#I really need to see season 4 guys I've seen the movie but nothing else

[lailalory]

I’ve been sitting on this drawing for a while, but I see my fellow Ladybuggers are around again, hi

[pale-silver-comb]

So I know absolutely nothing about Leverage except what I've been seeing you post lately and I have to admit you're making it look tempting to watch! Can I ask what are some of your favorite things about the show/reasons you would suggest people watch it? And is there really a poly relationship that is canon?

Okay. Okay, okay, okay, okay, okay. I am going to do my best not to just “asdfghkjl” at you and answer coherently.

In a nutshell, Leverage is about 5 people. 4 are criminals (Parker, Hardison, Eliot and Sophie) with different and unique skill-sets and 1 is an ex-insurance investigator (Nate) who, at one point or another in his career, has tracked down (or at least attempted to) the other 4. The whole show is essentially: man reluctantly reforms 4 criminals to use their criminal powers for good and 4 criminals move into man’s life and stubbornly refuse to leave because, goddammit, now they have morals. 

I’ve got a lot of favourite things about the show but the main ones are as follows:

1. Found family. And I’m not talking about loners who come together to fight crime and happen to co-exist to the point where they realise they happen to have found themselves a family. I mean, Nate and Sophie are the Drunk Uncle and Wine Aunt who somehow become Mom and Dad to 3 beautiful criminal children. Mom and Dad love their criminal babies and the kids love them (as well as each other, but we’ll come to that in a moment). You get amazing family moments such as: Mom and Dad packing the kids lunch before sending them out to kick corporate greed’s ass; Mom and Dad giving the kids ridiculously expensive and personal Christmas presents causing their most Grumpy Kid to go very very quiet and soft as he runs off to gleefully play with his new murder toy; the kids interrupting Mom and Dad’s big Movie Style Kiss to ask if they can please keep their new underground layer and huffing and puffing when Dad tells them no.

2. Found family: the OT3 edition. To answer your question, the OT3 is indeed canon, confirmed by the creator. Now, usually, “confirmed by the creator” infuriates me because most of the time it’s a way for a creator to be seen as “progressive” without doing anything to actually be progressive. That isn’t the case here. The OT3 are built up carefully and while it is obvious the creators didn’t originally intend for all 3 of them to become a relationship in the romantic sense, by mid-season 5 we are given a very clear picture of where Parker, Hardison and Eliot are heading in their relationship. There aren’t any kisses at the end to signal this but there are solid marriage vows in not only one but two episodes. (And by marriage vows I mean literal equivalents of marriage vows: “for better or worse” and “’til death do us part”. I’m not even exaggerating). The OT3 also doesn’t need explicit romantic narratives to convey how much they love each other. Their love is laced through the whole show, from the way they teach each other things to the way they respond to each other and work as a unit. The way they fiercely protect and admire each other. Like someone once said, if you need characters to kiss or say I love you to let the audience know they love each other, you are writing them wrong. 

Aside from that, each of the parings in the OT3 are just. Gah. They are so well done, with friendship being the solid basis for them all. The creators never expect the audience to assume anything about them or fill in the gaps. They give us their relationships on screen and reference many things off-screen to show us how these relationships continue to build in between episodes.

Hardison and Parker are a canon couple and date in the show: it’s approached slowly and they are so goddamned sweet. They are basically every fluffy slow-burn trope with a healthy dash of mutual pining in the mix. They are basically that quote “love is patient, love is kind”. (I would like to add their romance never becomes the focus of the show or overrides the importance of any other relationship they have with the other characters, especially Eliot.)

Hardison and Eliot are the Old Married Couple and from day one are already bickering and looking at each other/making comments that are found in every UST fic ever (not to mention Hardison has a very good knack for making Eliot grin like a little kid, when usually he’s basically an Angry Little Chef Man). They argue, they play, and love each other plain as day. 

Parker and Eliot are more subtle but every bit as wonderful. They have an unspoken connection and understand each other on a level no-one else can. Parker and Eliot are not good with giving themselves over to affection for different reasons (and Hardison plays a central role in helping them realise it’s okay to want it and have it- that boy has endless patience) but there is something so beautiful in the way the two of them come together on their own and develop their own special bond that works for them. Parker and Eliot are that trope where the characters don’t need to speak to understand each other perfectly. They just do. Their love language is a lot of the time non-verbal but speaks volumes. (Parker also likes to annoy the hell out of Eliot and Eliot....just.....lets...her. Because he’s soft. The softest, grumpiest boy.) 

