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scotianostra · 2 years

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Happy Birthday Gerard James Butler born 13 November 1969 in Paisley.

When he was 6 months old, his family relocated to Montreal, Canada, where his father tried a few business ventures but ultimately failed. A year and a half later, his parents divorced, and his mother moved Gerard and his two older siblings back to her hometown of Paisley.

After the move, Butler was raised by his mother, with no further contact with his father until he was 16 years old. (Gerard and his later father reconciled, and remained close until his father died of cancer when Butler was in his early 20s.) During his childhood, Butler was enthralled with movies and acting, and his mother took him to several auditions. He joined the Scottish Youth Theatre and in one of his first roles played a street urchin in its production of Oliver!, a role I have played myself, in a school production I was in Fagin’s gang, but alas fame was not to come my way as it did for Gerard

Despite his love for theater and film, Butler was anxious to please his family and believed that acting was not a realistic career choice for him. “I was a 16-year-old kid on the other side of the world from where they made movies,” he later said. “Scottish actors never really got play. There was Sean Connery, and that was it.” Though he claims he is “not the most academic of guys,” Butler graduated near the top of his high school class and enrolled in the University of Glasgow, where he studied to become a lawyer and solicitor.

During his time in university, Butler was also the president of the law society and graduated with honours. Like many other new graduates, Butler decided to take a year off to travel abroad, and his ventures soon landed him in Venice, California, where he indulged in the high life: “This is when things started to go a little crazy,” he later said. “Something very compulsive and dark and lusty and pleasurable but damaging took over. It was suddenly knowing I could go out and have a life of traveling, craziness, adventure, partying, women, and all the other things that go with that—including a sense of abandonment.”

After California, Butler returned to Scotland to begin a two-year traineeship at one of Edinburgh’s top law firms,(while there he shared a flat with my pal Peter)but soon found that he despised the job more and more, and he started slacking off and letting his depression show. A week before he was due to finish his traineeship, he went to the Edinburgh Film Festival and saw a stage production of Trainspotting, an experience that crystallized his disappointment with the law and his yearning to be an actor: “The guy playing the lead role was phenomenal. It was such an incredible atmosphere. And I’m dying inside. This is the life I wanted to live. I can do this. I know I can do this. But it’s past now. It’s gone. I’m 25. I missed that opportunity. A week later, they fired me.”

Humiliated but determined to finally pursue his dream of acting, Butler moved to London, England, the next day and worked odd jobs while trying to get his career off the ground. While working as a casting assistant for the play Coriolanus, he ran into the play’s director, Steven Berkoff, in a coffee shop and begged for a chance to read for the lead role. He says of the experience: “I gave it everything. Afterward, the casting director came up to me almost in tears. She said, ‘You’re the best he saw in two days!’ Walking home was probably the happiest moment of my life, when there’s an energy in you that can’t be put down. I’d gone from handing out pages to getting the lead role.” After a successful run in Coriolanus, Butler landed the lead in the exact same stage rendition of Trainspotting that had inspired him to try acting again, and he was really on his way as an actor.

Making the transition from the stage to the screen, in 1997 Butler starred with Judi Dench and Billy Connolly in Mrs. Brown and also scored a small part in the James Bond film Tomorrow Never Dies. During the film’s shooting, he was picnicking with his mother near a river and heard screaming from a boy who was in trouble. He immediately dove into the river and saved the youth from drowning, winning a Certificate of Bravery from the Royal Humane Society as an example of his courage and caring.

After acting in a series of largely forgettable films, in 2003, Butler finally got his break with the role of the Phantom in Joel Schumacher’s on-screen adaptation of the Broadway musical Phantom of the Opera. It was a demanding role that required the actor to sing most of his lines. Even though Butler had been the lead singer of a rock band during his time in law school, he was incredibly nervous about auditioning for the part: “I’d had maybe four singing lessons when I went to sing 'Music of the Night’ for Andrew Lloyd Webber, which was perhaps the most nerve-wracking experience I ever went through. But I got the role.

Some people thought I did a great job, but others thought it was sacrilegious.” Though Phantom did not hit blockbuster gold, it got Butler recognized in Hollywood, and four years later he landed the lead role, as King Leonidas, in 300, the testosterone-infused historical epic about a small legion of Spartan soldiers defeating the enormous Persian army. To look believable as a warrior king, Butler trained every day for four months in the most intense workout regimen of his life, giving him an incredible physique in time for the shoot: “You know that every bead of sweat falling off your head, every weight you’ve pumped—the history of that is all in your eyes,” he said. “That was a great thing, to put on that cape and put on that helmet, and not have to think …'I should have trained more.’ Instead, I was standing there feeling like a lion.”

Butler’s role in 300 was a huge boost to his career profile. Since appearing in 300, the actor has starred in several romantic comedies such as P.S. I Love You with Hilary Swank and The Ugly Truth with Katherine Heigl, along with appearing on many “world’s hottest men” lists. And his career isn’t showing any signs of slowing down.

Despite all of his success, Gerard Butler still retains the breezy attitude of a guy who rolls with the punches and has a down-to-earth sense of humour. Looking back, he is still slightly stunned at the twists his life has taken and reflects on what could have been: “I wasn’t going to be an actor. I was going to be a lawyer … There was something else at work, something I didn’t have control of. If I hadn’t [messed] up that job, I wouldn’t be sitting here right now. I might be a very mediocre lawyer in some small town in the middle of Scotland.”

Gerard has been quiet on twitter lately, one f his last posts on October 25th was plugging his latest film,Plane, which he said he “had a blast working on” He also has a number of projects in post and pre production, so loads more to come from this popular Scot.

#Scotland #scottish #actor #television #hollywood star #happy birhtday

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kaypeace21 · 3 years

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"Rebel robin" easterggs

- Robin's friend is a horror movie fan whos fav movie is evil dead (jonathan has a poster of it in his room)

- Robin's parent's car is the " dodge dart" a ref to Dustin's demodog-dart

-robin and her friends make analogies to zombies (like Will- the zombie boy).

