that round out the rest of the new series’ core cast are not. On the adult side, Alaric is joined by faculty members Dorian Williams (Demetrius Bridges) and Emma Tig (Karen David), while on the teen side, Hope, Josie and Lizzie are joined by softie vampire MG (Quincy Fouse), activist vampire Kaleb (Chris Lee), reluctant alpha werewolf Rafael (Peyton “Alex” Smith), ex-alpha werewolf Jed (Ben Levin), bad girl with Penelope (Lulu Antariksa), and the audience avatar/mystery box supernatural mentioned above, Landon Kirby (Aria Shahghasemi). Nor is racial diversity the only benchmark hit with this large cast. In terms of queer representation, Josie is bi, with Penelope her ex/possible future girlfriend; in terms of class representation, Rafael and Landon are foster brothers who both have dark histories with the system.

Importantly, none of these measures of diversity are included just for show. Each character’s identity and background are as key to who they are within the heightened emotional context of the boarding school as their individual supernatural abilities. Kaleb’s experience as a young black man (and vampire) is markedly different from MG’s, which is markedly different from Dorian’s (who, to be fair, is also not a vampire). Josie and Penelope’s relationship is informed by their strengths (and weaknesses) as witches, and further informs how they each approach solving problems both social and magical. Landon and Rafael’s history, as thrown away kids whose only shelter was each other, drives every decision they make. That diverse identities should inform characters in these ways isn’t a surprise; that Legacies is embracing them all now after so many seasons of its parent series falling short is, if not surprising, then at least worth taking note of.

5. Finally: Legacies totally knows it’s a TV show.

This seems self-evident, but as pop culture critic Grace Robertson so sharply observed earlier this year in her essay “Let TV Be TV” (like, literally; the heading above is a direct quote), the best trick Legacies pulls isn’t even a trick. It’s just being good at being entertaining, episodic television.

In an era where a TV show can be anything from thirteen thirty-minute episodes (pick literally any prestige comedy) to dozens upon dozens of bite-sized Facebook posts (SKAM Austin) to an 18-hour art film (Twin Peaks: The Return), defining just what counts as television is practically a professional sport. Well, it’s a sport Legacies isn’t interested in playing. With both its new-to-the-TVD-verse Monster of the Week mode of storytelling and the Salvatore School as its comfortable, “fixed point” setting, Plec is even better at framing episodic stories than she was in her already rollicking previous series. In a television landscape so full of cinematic innovation, the freedom this old school “status quo” television model gives Legacies is, as Robertson notes, a huge relief.

So, yes: Legacies knows it’s a TV show, and it knows it’s a fun one. With the short first season currently streaming on Netflix, there is literally no better time to jump on the Legacies bandwagon than now. And I know it’s one I can’t wait to have back in my weekly rotation. All hail October.

Legacies Season Two premieres Thursday, October 10th on The CW.

[andysandfordcomedy]

Words to Graduate By

I’ll be honest here. If I were to travel back in time and tell my younger self that I would one day be giving a commencement speech at the graduation ceremony of a prestigious university, I’d think I was nuts. Firstly, I’d have a hard time buying the whole time traveler story, even from my older self. I mean, why would I waste a trip in time just to tell me about a speech I had to give? Beyond all that tho, I am a high school dropout who makes an artist’s living from stand up comedy: the least respected of the fine arts. Who would hire me to inspire college graduates? Well, older, time-travelling me would know that I was not hired to write or give such a speech, but have taken it upon myself to publish the speech I would give, were a prestigious university to sac up and give your boy the opportunity. Younger me can go on believing he accrues some sort of clout in academia in his mid 30′s. Why take that away from me/him?! My mom would be very happy if this were the case, and it doesn’t hurt anyone, so not a word of this to my mother, please.

Anyway, I’m not here to plead for my mother’s piece of mind, or defend my frivolous use of time travel. I am here to disseminate words of wisdom and warning to the young hearts and minds who are about to make their mark on the absolute shit show that they have inherited from the multitude of prior, fucked up generations. The dumbasses who hamfistedly paved the way so that their future trustees (y’all) could go fuck yourselves. The future is in the hands of all you young, goofy mother fuckers now. The garbage humans before you have made their mess, and now get to be the burden for all youse left in charge of this impossible nightmare dystopia. I implore all of you to nurture not your bitterness. Sure, it would be easy to complain about the state of global affairs and the dying planet in which they fester. YES, you face great adversity, but hop off the goddam cross for a sec. We all know that such adversity makes you stronger, unless of course it just crushes you. You are welcome for that. True greatness shows itself in tumultuous times. That’s something I have read somewhere I believe, or maybe I made it up, but it sounds right, right?! The point is: don’t let your depressing circumstance bring you down. Remember that you can always off yourself if the pain is too much. I’m saying, last resort *obviously*, but it IS an option, so take comfort in that. 