I could go into so much depth for each pairing and their dynamics as a 3 but that's for another post.

3. Subverting stereotypes. There is the occasional hiccup in the show regarding stereotypes but ultimately, Leverage gets an A+ when it comes to writing characters and making them 3 dimensional people who are not defined by certain characteristics or events. Nate could so easily fall into the White Man Pain trope where he uses the trauma of losing his kid as a reason as to why he is entitled to act like a dick. Nate is a dick but he doesn’t use his pain to excuse it and I appreciate that. Hardison is a black man who is soft and nurturing. Easily the most empathetic and patient of the group. He’s nerdy, an actual genius, and has the biggest heart of all the characters. Nate is maybe the glue but Hardison is definitely the heart. Media’s usual aggressive, amongst other, racist stereotypes can fuck right off. Parker is canonically autistic (I am sure this was confirmed by one of the creators) and she is not defined by it. It’s not written as some kind of singular personality trait. It’s part of what makes up Parker but it’s only one facet of who she is and not once is her actions, thoughts or feelings treated like a joke. Sometimes people don’t understand why she does and says the things she does but it’s met with patience and fondness over the course of the show. Equally, it’s not met with over-caution. Parker is just Parker. No-one tries to change her. The other nice thing is Hardison, who always makes sure Parker knows she’s amazing because of who she is and not in spite of it. Finally, Sophie is in her 40s. She’s not treated like she’s past her prime. Ever. She’s sexy, smart and never is she pitted against or compared to Parker (who is younger) for anything. Sophie is amazing and there’s never even a conversation of “I may be older but I am still *insert adjective typically associated with younger women here*”. Sophie is possibly the first female character I’ve ever seen who isn’t just unapologetic about her age but has never had to apologise for her age. It’s a non-issue and that’s that. The women on the show are written so well, right down to secondary characters and it’s beyond refreshing.  

4.) It’s just fun. The show has a “monster of the week” type format. Except instead of a ghoul or a ghost, the monster is some corrupt wealthy and powerful individual or organisation. The show draws on real-life individuals to do this and therefore closely parallels real-life people and events. It addresses important political, economical, social and environmental issues while at the same time remaining fun and light-hearted. The characters constantly get the chance to play dress up and by GOD do they have fun with it. You get to watch Eliot beat up bad guys in the most delightful of ways, usually after a witty non-sequitur and with a weapon you’d never think could be a weapon. The dialogue and back and forth between the characters is everything. And finally - my favourite thing- the team can never resist striking a dramatic pose after they’ve taken down the bad guy, making sure the bad guy sees them. I mean, they COULD just walk away, satisfied they’ve taken the person down, but nope. They gotta be dramatic bitches 24/7 and pose like they are models for every single month of this year’s Criminal Calendar.  

5.) Competence Porn. So. Much. Competence Porn.  

Honestly, I could list a thousand reasons for why Leverage is amazing but to list them would to be spoiling so many amazing moments you’d get to discover for the first time on your own if you do choose to watch it. It’s the kind of show you can watch with an eagle-eye and sink your teeth into. But it’s also the kind of show if, you would prefer, put on in the background for something entertaining while you do something else. Each episode is about the job at hand but it’s made up of so many moments between the characters that show how much the creators and writers care about them. You’ll laugh, you’ll cry, you’ll do whatever it is you do when something Soft and Wonderful happens that makes your heart melt. I am so beyond grateful for Leverage. It’s everything I always wanted in a show. Nearly every show I’ve watched in the past 10 years has disappointed me in some way, usually either because the writers run out of steam or characters who I love are treated poorly or given some kind of unnecessary “shock value” arc. Leverage doesn’t do that. Leverage is what it says on the bottle. Fandom isn’t something I joined because I needed canon fix-its. Fandom only enhances and celebrates an already excellent canon. 

[casmybelovedass]

The Destiel Folder: Season 5

[Season 4 here]

Episode 1:

Dean is visibly upset about Cas' death, especially at (6:07), and Zachariah notices. From here on, we have a progressive worse reaction from Dean to each of Castiel's deaths

Dean calls Cas a 'friend', again sounding very upset (8:20)

We also get a parallel between Dean and Sam: "I learned that from my friend Cas, you son of a bitch!" and "I learned that from Ruby." (9:10) ICWAW, this parallel would implicate romantic subtext

Cas comes back, bringing top energy onto Zachariah, and Dean just... checks him out (32:43) [this is a frequent thing by the way, I'm on S10 right now, it is]

Episode 2:

I'm so fuckin sorry but I'm laughing too hard at this: D"God" C"Yes" D"God" C"Yes!" (4:09) guys, don't sex-talk in front of Sam and Bobby

"I rebelled, and I did it, all of it, for you." (4:54)

Dean gives in to Cas' top energy "Dean, give it to me." (5:53) shit, guys, enough sex-talk

Episode 3:

The 'personal space scene'. Dean, love, if someone is in your personal bubble, and you don't want them there, you don't stand there for 10 seconds while flicking your gaze from their eyes to their lips TWICE (6:04) ICWAW, these scene would be read as full of sexual tension

Dean here compares himself and Cas to Thelma & Louise, from a movie with HELLA lesbian subtext. And the way he looks at Cas for 7 seconds, tongue between his teeth and just... this fucking look (7:37)

You don't look at friends that way. You don't.

"I need your help, because you're the only one who'll help me. Please". (7:58) Cas trusts Dean will help him while no other would, and he is right... also Dean keeps glancing at his lips

The way Dean fixs Cas' tie and collar, so domestic. (10:34) [This will parallel in 10x05 when Dean messes up musical!Castiel's tie for it to be a legit costume.] Also, the whole police station scene is full of Old married couple moments

"There are two things that I know for certain. One, Bert and Ernie are gay." And then they were voted best chemestry couple like Bert and Ernie. Just saying. (16:23) "Two, you are not gonna die a virgin. Not on my watch... let's go."... and Cas just follows Dean like nothing, but later on...

... Cas is beyond terrified at the idea of being intimate with a woman (11:24),

tho he followed Dean with no problem. ... Did... did he think Dean was making an offer?

He chugs down a beer in fear, poor baby

And he is so jumpy I'm dying

Dean admits Cas is the only one who has made him laugh for real in years (20:58), also, shoulder hug, and Cas, who was on the verge of tears a moment earlier, is smiling and comfortable now.

"Don't look at me, it was his idea." (26:57) the look Cas gives Dean, they're so fucking #MARRIED

"Today you're my little bitch." "... What he said!" Dean is impressed and amused by Cas' smugness (and top energy) (31:55) Basically "Well, mark me down as scared and horny!"

Dean understands how Cas feels, and wants to help. He says he feels good with him "I've had more fun with you in the past 24h that I've had with Sam in years... and you're not that much fun." (36:06) Dean doesn't want to be alone, didn't want Cas to leave.

Episode 4:

Dean sounds and looks like a teenager on the phone with their crush, teasing Cas while smiling softly (1:22). Also "I'll just... wait here then." (2:15)

Even as a mortal, Cas stuck with Dean through the apocalypse, living in pain, chugging down drugs, but never leaving Dean's side. Being his second during hunts. Having only each other

And this Cas can recognize this Dean is not his own only by glancing at him for a moment (... by looking at his dick?!) (18:37)

Dean is stunned and concerned about apocalypse!Cas and how his life turned out

Apocalypse!Cas sits like Dean. Aww, they've been rubbing off on each other [yeah, I bet] (22:27)

"I like past you!" and that smile. So sweet and nostalgic (25:35)

This whole scene (23:48). They are so #MARRIED

Dean is concerned about Cas doing drugs, being basically depressed and living like shit (28:03)

Cas saves Dean again. "We had an appointment." "...Don't ever change." and the way they stare at each other (38:49) look at those smiles and how longingly Cas looks at Dean

Episode 8:

Not a destiel moment, but Dean is totally BI: (12:04); "Sure" (12:42); "What makes Dr Sexy, SEXY, is that he wears cowboy boots!" (12:57); and Dean loves cowboys, just saying

Is... is Dean thinking about Cas being pretty? And about the fact that a creepy guy just called his angel 'pretty'? (20:26)

First thing Dean requests Gabe does is to bring Cas back, threatening him

Episode 9:

Dean reacting to Damien and Barnes being a couple is... LOL (36:27) and after that (38:40), he is on his own, fiddling with his keys, smiling to himself. And when Sam asks if he is okay, he responds "Yeah, you know? I think I'm good." while still smiling to himself. Is he happy about an queer man portraying him, about seeing himself in a confident, openly queer man in a relationship? What else could it be?

Episode 13:

Dean gets more and more worried when Cas gets/is hurt (9:45)(38:02). Also, he got Cas a honeymoon suite. Wow. How sweet.