- robin faints. And her friend milton says "blink once for yes twice for no". A ref to what Joyce said to Will in s1.

- robin's other friend has a little sister named el-ie who pretends to be a squirrel. A ref to el killing a squirrel in s2. This is also reminiscent of a scene from the st prequel novel ' suspicious minds' where young-kali pretended to be a tiger (the Hawkins school mascot) & a rabbit (Jonathan's hunting story).

- robin reminds me alot of the byers: she is into photography and rock like jonathan and even worked at the movie theatre like jonathan did in the og pilot. They both like David bowie and cook for their families. She also is poor and wears hand-me down clothes from relatives (like Will). She also is into existential philosophers. Which is also similar to jonathan who had a poster of the poet rimbaud in his room.

- robin is almost run over by a car by a bully while riding her bike: similar to Mike, Dustin, and Lucas in s2

- robin says the best accessory for a girl is her middle finger. Cue max giving the middle finger to billy in s2 XD

- robin (before Will dissapears) sees the quarry and gets uncomfortable and thinks of metaphorical monsters

- similar to how billy had baseball references (along with Will). Robin wears a baseball shirt

- her fav flavor of pie is cherry (like alexi and cherry slurpies). She also gets pissed at a guy sipping a cherry flavored drink- similar to hopper in s3 with alexi

- she cuts her hair and she describes it as looking like a lion. El and Will owned lion plushies in s1.

- robin refs Chicago (kali lives there) and NYC (hopper used to live there), and California (where max and billy used to live).

-tammy's fav song is total eclipse of the heart: the song Robin and Steve sang in s3. Tammy would often sing the song in robin and Steve's class.

- they make references to the hellfire club: she describes a time where she dresses like a cross between a nerd and a rebel. And a mom yells at her appearance saying she looks "goddless' . And another of Robin's friend (kate) is told ' what demon is possessing you, kate?" (hinting at the satanic panic). Meanwhile someone describes Mike and his friends as "hellions' as another hint to this. We also see how alot of parents got paranoid and a bit crazy when Will and barb dissappeared- prob foreshadowing the chaos that will happen if more kids dissappear in s4. Along with the satanic panic

-Robin is visiting her friend Kate at her house. Kate wanted to listen to Madonna together. Max and el listened to Madonna at el's.

- Robin's friend (kate) says "I dumped his ass" in reference to her cheating bf. A little nod to the m*leven breakup

- robin (like Will) felt excluded during the summer cause her friends kate and dash (Kate's now ex bf) were always making out . Sound familiar- cough m*leven

- robin annoyed says " makeouts, breakups and declarations of love all in the span of a week". Wow if that ain't a diss to certain pairing we know in s3 XD

- kate (like mike) says to Robin dating the opposite sex is a part of growing up . Which scares Robin (and Will in s3).

- robin has a nightmare of running down the school hallway with short hair (like el in s2 via the upsidedown)

- robin contemplates shaving her head (like el)

- robin says she likes to sometimes dress androgynous . And found a cool suit. Which we saw in s4 bts pics I assume.

- robin watches a music video where there are duplicate indianna joneses (could be a ref to all the billy duplicates in s3?)

- robin says " I stare at the ceiling. The ceiling stares back. I'm stuck and don't know what to do" a ref to the s3 song with robin called "the ceiling is beautiful"

- a character named Sheena reminds me a bit of Will or el . She is very quiet, queercoded, and is often bullied. And she finds mean notes and other things in her locker- placed there by bullies. A bit like how Will found the zombieboy note in his locker. But sheena can be another name for Jane so ...maybe foreshadowing of el/jane being bullied in highscool?

- when robin hears a hom*phobic comment on tv- she describes the anxiety like a ' thundercloud in a big open sky' and a "chill". Which reminds me of the mf being associated with clouds, thunder, and lightning. And the mf liking it cold.

- robin constantly describes the monster or shadow in her life- whether it be her talking about conformity or the problems of consumerism while she is poor (themes of s3).

- robin before realizing she was gay/crushing on tammy just says " I don't get crushes' which reminds me a bit of Will saying " I'm not going to fall in love" (as the lyrics are " love thats new to you, you open up the door')

-robin on her bike hears something (demogorgan) and runs back to her house , locks the door, and calls her friend- and the phone gets electrocuted. The next day Will is said to be missing. (Another Will paralllel).

- i was right about robin being in theatre. So we most likely will see robin in theatre in s4 (she also auditioned with a friend in the book). So for s4 my guess is she may be in the drama club with dustin- cause in s1 he had a drama shirt

- one of her friends is named milton. Since the documentary 'paradise lost' was on the s4 movie list. Its prob a ref to John milton who wrote the fictional 'paradise lost'. The character Sheena may be a ref to the 80s film/movies *where sheena (jane) was psychic

-Robin's gal pal (kate) and Robin eat m&ms and candies together. Kate jokes m&ms and candy bars are 'foods of the gods'. El ate m&ms in s3. They joke how talking about plural gods (instead of 1) would get them in trouble. In case you are unaware- kali (is the name of a Hindu goddess) and el (is the name of a cannanite god) .

-Robin also mentions hopper's car smells like eggos.

- robin tries running away (like el in s2, max in her novel, and jonathan also wrongfully assumed Will ranaway in s1 too).

-robin tries to get a job at Joyce's, than Bob's, and later gets a job where jonathan used to work

-bob newby describes the byers family as his "home" . Similar to how El describes the Hawkins gang as "home".

- robin says she was friends with barb before nancy. Suspiciously right after she says this- barb grabs Robin's hallpass that says ' glitch in the time space continuim. " the teacher who wrote this called robin a "glitch". Which makes me wonder if my did theory is right- but ...that certain powers at be may also alter memories or things so people assume said people have always been around.Mentioning it cause it seemed suspicious.