Don’t be afraid to take chances. Lord knows your parents and grandparents rolled the dice like there was no tomorrow. Of course, there was a tomorrow and it is today, but your tomorrow is definitely a goner. Big bummer, I know, but belly aching won’t bring about a habitable planet for your kids to also be ungrateful for. The truth is, fossil fuels are kind of the shit, and we never considered the potential harm in our “smoke em if you got em” approach to nonrenewable resources. Oopsy! It’s not your fault that we had coal power everything for a couple hundred years, but that’s what happened and you don’t get to cry about it now. The shit is gone, kids. Go find your own fossil fuel to burn up: make your OWN WAY. 

Pull yourselves up by your bootstraps and make shit happen, just like no one before you. Get yourself a job or three to pay off the education you were told would give you a leg up. Yes, you are an indentured servant that is being charged interest for the means to a whiff of a piece of the pie, but tuition is outrageous and you weren’t patient enough to save up the few 100 grand it would have taken for you to avoid being in anyone’s pocket. Look at Rodney Dangerfield in “Back to School.” He made millions FIRST and went to college in his 60′s. That was a movie, but anything is possible if you aren’t the one who has to do it, I think.

This speech has really gone off the rails, and I hope to leave you on a positive note, so let’s see if I can pull such a sentiment out of my ass. Life is what you make it, and you gotta make it from the rubble of your ancestors’ mistakes. Yikes. Who would wanna bring a child into this world? I think you guys should just party like Van Halen (David Lee Roth Van Halen) and make the world your hotel suite. Chuck a tv out the window! Nuke the people farthest away from you! Set up an Etsy account offering handmade crafts to consumers, but ship them all big turds in adorable gift bags. 

 It is a gift to know that your lives matter very little. The pressure is off. Your entire generation is on a runaway train to Fucksville, and morality is out the window. Seize this gift of inconsequential existence and give it a furious handjob. The future is NOW because there ain’t nuthin after this. God bless you, you poor bastards, and God bless the United States of America. I’ll be performing at the Melbourne, FL Yuk-em-ups June 11-14. Promo code: SandFART for half off tix. See you in hell, losers! 

[village-skeptic]

on “having it both ways”: thinking about S2 and looking ahead to S3

So apparently once a year I end up latching on to Riverdale pre-season promo and having WAY TOO MUCH to say about it.

Image analysis, pop-culture riffing, S2 criticism, meditations on resistant reading, my own discomfort with “wrongfully accused” narratives in this particular historical moment, and some hopes on the literal eve of the S3 premiere, below the cut...

So, last week when this piece of promo dropped, the very first thing that I thought of was the visual reference to Chicago and the Cell-Block Tango.

(I didn’t do it! - but if I’d done it? - how could you tell me that I was wrong?)

HOW perfect is that homage? The red lighting, the raised arms? The promo still just FEELS like a snapshot from a Fosse dance routine. (A little more on legendary choreographer Bob Fosse here.)

It’s a defiant pose, right in the center of the frame, but a slightly vulnerable one at the same time. There’s nothing hidden here; everything’s on display. The pose draws the viewer’s eyes inescapably to the body - a muscled body, but one which here seems like a gymnast or dancer’s body: lithe figure, tapered waist, power that is channeled into performance.

(this is tasty; this is plenty; this is hungry work)

So, on a first pass, insofar as it puts this demonstrative male body on display, it’s a little bit of a subversive image, I think. And that’s well in line with the way that Riverdale so often courts the female (and/or gay male) gaze, and at its best does some really unusual stuff with masculinity. 

I thought about all of this - and then, silly me, I saw that this piece of promo was NOT a still, but is, instead, a short clip. 

Archie doing pull-ups on the prison bars, as another heavily muscled dude saunters behind him, reads to me like a completely different type of performance! To the degree that it invites the eye, it sends the message: don’t fuck with me. In motion, we have purely the pursuit of greater strength, the purging of weakness in favor of the means of self-protection. 

Instead of Chicago, my mind jumps to 3x01′s title source: Fortune and Men’s Eyes. Dominate or be dominated. 

Realistically, I’m willing to believe that the ambiguous interpretation here between “still” and clip is just a quirk of how it happened to be uploaded to Twitter by a social media intern. 