Episode 14:

The phone call scene. The stares, the tension... look at this shit (10:00)

Dean, stop checking out Cas. You're working. But seriously, look at him. He likes his roughness. AND AGAIN WITH THE LIPS STARING (11:02)

Dean and Cas, after being touched by a cherub, stand shoulder-to-shoulder close to each other, in front of a bi-coloured window (13:26-13:33) I MEAN- Also, Dean, you're staring at a naked man's dong... just saying (13:33-13:36)... stop that, be a professional

Is this the first wink Dean gives at Cas? (14:37) for real? With a cherub in the room? Wow.

(16:16) "Where did he go?" "I belive you upset him." Look at Cas during this scene. #MARRIED

Cas asks Dean where his Famine-induced-hunger is, why he seems unaffected by it... and Dean stares at Cas, then the burger he is holding, then back at him, like he has everything he could want right there, in his Baby (29:22)

Episode 16:

... I'm sorry, but... did Cas really have to MOAN Dean's name to get his attention? (5:24)

I believe this is the first time we ever hear Dean say the words "I love you" (14:38-28:09), and he is saying them to Sam. The only other time we hear him say it is to his mother in 12x22. And the only other person he was supposed to say those words to was, in fact, Cas in 8x17. Let that sink in.

"You son of a bitch." Dean's been rubbing off on Cas, and this is not the only line he has picked up from Dean (38:29)

Episode 17:

This is such a sweet scene. Cas is showing himself weak once again, and Dean sympathises with him, reassures him, confides in him. How sweet. (30:17) ICWAW, this would be seen as a romantic bonding moment

Episode 18:

Cas legit looks like an angry wife. Look how pissed he is at Dean (6:19) #MARRIED

This is such a #MARRIED scene, with Cas being pissy at Dean "being a coward". Also "Yeah, you know what? Blow me, Cas!" and his look after that, like "Does... does he actually want me to?" (13:22)

and this is not the last 'sexual invitation' Dean makes Cas. In fact, minutes later...

"Cas, not for nothing, but, the last person who looked at me like that... I got laid. *wink*" ... just... that (17:53). ICWAW, people would believe this was flirtatious, SHAMELESS, teasing

Look at that FULL TOP MODE tho

"I gave everything for you, and this is what you give to me?" (25:28) Cas is not just angry at Dean for giving up on the plan, but for giving up on life, on them. "So you could surrender to them?" (25:17) not "So you can let them win". It could've been phrased that way, but this is not about the angels winning. It's about Dean giving up on them. Cas is 'cause Dean would be selfishly leaving them

Cas starts taking off his tie and... Dean just stares (31:46). Moments later, we find out Cas totally took his shirt off in front of the boys to make the banishing simbol on his chest, and by the way Dean was STARING when it was only a tie, I bet he either gawked or averted his eyes. Either way, GAY

Cas prefers to die rather than watch Dean fail and die himself (31:55) Also, Sam still thinks of Dean as a hero who can do no wrong, while Cas recognizes his flaws and weaknesses. He knows Dean

Zachariah grabs Dean by the collar and gets in his face. Dean does nothing but flinch a little, mantaining his strong appearance. He only submits and looks overwhelmed when Cas does it (37:50)

Episode 19:

Cas is priority to Dean over Adam. He's more family to him than his actual blood (5:29)

Episode 21:

Cas is basically human, bloody, hurt, powerless and weak. First thing he does? Reach out for Dean (3:16)

Cas is still weak and powerless, and took a bus for miles, just to get back to Dean (12:35)

Episode 22:

Moments before basically going and kill himself, Dean focuses on Cas instead of Bobby, his father figure (24:35)

Cas is on the verge of tears at the thought of Dean dying (25:20)

We know Cas can heal without having to touch the body, but we always see him reach for contact with Dean (35:52) [That's why in S15, it hurts to see Cas not touching Dean while healing him. It feels unnatural]

Dean loves cowboys, and associates Cas to a sheriff. Cas, knowing that, smiles softly at the idea(37:30). Also, Dean obviously doesn't want Cas to leave, and tears up when he does

[Season 6>>]

[harrietvane]

do you mind talking about why you dislike Love Actually and Richard Curtis's romcoms? I've seen you mention it in some of your tags and I'd love to hear your thoughts :)

Long post, so scroll now, ye who care not.

OK, so like better voices than mine have articulated Why Love Actually Sucks Balls, but you were kind enough to ask for my view, so strap in I’m gonna talk about Jane Eyre, and the 1990’s Fran Drescher sitcom The Nanny also. It’s coming up on western civilisations’ holiday season, so why not, it’s a good time to tell this movie to choke, because it’s about to be repeatedly thrust upon us once again. (Disclaimer: I acknowledge Richard Curtis is responsible for Blackadder and Vicar of Dibley, so whatever else, we’re still cool on that basis. But I have spite and to spare, so there’s plenty to go around).