-not an eastegg but robin can't believe how nice Bob is. And Bob says the byers filled a hole in his life 😭 . She also felt an instant connection with Will and saw alot of herself in him.And asked if Joyce ever thought of moving like everyone suggested . One of the reasons Robin didn't like steve was because Steve never mentioned how Jonathan took innapropriate photos of Nancy. So everyone at school just knew jonathan as the quiet kid who takes pictures. So to everyone it just seemed like- wow you're bullying the quiet kid who's brother is missing and take away the one thing still left in his life that makes him happy. Which is why everyone assumes jonathan beat up steve later. Interesting to know how general Hawkins (not in the loop) viewed things

- the book referenced alot of previously mentioned movies on the s4 list or from prior duffer interviews...along with a few NEW movies ,books, plays, singers, and songs that I have to analyze for another day ...

#robin buckley #rebel robin #jonathan byers #steve harrington #will byers #el hopper #mike wheeler #dustin henderson #barbara holland #max mayfield #jim hopper

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archived-kin · 3 years

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genshin modern au cheat sheet

i’m planning to do more pieces set in this au, so i’ve put together a quick list of the characters i'm planning to write about/include!

there are three main groups here - the zhao family, the ragnvindr family and friends, and the Miscellaneous Pals™

(the next volume in this au is going to be a xiao piece, and that should be up within the next two or so days!)

1. the zhao family

zhongli, 36: history professor at the local uni who also plays the guzheng very well, tea-enjoyer, a very proud and supportive dad who loves his kids more than anything in the universe - probably unironically has so many pictures of them in his wallet

xiao, 23: taking a degree in psychology at the local uni, has a cool motorbike, bit of a control freak, doesn’t like surprises, will drop-kick you if you look at him or his sister funny, wants a cat but his dad’s allergic, never really grew out of his emo phase

yanfei, 19: baby of the family, prodigy lawyer-in-training, far smarter than many people give her credit for, likes building snowmen, has to protect her unsuspecting dad from Evil Salespeople looking to make some extra money

xiao and yanfei are biological siblings, and zhongli adopted them when xiao was 11 and yanfei was 7. the circumstances of this adoption is a mystery that none of the zhao family members seem willing to divulge…

the zhao siblings can have a little bit of tragic backstory. as a treat.

basically they were born into poverty and often went hungry for days on end. biological parents were distant and neglecting (though not actually physically/emotionally abusive - yet.)

when xiao was caught shoplifting bread and fruit from a local grocery store so that he and yanfei could actually eat, both parents went ballistic and kicked him out the house in the middle of one of the coldest winters the town had seen

poor kid was practically freezing to death out there, and yanfei raised such a fuss back in the house that mum slapped her square in the face to get her to shut up, which xiao saw through the window, and he promptly decided that he Was Not Putting Up With This Shit for any longer

immediately went to a neighbour’s house and told them what was going on, neighbours promptly called cps, and an investigation was launched

parents were deemed unsuitable for raising kids and (after a lot of back and forth) the two kids were taken into care

meanwhile zhongli was kind of sad because he had no friends or family in this town and all he really did was write articles, read books, and mark work

then one of his co-workers mentioned hearing about xiao and yanfei’s story and it hit zhongli so hard that he immediately rang up the adoption centre and ended up taking them in

and from then on both yanfei and xiao were very happy and healthy because zhongli was literally the best dad ever and put everything into taking care of them

2. the ragnvindr family (+ friends)

diluc, 29: budding businessman who still works at his dad’s cafe but is looking to open up his own company some time soon, still buys himself juice in those little cartons with the straws, still doesn’t know how raising bread works?? how does it get bigger???

diona, 7: diluc’s adopted daughter who has her father firmly under her thumb, bit of a spitfire but can also be the sweetest kid ever, enjoys making ‘potions’ out of grass and flowers and water (diluc can and will actually drink these potions because his love for his daughter knows no bounds)

kaeya, 25: diluc’s idiot little brother who’s changed majors at least five times and still doesn’t really know what he wants to do, practises fencing and horse riding in his spare time like a nerd, spoils his niece rotten

lisa, 26: the first of kaeya’s three roommates, has a degree in english and could easily have gone on to become a leading scholar but chose to instead open a bookshop that gets way more business than expected because she’s pretty and men and women alike are all simps

albedo, 23: the second of kaeya’s roommates, bit of a genius, has already started his chemistry phd, is almost concerningly pale and exhausted at all times, has not gone a day without breaking one of the cups for at least two years

venti, 21: the third of kaeya’s roommates, studying music, acts way older than he is sometimes but is mostly just a child, asks at least one of his roommates to marry him every day without fail, was and still is both a music and a theatre kid

lisa’s actually the one who owns the roommates’ residence because it’s on top of her bookshop

i was going to keep the whole ragnvindr family trauma thing but i decided that diluc deserved to be happy in at least one au so the brothers are still happy brothers :D

unfortunately that means that i’ve transferred a lot of the family trauma over to diona

essentially her mother died when she was a baby and her father, draff, turned to alcohol to get him through the stress of raising a child alone. unfortunately this led to him drunk driving one day, and he crashed the car into one of the wall’s of diluc’s dad’s cafe.

draff died on impact since he was in the front seat, but three-year-old diona managed to pull through despite her injuries. one thing led to another, diluc ended up taking care of her for a bit while the authorities sorted the whole thing out, but then he got too attached and decided to adopt her permanently

now diona has a dad, three uncles and an aunt who are all willing to shower her with all the love she deserves :’)))))