Still - the interpretative gulf between the still image and the image in motion got me thinking how often Riverdale seems to want to “have it both ways,” and what that does to the audience’s experience and expectations of the show.

For instance:

Other people have written at length about how Riverdale’s pursuit of aesthetic homage or plot contrivance has created character inconsistencies that occasionally baffle. Cheryl is alternately a tragic Gothic heroine and a lacquered, ruthless Mean Girl; Jughead is both a sensitive loner writer and also a bad-boy gang leader; Betty is both Betty and Dark Betty. (GOD.)

Other folks have discussed how the show needs to really play out the consequences of conflicts between the characters. It’s not that the show shouldn’t drop bombshells like the Bughead breakup(s) or the conflict between Betty and Veronica/Jughead and Archie, but it seems all too willing to reset back to milkshakes in a booth at Pop’s without doing enough work to explain WHY things are okay again. (See also: resolving major conflicts between characters literally with a song.)

The desire to “have it both ways” also really shows up in the show’s tendency to engage complicated issues (racism, sexism, colonialism, the prison-industrial complex) on a shallow level - thus getting credit for mentioning them, without really taking the time to explore them meaningfully or to explain the characters’ investment in them. 

The result of this, in terms of storytelling, is that you leave a lot of room for resistant (even combative) readings of the text to emerge. To name a few of my own:

frustration with Jughead’s acceptance of what feels like a suuuuper patriarchal role as “the Serpent Prince” (and later King)

the fact that it’s really hard to sympathize with Veronica throughout entire swathes of season 2

a profound opposition to a storyline that sexualizes Betty’s mental health issues in a really exploitative fashion

And then... there’s Archie.

In the “Cell Block Tango,” the murderesses of Chicago (bar one) get to justify their crimes. Conversely, as we open the third season of Riverdale, the audience knows that Archie’s being blamed for something he didn’t do. Despite bragging about it (!!) to a bunch of mobsters (!!!!), Archie is not guilty of the murder of Cassidy Bullock. 

...but he IS guilty of so! many! other! things! across Season 2. I’m sure I’m forgetting some, but aiding and abetting a criminal, covering up a murder, blowing up a car, and forming an extralegal vigilante militia group - TWICE - all come to mind. 

The last bits of S2 offer us a version of Archie’s amends-making that comes in the form of defending the Serpents, turning on Hiram, supporting his father, et cetera. And then the very last image of S2 - Archie being clapped in cuffs right at the moment that he’s supposed to be sworn into office - is meant to distress us.

But a season of watching Archie embrace fascism leaves some marks, y’all. And a not insignificant portion of the audience, still frustrated with the character’s choices, couldn’t help but say - well, he had it coming.

So, yeah. It’s been a few months between the close of S2 and the open of S3, and in most cases that would be enough time for me to sit with the story in and of itself, to consider more broadly where it had failed or succeeded, and to allow some of that “resistant reader” response to drain away.

But real talk, you guys: I’m finding it really hard right now, at this moment in American history, to connect emotionally with the story of a young man trying to fight the charges of which he has been wrongfully-yet-ever-so-plausibly accused.  

[Please note, I am NOT trying to say that RAS is somehow trying to weigh in explicitly on the SCOTUS debacle. The S2 finale laying the groundwork for this plot aired this spring, and S3E1 has (presumably?) been in the can for a while now. And, to its credit, Riverdale has in both seasons explicitly criticized a sexual culture that objectifies young women and reduces them to “points” (the football team’s playbook) and to prey (Nick St. Clair).]

But, for me personally, I can’t help looking at this plot and hearing echoes of “It's a very scary time for young men in America when you can be guilty of something you may not be guilty of.”

Here’s the interesting thing: I think RAS knows this, and I think the promo around this plot is partially designed to try to dispel these connections. 

(For me, at least, it’s having mixed results.)

(source)

For instance, I can’t look at this still (young man, formal suit intended to project good character and youthful vulnerability, sullen face, flanked by counsel) without thinking, “Wow, this feels....Brock Turner-y.” 

I don’t know if anyone’s written about courtroom photos and sketches as a genre of visual composition, but I feel like I’ve seen variations of the Riverdale still a million times, often printed on the front page of the local university newspaper, discussing the controversy over the conviction (or NON-conviction) of a promising young athlete accused of something awful that no one who knows him EVER would have suspected he would do. (Nice boy, nice family, so many extracurriculars, such good grades!)

Of course, there’s a major difference between the photos above: Archie’s defense team is entirely female. 