My main beef is actually the context. Technically, if all of the below bullshit was in an offbeat movie from any other movie market (I’m thinking maybe a French, or Spanish movie from the 90′s boom, Almodovar style?), the focus would probably be a black humour take on ‘Lord What Fools These Mortals Be!’, sort of look at the inherent ridiculousness of mankind, and how we get in our own way, blah blah, might have been cute. I’d buy that. This movie? A british movie for the american market? It’s sold with a big holiday sticker on it saying ‘ROMANCE’, and specifically ‘ADORABLE ASPIRATIONAL ROMANCE THAT YOU SHOULD ADORE AND ASPIRE TO’. Also the context *inside* the movie itself (through a narration voiceover no less) is that all of these narratives is somehow proof that ‘Love, Actually is all around’, and specifically in a good, wholesome, happy way, overall at least. These stories are redeeming, even if they’re not all happy, they’re Good™ or whatever. The context outside the movie is the same: british TV advertising, hard copy packaging, holiday specials, outdoor gala screenings: they all say over and over: THIS IS SQUISHY HOT PINK NEON LOVE, wholesome, healing, and healthy. You should want this, aspire to this, think this is the cat’s pyjamas! It’s a wide and varied look at the beautiful power of love from all angles, comic, tragic, the lot. 

Is it fuck. The ‘positive’ romance stories range from Stage-5 Creeper to Crotch Puppet Afterthought, the ‘melancholy’, thwarted romance stories seem to say ‘if you’re a woman who’s not readily/immediately bangable to your allocated straight dude, romance is over for you I’m afraid’. Let’s recap, shall we:

Much has already been said about Andrew Lincoln’s character BLANTANTLY SHARKING ON HIS BEST MATE’S WIFE being uhhh, less than fresh. I don’t even feel like I need to justify this one, it’s so over-the-top. The main point is that movie itself maintains this as a tragic, swoony, thwarted, heart-string-tugging missed connection, rather than The Worst Friend Ever (meaning: it assumes we’ll be 100% onboard with Keira Knightley skipping secretly away from Chiwetel Eijiofor to grant his best mate one treasured kiss, as opposed to saying ‘what the FUCK Mark, why are you telling me this, this is super inappropriate?? and my only wedding video is just you zooming in on my face? Pls get help’.

We all love National Treasure Colin Firth and all, but like is Love, Actually fixating on a woman who literally can’t speak to you? Has said nothing understandable to you? About whose own life you’ve never yet, and could never have asked about? Whose main interactions with you have been to wordlessly clean your room, bring you food, and tidy it away after? Your ideal woman, who you meet immediately following a break up, is one who silently meets all your domestic needs, while making zero emotional or intellectual demands on you whatsoever? WOW, SHOCKER. (Oh but it’s cute or whatever, they have him propose, and there’s a mix up when her sister appears, but she’s Ugly™, so it’s funny that the sister is not getting romance. I mean, how could she, an uggo?? Classic joke. Good times.)

The Prime Minster and his tea lady: more on Curtis’ Domestic Servitude Kink below, whoo boy.

Laura Linney would really really like to sleep with Rodrigo Santoro, and god bless her who wouldn’t, but she is tragically unable to, because she has family commitments as being the sister – not even fulltime carer, just RELATED TO -  a brother living with disability. Sorry folks, romance is OFF THE CARDS, FOREVER for Laura here. How can she??? That’s the nature of love, actually. Can you have sex right now this moment? No? Whelp, sorry, thanks for playing, back to the Tragic Assisted Living facility for you. Gosh it’s unfortunate that’s a truth universally acknowledged that any whiff of disability = no romance for you ever. (Don’t start me on 4 Weddings* [edit: *it’s totally Notting Hill, not 4 Weddings, thank] and how that husband is like The Best because he continues to love his wife even though her legs don’t work. What a champ, honestly, do they have an award for that?) I have to stop now before I get sarcasm poisoning, but my eyes will continue to roll.