3. the Miscellaneous Pals™:

xiangling, xingqiu, chongyun, 17: local high school kids, they’re all kind of dating each other, low-key got adopted by xiao at one point, guoba is xiangling’s guinea pig and they all have joint custody over him

barbara, bennett, razor, 17: also local high school kids, also kind of all dating each other (but a lot more tentatively), regulars at diluc’s cafe, almost never seen apart

lumine, aether, ??: they keep showing up here and there around town to climb a tree and just sit there throwing leaves at people on the streets, then disappear. no one knows who the fuck they are

tartaglia, 23: nicknamed childe by his friends, also known as Mr Moneybags, is always just hanging around the local uni campus but doesn’t actually study anything there. his real name is ajax, but he thought that was lame so he gave himself a cool new one

eula, 24: new teacher at the local high school, her father used to be headmaster and was notoriously cruel to his students so everyone’s kind of wary of her, but she’s just really sweet and wants the best for her pupils :(((

amber, 21: number one eula defender, teaches the younger kids at the local primary, likes bunsen burners a little bit too much, still can’t remember how to spell the word necessary

hu tao, 25?: shady local mortician who may or may not practise illegal things, was kind of dating yanfei at some point but zhongli sent her packing as soon as he realised who she was, no one knows what her deal is

xiangling’s already a budding master chef and has received several offers from culinary schools, xingqiu is planning to study literature/language at uni but also might just go straight to trying to get a book published, chongyun is going to continue the family tradition of studying the supernatural with maybe a side job at xiangling’s future restaurant so that he doesn’t end up with no money if he doesn’t get any supernatural work

barbara is planning to go to medical school and also sings/dances in her spare time, bennett still doesn’t know what he wants to do but is considering carpentry among other things, and razor is dead-set on working at either a zoo or an animal shelter when he’s older

tartaglia never leaves the house without at least three pocket knives and a water pistol. he’s never had to use them yet, but you never know...

eula and amber live together and are probably dating but they’ll both just dodge the question if you ask them about it

they’re most definitely together though because on eula’s birthday amber brought her entire class of little kids to say happy birthday and bring her flowers

(incidentally amber is diona’s teacher)

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icanfixhimclub · 3 years

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"You're insufferable." "I'm glad."

This is part 2 to this, so go read that first!

Blue strided pridefully to the stage, standing beside who she now knows is David, as Jack waves to everyone. "Carrying the banner!" Jack yelled and everyone in the stands cheered. "We've come a long way, but we ain't done yet. And maybe it's only gonna get tougher from now on. But that's fine, we'll just get tougher with it!"

Everyone cheered while Jack started speaking again, "But also...also we gotta get smart and listen to my pal david," some cheered, mostly like Manhattan newsies, "Who says, 'stop soaking the scabs.'" Blue scoffed stepping to look at Jack. "Hey look Kelly, when me and my boys see scabs, we soak 'em. Period."

Every cheered as Jack looked very displeased. "No, no, no!" David cut of the cheering, "That's what they want us to do! If we get violent, it's just playing into their hands." "Hey look, they're gonna be playin' with my hands alright?" Spot said sternly. "It ain't what they say anymore, it's what we say." Blue cut in, scowling at David.

"And nobody ain't gonna listen to us unless we make 'em." Spot adds on. Everyone started cheering again as Spot and Blue glanced at each other. "You got no brains!" Kelly shouts, "We're starting to fight each other, it's just what the big shots wanna see! That we're street trash! Street rats with no brains, no respect for nothing including ourselves!"

Everyone started sitting and quieting down. "So here's how it is," Jack begins again, "If we don't act together, we're nothing! If we don't stick together, we're nothing!" "Tell 'em Jack!" A kid yells. "So what's it gonna be?" Murmurs of agreement could be heard from the crowd as Spot and Blue paced. "So whadda you say Spot?" Jack asked.

Spot looks out into the crowd, "I say what you say...is what I say." Some of the crowd cheered but not all of it as Jack turned to Blue, looking hopeful. "I say you're an idiot Jack Kelly...but that ain't always a bad thing." Blue spit on her hand with a grin as Jack repeated the actions and the crowd cheered. Suddenly the lights went out and a spotlight got turned to the curtains, a red haired woman stepping out at the crowd cheers and wolf whistles.

"Oh boy." Blue mutters, slipping past people to leave the theater, having no mind to deal with the boys obnoxious behavior. Just a minute after she sat down, Spot Conlon did too. They sat in silence for a while until Spot spoke up, "Why do you hate me?" Blue chuckled in response, "Why shouldn't I?"

She turned to look at the dirty blonde, gaze questioning. "I can be a good guy!" Spot argues as Blue busts out laughing. "You? As if! The only thing 'good' about you is how you and Brooklyn use slingshot's, but even then my boys and me are better." Spot huffed, crossing his arms, "You're insufferable." "I'm glad."

Blue smiled a smile that made Spots face heat up, but he hoped the darkness would hide it. Then, an old man who don't look too friendly starts heading into the theatre. "Hey mista, you ain't s'posed to be in there right now." Blue reminded, standing up and blocking the door, Spot standing up shortly after.

"Move it little girl." The unknown man pushes Blue away, her head hitting the wall as Spot stops her from hitting the ground and the man enters the building. "Hey, Blue, you ok?" Conlon asks, sitting Blue against the wall. "Ya," She winces as she brings her hand up to rub the forming bump, "Just hurts a bit, nothing I'se can't handle."

When they hear the clopping of horses, they both turn their heads and see the bulls heading their way. With a knowing look, they both run inside. "Jack!" Blue yells, searching frantically, but she instead finds Bolt. "Bolt! Get the younger boys out, the bulls are here!" She's frantic and the loud noise doesn't help her head but Bolt nods as Blue flees to search for Jack.

Just as she sees Jack run, she all hears the deafening whistle of the bulls, ringing in her head. Everyone started trying to leave, some staying and fighting. As Blue saw a bull trying to take one of her younger boys, she ran to them, pulling the man back and punching him right in the gut, then kneeing him in the face when he doubled over.

She didn't even see it coming, another man landed a punch right where she had hit her head just a few minutes before. She heard the faint call of her name, but she was unconscious before she even hit the ground. Spot saw red, charging at the man, swing his fist with all his might be picking up Blue and running.

He saw an open area and ran backstage, right out the back doors. "Please be okay." He whispered, gently setting her down on the ground before running back inside, praying she was okay

"All rise, all rise. Court is now in session. Judge E. A. Monahan presiding." Blue groaned quietly, holding the ice pack against her head. "Are any of you represented by a counsel?" The judge asked. Spot, Racetrack and Blue all shared confused looks. "No. Good, good. That'll move this along considerably."