Obviously this makes sense because Mary Andrews and Sierra McCoy are both major supporting characters who are also lawyers - but it also makes sense in trying to dismantle some of the potential gut reactions to this visual framing. There’s some “innocence by association” going on here, I think. And after all, Archie IS innocent of this particular crime!

This still lands with mixed effect for me though, because any defense strategy that suggests the intentional composition of a visual tableau feels inherently cynical, even when the character is sympathetic or innocent. 

For instance: I just watched The Marvelous Mrs. Maisel, which features a scene where the main character shows up in the courtroom in full Upper West Side respectable regalia to try to get the obscenity charges against her dismissed - she fails and ends up having to plead guilty, because she mouths off at the judge. Anyone who’s familiar with Amy Sherman-Palladino’s work will recognize this bones of this plot point in the courtroom scene in Gilmore Girls: Rory’s grandparents’/lawyer’s attempt to portray her as a naive little angel backfires, and she ends up getting a ton of community service as penance for stealing a boat. It’s important to note that the characters are both guilty of their charges - although, as another favorite show of mine might note, “the situation’s a lot more nuanced than that.”)

(source | source)

Another way in which the pre-season promo is distancing Archie from both his actions last season, and the present context external to the show, is to emphasize his profound contrition. In this teaser from Riverdale 3x01, we get Archie declaring that “whatever happens to me in the courtroom on Tuesday - that is what I deserve.” This a statement of universal guilt and responsibility (one might say martyrdom?) that goes well beyond the scope of his actual infractions.

Now - I really, really appreciate that we’re getting a sad Archie rather than a mad Archie. And I want to acknowledge that he’s so definitely a kid here, trying hard to “man up” and to grapple with the fact that he screwed up big time and that there are consequences for his actions. After a season of doing the wrong thing over and over and OVER again, he’s trying to do the right thing. 

But here’s the thing: Fred responds to this confession of near-universal guilt with what (in this snippet) feels like a pair of universally-exculpatory statements: “You are a good kid. You got manipulated by a mobster.” (Mary is more nuanced: “You do not deserve to be framed for murder.”)

Archie does not deserve to be framed for murder, and he certainly did get manipulated by a mobster. In fact, I would like to formally start a petition to have Archie not fall under the control of an unscrupulous adult in S3!

However. 

Instead of accepting guilt for anything and everything and being immediately absolved for non-specific sins because of his inherent “goodness,” I really want to know that Archie understands what he actually DID do last season. He climbed wholeheartedly on board with the plan to Make Riverdale Great Again, and in that process, he did things that were NOT AT ALL commensurate with being “a good kid.” I think both the character and the show would benefit from a more explicit meditation on exactly why Hiram’s manipulation was so effective, and why Archie moved so quickly past being merely Hiram’s pawn, and voluntarily embraced the role of Hiram’s very ambitious accomplice. 

One of the specific preconditions of restorative justice is that the offender has to acknowledge their actions and the hurt that they caused. Reconciliation and vagueness are incompatible for so many reasons, but one of them is because a BIG part of learning from your mistakes is thinking precisely about what you did so that you can choose not to do it again.

I read a bunch of the new Archie comics over the break, and I think I now have a greater appreciation for the trope of Archie as a schlemiel. Despite his best intentions, the Archie archetype keeps making the same goofy, klutzy mistakes over and over again. This is fine, even funny, when it means that Archie just keeps accidentally ending up with a bucket on his head. Whoops! 

It is super not okay if it means that Archie just keeps finding himself supporting fascists. ...whoops?

(At present, my entire country is being “manipulated by mobsters.” Clearly, I have some feelings about this.)

I don’t actually know how to wrap all the loose ends of this analysis up meaningfully and coherently at the finish here - but then again, that probably puts me into good company with our showrunners. Optimistically, I’m going to hope that that’s intentional - that I’m judging in media res, and that plotlines and character arcs in S3 will weave together in a way that will surprise and delight me! 

But mostly, I’m going to reiterate my hope that S3 makes meaningful choices. That the people in charge don’t waste their actors’ time filming oodles and oodles of material that gets sliced and diced to ribbons. That they make choices EARLY about major plot points; that they stick to them; and that they let the rising action and falling action of your narrative reflect those choices, and the consequences that naturally accompany them. 

I hope that the people in charge of S3 will resist the ever-present temptation to “have it both ways” - which ultimately works out to really no definitive way at all. Telling a sturdy story is risky in a totally different way than courting controversy - but it’s so, so worth it.