How could I say anything bad about the Liam Neeson widower and his adorable lovestruck son storyine? Lol, I’m gonna. Have you seen the Buffy episode The Zeppo? Xander is convinced the only way girls (as a concept, not in the specific) will like him enough to sleep with him is if he has A Thing. The Thing is posited as ‘being cool’ by having an object or skill that alone will be the magic bullet to romance. Musical instrument prowess is considered, and he ends up just getting a car to be his Thing. This just seems like a redux of that logic. This kid could get some genuine direction from the movie to get to know this girl, learn her interests and share his, see if she likes him as a person by being A PERSON, but the narrative just backs away from that and eventually DOES just say ‘play the drums in the show, she’ll like you’ and that’s …it. But it’s cool, teenagers don’t learn key interpersonal dynamics at this age or anything, she kisses him for some reason, whatever. (Bonus points for gifting his dad with a literal supermodel as a punchline, after making that an actual joke earlier about the shallow nature of attraction, and love is about filling a one-sided need.)

I could go on, but I have very little to say about Freeman falling for a girl whose tits he’s been holding for a week, the no-homo pop star Nighy plot, or the guy that goes and has sex in Wisconsin with Bond Girls, and can’t be bothered, which leads me to…

Richard Curtis’ Domestic Servitude Kink. Must I kinkshame Richard Curtis in his own home?? Nope, I’m kinkshaming him AT WORK in his narratives, surrounded by his nubile, pliant, adorable female employee characters. Oh Mr Curtis, I seem to have dropped a pencil!

OK, so like a M/F Domestic Servitude romance is an extremely old trope, and extremely common, and I’m not here to tear that up, because done well it’s amazing, lot of petrol in that King Cophetua narrative tank. I’m a fan. The most famous in-context historical example being Jane Eyre, for instance: he’s her boss, she’s his paid subordinate, they’re both 100% aware of that. It’s a great way to explore the real-life class and power dynamics of these 2 train wrecks of human beings, and they vomit their ridiculous drama llama feelings all over a 600 page novel. Super fun, they’re both awful humans, I love them. Mid-century you might have The Sound of Music, and in more modern times you get 1990s sitcom The Nanny, both extremely well-developed romances involving paid employees, and part of their value is that the shows KNOW THIS. They’re aware it’s the basis for their dynamic, that they have to directly play with that, and develop beyond to go anywhere. Watching Fran Fine in her runway-fresh Moschino minidresses jump on Maxwell Sheffield’s desk for the 800th time making him super uncomfortable (and not a little turned on) is always such a treat. It’s right out there on the label. The problem with Love, Actually, is Curtis doesn’t want to admit that naughty secretary seems to be a cornerstone of what gets him going, romantic-stylez. 

One (1) time in the movie would be ‘sure, why not’. Literally the highest political office in the land, making overtures to the woman who brings him tea, i guess might be a bit off, but let’s say it’s done well, and maybe Hugh Grant and Martine McCutcheon’s charisma gets us over the line (his behaviour is cute because her last man didn’t like her body, but the prime minister DOES like her body! so it’s cute!). Whatever, seen worse. Two (2) times however is making a point, and Colin Firth is driving his silent portuguese maid home - not a french maid but so close! - and deciding he’d like her to bring him tea and clean his toilet for as long as they both shall live, and that also seems to be her greatest joy. Ah, l’amour. OK, I guess you like the thing, everyone has a thing, but at least you’re done now. Wait, you mean there’s a third (3rd) one? Everyone’s Fave Alan Rickman drives the plot of his own marriage’s tragic romance because he’s having stiffening feelings about his own Naughty Secretary halloween costume, after all. All the beautiful speeches about Joni Mitchell give Thompson some nice things to do, but it still assumes the Nature of Romance is to want to plough the help. A man can’t help it! It’s how romantic attraction works! Once would be whatever. Three times and there’s a tag on Ao3 for that, so please just scratch that itch and stop selling it to me in a heartwarming christmas movie as the Universal Nature Of Romance, so varied, so vast, the full spectrum! Just 2 hours to tell a story: but 3 whole narratives and 7 actors devoted to the variants on the naughty maid story. My point is be upfront about it and I’d be all for it - pretend it’s not A Thing You’re Doing and my creep-meter goes ping. Steven Shainberg’s ‘Secretary’ has a scene where the boss literally puts a saddle on his employee, and I find it to be one of the most genuinely moving romances I’ve ever seen. Love Actually makes me feel like Curtis is sending me a ‘u up?’ late night text about his secretary fantasy.

Anyway, I fucking hate this film, and not necessarily because of the content, but because of the context. The movie tells me to love it as aspirational romance. My culture tells me to love it as aspirational romance. Everyone tells me to love it as a varied and full exploration of reasons to get up in the morning, because it’s an aspirational romance. It makes me want to claw my own face off.