"Hey, ya honor, I object." Spot spoke up. "On what grounds?" "On the grounds of Brooklyn, your honor." Everyone laughed, even Blue let out a giggle that had Spot glancing down at her. The judge banged his gavel, unamused by Spots behavior, "I fine each of you 5 dollars, or 2 weeks confinement at the House of Refuge."

"Whoa, whoa, whoa, hey we ain't got 5 bucks." "Hell, we ain't even got 5 cents!" Blue added on to Race's statement. "Hey your honor, how bout I roll ya for it? Double or nothing." Everybody laughed once again at Racetracks remark while the judge banged his gavel again. "All right, move along, move along."

"Your honor, I'll pay the fines," Everyone turned to see Denton enter the court room, "all of them." David entered as well, the 2 walking over to the others. The dull throb in Blue's head made her zone out, Denton words sounding miles away. She only zoned back in when she heard Race yell over to Jack.

The only thing Blue could focus on was the warmth that shot through her body when Spot grabbed her hand and lead her outside with the others, all heading to the restaurant. "Blue, get that ice pack back on ya head." Spot ordered when he saw Blue drop it on the table. "I'se fine, besides, my arm is hurtin'." She complained.

Everyone greeted Denton as he walked into the restaurant. "Why didn't the sun print the story?" David questions immediately. "Because it never happened." Everyone talked over each other in forms of confusion. "If it's not in the papers it never happened. The owners decreed that it not be in the papers, therefore..."

Blue could hear Spots heavy breathing, most likely of anger. "Anyways, I came to tell you fellas goodbye." Silence fell over the restaurant, nobody dared to speak. "What happened, did ya get fired?" David steps forward but Denton was quick to shoot down the idea. "No, I got reassigned back to my old job as the sun's ace war correspondent. They want me to leave right away. The owner thinks they should only cover really important stories so..."

David walked away in what seemed like disappointment. "They don't always fire you, David. I would be blackballed from every paper in the country," Denton tugged David's arm to get him to face him, "Hey, I'm a newspaper man. I have to have a paper to write for." David still stayed silent as Denton sighed, "This is the story I wrote about the rally. And, I want you to read it at least."

Denton took out a price of paper from inside his pocket, but David still remained quiet so Denton kinda forced the paper into his hand as he started leaving. "Bill," the waiter turned around, trying to tell Denton to keep it, "No, no, this should cover it." Denton handed the man some cash and left. David pushed off of the wall and crumpled the paper.

"God David, stop being an ass." Everyone turned to look at Blue, unready for her comment. "Excuse me?" David asked as Blue stood up. "You heard me. Denton had no control over being reassigned and he has to make money too. Boo hoo, we're not in the paper, suck it up and stop acting like a upset toddler."

Blue fiercely gazed at David, her annoyance evident. David shifted his gaze to the table infront of him. "We get Jack out of the refuge tonight. And from now on, we trust no one but the newsies." Everyone agreed, standing up and leaving. After leaving, Blue grabs David's wrist. "Hey, I'm coming with, rather you like it or not." She said, letting ho and walking away.

That night, her and the boys snuck past the Refuge gates following a carriage. David points to a lighted window, "That's where we saw Crutchy." A whistle blows and they all hide. Everyone could see it was Jack. "Where they takin' him Dave?" Mush asked as the loaded Jack into a carriage. "Only one way to find out," David took off his hat and waited for the carriage to leave." I'll meet you guys by the square."

As everyone watched David leave, Blue walked out, staring up at the window. "Aye, whaddya doin' Blue?" Race asked watching her intently. "Mush," The girl whipped around, staring at the tallest of the boys, "You're tallest, get me on your shoulders, Blink, I need the rope." Both boys nodded and walked over to her, Blink handing her the rope.

Mush bent down and helped Blue onto his shoulders, standing up and getting close to the wall. She tried throwing the rope up into the window bars, trying to get it to fall back down over something. When it did, she motion for Mush to set her down and he did. "Alright, which one of you'se is the strongest?" Mush, Blink and another raised their hands.

"Alright, your going to hold the rope still on this end while I climb up the other." The 3 nodded and walked over, grabbing the end of the rope. Blue grabbed the other end and used to Rope to help her scale the wall. When she reached the window, she nodded on it, a unknown kid opened the window. "Is anyone in here go by Radio?" She asked timidly.

The small girl looked sad, looking down. "Radio got real sick and died a few days ago." Blue's breath caught in her throat. She almost let go of the rope, everything slowing down. "T-thank you." Blue nodded and slid down the rope. Everyone's voices were fuzzed and Blue could feel the tears in her eyes. So she ran. She ran faster than she ever had before, faster than she thought she could go.

She ran until her legs gave out under her, right on the Brooklyn Bridge. Uncontrollable sobs ripped from her throat, everything seemed to disappear as she cried. She sobbed so loud she didn't even hear Spots footsteps, not even aware of his presence until he sat by her and puller her into his side. She started to hyperventilate, barely any air in her lungs.

"H-h-He was j-just a b-b-boy!" She subconsciously leaned into Spots comfort. "Hey, Blue, hey, calm down, easy does it." Her loud cries had slowly turned in small sniffles and tear stained cheeks. Spot slowly moved to sit in front of her, cupping her face in his hands. "Now," He brushed his thumb across her cheek, wiping away a tear, "Tell me what happened."

"He's gone." She choked out, her hands grabbing at her shirt, "He was to young to d-die. He was 8 Spot, 8! He shouldn't of died at 8! He was gonna become a writer! He was," She choked back another sob, her voice cracking as she spoke, "He was gonna write a book 'bout all of us." The last part came out as a broken whisper, so heartbroken it made his clench.

A small, broken sob left Blue's lips, leaning into Spots touch as he wiped her tears. "Come to my lodge with me. It too late for you to be walkin' back to Queens alone." Too tired to respond, she just simply nodded, eyes already drooping. She didn't say a word when Spot effortlessly pick her up, heading back to the Lodging House.

About half way there, Spot looked down at her to find her peacefully asleep, head resting against Spots chest, the smallest snores escaping her mouth. Spot let out a small chuckle, continuing the long walk back to his Lodging house.

A/n: whew, that was long. Anyways, there's definitely gonna be a part 3 and possibly a part 4, so stick around for that!

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now-im-a-belieber · 4 years

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No Place Like Home For The Holidays

a/n: I've been SO excited to post my first secret Santa fic in this fandom! And it's finally time! Here is some absolutely tooth-rotting Christmas themed fluff for the darling @easy-company-tradition Really hope you enjoy this, luv! Happy holidays to you.

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You'd been thrown into the depths of another holiday season, but this one was unlike any other you could think to compare. The war had only just ended. Some parties had already been thrown. Some soldiers had already been welcomed to the serenity of their neighbourhoods and paraded around town by family members like they'd just brought the boys home from being born.

But the most lavish party on your block had, for decades now, been saved for Christmas night. Young folks whose parents were fast to fall asleep after big Christmas lunches, and families with nothing better to do rushed to celebrate year after year in the same well decorated flat big enough to host. You knew the homeowners, some of your closer friends. But even if you hadn't, you would've found a reason to come and spend Christmas night crammed into the holly decked halls between your pals from all over town.

There, every year, glasses clinked and records scratched as eager, tipsy friends raced to pick the next soundtrack of the evening that had only just begun. Each year, teachers and doctors and dancers and mechanics mingled, passing kind smiles your way as you floated from one space of the party to the next. You settled between them all talking about the usual things. But what was different about this year was the sight of the occasional soldier saunter through the door. They were each met with warm welcomes, claps on the back, kisses on the cheek. But one man was greeted more fondly than all the rest.

Dick was some kind of hometown hero. He appeared in the local paper more in his time away than he ever had growing up here. Articles all about his achievements and those of the fellow Americans at his close working hand. If you hadn't already sort of known Dick before he left, it still would've been impossible not to recognize him as he crept in the door of the most anticipated party of every December.

Before, you'd seen him in town, when he used to ride his bike to the lake. When he went to an early dinner with his family and friends, before heading out to whatever was playing at the theatre you might've also been keen to see. And times like then, when he was close enough to hold a door open for you, or help you reach for the jar of jam on the shelf at the market you couldn't quite reach, he'd always flash you a grin.

His smile was etiquette. A simple well-timed reflex. You knew that. But no matter the reason for his lips up turning in your direction, the effect was always the same. Your palms clamming up. Your heart buzzing to life. All the while, you passed him by. You'd nod to him all the same but turn the other way. Because he would too. And if he'd meant anything by it, you would've known more than that famous grin by now.

The party around you seemed to freeze in time, most of the already tipsy attendees turning to fawn over the man dressed like all the returning soldiers, but who hardly blended in with the crowd. That recognizably demure grin set Dick apart by miles. And where it had always used to send your heart into overdrive, the expression made your heart sink ever so slightly now. He flashed that polite smile to everyone he shouldered passed. Only, he must not've seen you. And that was probably for the best.

You excused yourself from the chatter you were holding with friends in the parlour, eager to find a drink to calm your nerves that'd sprung to life at the sight of the man you'd always sorta known. The man you'd always watched pass you by. Were you the one meant to break the cycle? Were you supposed to leap out of your comfort zone and extend a hand to greet him, officially? You needed a drink before even considering going out of your way to stutter something embarrassing to the guy; and ruining your chances of continued small talk with your inevitably awkward greeting.

In the kitchen, you chose from one of the many sparkling glasses that lined the counter, scanning the crowd for a familiar face to occupy your time so you could stop overthinking so pathetically. All of your friends had been left near the record player, and no one in the kitchen seemed familiar enough to approach on a whim. Just as you whipped around, desperate to fly back to the first acquaintance you might've recognized, someone stood blocking your way.

"Whoa, there. What's the rush? Got a better party to be at?"

Oh, God. Of course this would happen to you. Of course Dick was the warm body blocking your escape path. With both hands behind his back Dick settled his stance, cocking his head your way as if he genuinely wanted to know the answer to the question he'd asked you. All you saw was the blue of his eyes, closer than ever before. And the slosh of your drink, dangerously near the rim. You brought the glass to your chest, sucking in a breath and hoping everything around you would feel steady afterwards. It didn't.

"Welcome home." You managed to say after realizing Dick wasn't going to step aside, and you couldn't dare move out from under his gaze either. And then as if he knew it would be the nail in the coffin you were being buried alive in, his grin grew wider as he looked right in your eyes.

"No one's said that to me yet, but you."

Your brows furrowed at Dick's words. The most he'd ever really spoken to you. All those meek "hello's" past diner doorways he might've held open didn't count. He'd held the door open for everyone close enough in his path. So surely he'd received half a dozen overly warm welcomes since arriving back. He must've noticed your expression, as the man went on to say...

"I just got in. I've only heard a couple welcomes back. But, home..." Dick said, and seemed to reminisce as if the place he spoke of now was much further away than right under his feet.

"Well this is home, isn't it?" You shrugged, tightening the grip on your glass, closer to your chest; to keep your heart caged in from beating right out into the open and mortifying you, on this the merriest night of the year.

"Not for long. I accepted a job a while away." Dick explained, speaking to you almost as if you'd shared one thousand words before now. "Making my rounds. Hellos and goodbyes." He gestured to the room full of people. Some oblivious to his presence. Others waiting with wide gazes to approach the soldier like some kind of celebrity.

"Well, everyone will be anxious to steal a moment of your time, I'm sure. You're all this town's talked about since, ya know..." You shrugged, starting to get the hang of unfreezing, planning your mad dash away before you melted into a puddle at the man's feet, or worse, misspoke.

"Oh?" Dick rose a brow, waiting for you to say more, like he hadn't been aware of his own status. Just then, in the brief pause before you'd managed to escape, a couple stepped in, closing off your only way out, each set of eyes beaming toward the soldier before you.

They talked over each other, thanking the man for all he'd done. Asking how he'd been. Asking what was next. Dick didn't say much more to them than he'd said to you. And his vague answers to their questions sent them shuffling away before too long. Finally, you could too. But you knew better than to leave without a polite parting word.

"Well, I won't keep you from your people." You grinned, turning as if to leave. But Dick spoke up again, holding the attention you'd reluctantly allowed the man to capture.

"They weren't really my people. I didn't know either of their names." He looked as if he was holding back a chuckle.

"You don't know mine either." You pointed, by slightly lifting your glass before him. And then, after one of those famous grins, he took you by surprise.

Dick said your name. Not like he was repeating it from a memory he'd managed to recall in a flash. But like the title was always swirling in his consciousness... like it was obvious. You felt as if you'd only heard it for the very first time, like he'd gifted the name to you, one you'd not thought much of in comparison to now.

"It's a small town," He reasoned, and you swore he might've started to wink. But right as your heart began to burst, another set of frineds clamoured to tell Dick hello. He seemed to recognize these bright eyed faces, turning to greet them with a combination of a modest yet regal sense of excitement that only Dick possessed. And as you stood, trapped by his magnetism, Dick introduced you to the friends of his he had come here to see. They were glad to find the man safe and well, and managed to rope you into the conversation they shared with Dick, somehow. It wasn't too long before the folks who'd already been partying for a while decided to head out.

But you hadn't even noticed, that as they left, you and Dick were carrying on the conversations they'd started up. Talking about how the town had changed. How it hadn't. You talked with the guy for what felt like forever, trading rumors about the local haunts and remembering the elders who'd mattered most to the community.

But of course it wasn't long before someone else bound close to catch the guys attention. You were wise enough then to slip away, not daring to overstay your welcome, or keep the man from the others who'd missed him just as you had.

Back in the parlor, your friends were still going on about whatever it was you'd been discussing before, arguing over records and future plans. Slowly, as all the albums had been played and after all the drinks had emptied, the party ended. Snow fell into a thin blanket across the street you flooded out into, your route home lit by the occasional flickering lamp. As you pulled your coat tight around your waist and made your way down the porch steps, another pair of feet matched the pace of your own.

"Leaving so soon?" Dick mused. Walking in slow time with you, but keeping his eyes on the blackened horizon.

"It's nearly one in the morning. Santa won't come till we're all fast in bed, you know?" You joked, too tired to worry over how silly your statement might've seemed.

Dick's grin blossomed into a smile as he nodded... It was almost a laugh. You could tell by the gentle shrug of his shoulders. You'd almost made him laugh.

"You're going my way?" You wondered, then, noticing the way he kept walking too as you started across the street.

"I've got to make sure you get home safe and sound. Santa won't do that much. He'll pass you by if you're not where you're meant to be, you know."

And that made you laugh, a little. A sleepy sort of chuckle. A dazzled breath of a laugh. Was this some kind of waking dream? How'd you get so suddenly lucky?

Dick walked you home. He talked a little about how pretty the snow seemed in the light of the street lamps. And he asked if you thought so too. You agreed and didn't try to fill the quiet that followed. It was almost just as magical to share in silence with Dick as it was to share a word or two. And when you made it to the drive of your place, he wished you well and waited for you to make it to the door before sauntering back the way he'd come.

///

Everyone was convinced he'd fallen in love with you. For the next few days, all your friends swore it. "I'm pretty sure he'd only just learned my name, that night," You argued with them.

"And so maybe he'd only just fallen in love with you. But it was more than obvious he had." Your friends shot back. They wouldn't let up. No matter if you ignored them, or begged them to change the subject. The chatter about Dick Winters only died down after your closest friend announced their throwing a New Years Eve bash that Dick had been invited too.

He wouldn't show, you knew. He had a new place all lined up. A life to live. He was just a name in the paper, here, now. He didn't have a single reason to stick around after telling everyone the news of his moving away. You'd only gotten lucky, to have spent such a drawn-out encounter with the man you'd so long pinned after.

So with your friends having finally stopped yammering on, and your mind made up about fate, you were pleased at the way the week had settled into silence. And you only hoped the new year would treat you so kindly.

Of course you were eager for your friend's party. Another excuse to spend an evening laughing till it hurt with everyone you adored under one roof. A brand new year to welcome in. So much to finally move on and away from. So much hope to gain and hold tight to. As yet another party raged on, you wondered if the world was really changing, and for the better. You laughed over the same old jokes with friends, and traded recipes with people you'd always waved to in passing. You floated from room to room, knowing moments like this would be memories you'd recall most fondly days and decades from now.

And as if you weren't already steeped in so many fond feelings, you saw him again. And you were somehow more surprised to find Dick Winters standing alone in the middle of this party.

Now you wondered how to tell the difference between fate, and fortune. Was this meant to happen, either way? Now, for those reasons you hadn't yet been able to tell apart, you weren't afraid to cross the crowded room and meet the man where he stood. Dressed sharp as ever. Standing just as stoically. Seeming ever as inviting, too, though.

"You're not gone by now?" You jeered, stepping closer to the space Dick had claimed in the corner of the celebration where a few balloons hovered close to the raised ceiling. You were the one catching his attention now. And nothing could quite compare to the warmth you felt when Dick turned and smiled right at you. Didn't he know what that grin of his did to you? He must've. Because he let a heavy silence linger, as you relaxed in place at his side.

"They say that how you spend ringing in the new year will predict the outcome of the rest of the year." Dick seemed to banter, standing in place, looking truly at ease amidst another rowdy crowd. This scene didn't seem like one he fit into. In fact, you knew it wasn't. So why was he really here?

"And you didn't want to see the calendar change in this mysterious new place you've got lined up?" You shrugged, daring to steal a glance that held his own for longer than you'd expected. And without missing a beat, he responded...

"I was much more hoping to see you." Dick spoke, matter of factly, like he did. Like nothing was a big deal. Even if you could see by the look in his eyes that his words held a weight you'd never felt till now. The collective buzz of the people around you seemed to grow louder, even though Dick seemed to be the only person in the room, all else fading away.

You watched the man search your face as you felt a blush appear there was no use in hiding. You didn't much feel like hiding away from Dick any longer.

"Well, here I am." You sort of shrugged, after you breathed out your every confidence in a whisper you hoped Dick managed to hear. His gaze was set on yours, and it hadn't much changed in intensity after you spoke.

Then someone started counting seconds down to single digits. And the crowd shouted along. And while you turned toward the commotion, you felt Dick's eyes still stuck on you.

"Happy New Year!" The small crowd cheered and hollered and started to sing. You beamed at the sight of your friends celebrating making it another set of days together, jumping into each other's arms and dancing about the room as music rang louder. As your eyes scanned the joyous scene, they landed on Dick. He'd not left your side, or sprung to life in celebration. He'd only kept looking at you. And when your eyes met again, your breath caught at the sight of the glimmer in his gaze.

He didn't ask. He just leaned in. And of course, you let his lips meet yours. With a kiss, the door opened to a thousand questions, a handful of your wildest wonders came true. The war was over. The year was new. And the man of your dreams was flashing his famous grin right at you. Dick watched you smile back just as brightly before leaning in to steal the second of what you hoped would be a zillion more kisses; and many more new years together.

#gross who let me drink wine and write at the same time #anyway happy christmas!#band of brothers #secret santa #dick winters #dick winters x reader #richard winters #richard winters x reader #band of brothers fanfic

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alexanderholden · 3 years

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I saw [HOLDEN ALEXANDER] at a coffee shop in [BROOKLYN] today. I forgot how much [HE/HIM] looks like [JAMIE DORNAN]. They are a [THIRTY-TWO] year old [PARAMEDIC] who’s been in NYC for [THIRTY-TWO YEARS] now. Every time we run into each other, they are always [CHARISMATIC + LOYAL] but I’ve heard people say they can also be [STUBBORN + PROMISCUOUS]. [TO BUILD A HOME by THE CINEMATIC ORCHESTRA] reminds me of them every time it comes on the radio. —

@villagestart

TW: car accident, brain injury, ptsd, bipolar mention, death

Holden grew up an only child with his two parents, Olivia and James. He was very close to his aunt and uncle on his mother’s side, and his grandmother on his father’s side, who had never had any other kids, and Holden’s paternal grandfather had passed away before he was born.

Holden’s parents were completely in love and the house was always filled with music from his parents’ vinyls, good smelling food, along with art, laughter, and playful banter. Holden’s childhood was pretty ideal. Sometimes his mother would be awake at two in the morning and offer to make him pancakes while she sang along to a radio station at the stove.

There were times, however, where she would lay in bed and not come out all day. These were rare days, but they happened. He didn’t think much of it, but as he got older he would come sit with her and she would put her best smile on and listen to her son talk.

His aunt eventually revealed, with her sister’s approval, that Olivia dealt with Bipolar Disorder. Holden accepted it without much dialogue with his mother. She was happy, for the most part, and so was her son, the most important thing to her.

He had good friends, made A’s and B’s in school, and didn’t get into trouble. His childhood was happy and he remembers it as such, knows how lucky he was.

As a teenager, Holden grew an impulsive streak. He started dating girls and his mother sat him down for the ‘safe sex’ and ‘respect women’ talk, which he took very seriously. Sometimes he would stay out later than he was supposed to, and he regrets the worry that he probably caused his parents in his teen years. He regrets breaking some of the rules they had set for him, like coming home before 10:00. It was a perfectly acceptable time to come home for the night, and sometimes he would break that rule.

But as he settled into an older teenager, he began to settle into the rules as well and finally thought his parents were ‘cool’ again. He’d even go to the movie theatre with them, finding no shame in being pals with his parents. They’d raised him to be friends with him first, and parents second. For Holden, it had ended up working smoothly.

At 18, he moved out of his parents’ house and into an apartment, working first as a waiter until he became a bartender at 21. He stayed at that job until he was twenty-five, when tragedy struck Holden’s world upside down.

The twenty-five year old was riding in his parents’ car when a semi-truck veered off the road and into their car, causing a brutal accident. Truthfully, the driver had been tipsy. His parents passed away on the scene, and Holden remained conscious in the backseat of the car to witness it until he passed out from a mild brain bleed. They were rushed to the hospital and the paramedics were unable to revive his parents. Holden was in the hospital for three weeks, his injuries persisting for longer than they would have due to his trauma. He didn’t say a word during his hospital stay, though his aunt and uncle were there for him every day, talking to him, encouraging him to eat. He barely remembered the three weeks he was in treatment. The doctors said the brain injury would cause no long-term damage, and he was ‘good to go.’ He forgot the advice they gave him, pushing it out of his brain, about going to counseling or group therapy to deal with his grief.

Holden slept fitfully the years after his parents’ death, waking up from his nightmares screaming or in a cold sweat. Sometimes he’d battle sleep paralysis, and it horrified him. So he took to drinking a couple shots of whiskey in the night time to sleep dreamlessly. It was the only thing that seemed to work, he reasoned, not that he had tried much else. He’d tried meditating, granted, and he’d tried staying away from screens close to bedtime, but he knew he needed something stronger.

At twenty-seven years old, he met a woman in the bar and went home with her that night. On top of having found a woman that he loved, he’d recently taken classes at college to become a paramedic, feeling that it somehow made up for him not being able to save his parents.

Meanwhile, the two fell in love quickly. Holden, usually a ladies’ man, not much of a relationship guy, fell hard and passionately for Isabella.

Within six months, she lived with him, getting used to his ever-changing and sudden schedule as a paramedic, the times he was on call, the sleepless nights.

As they settled into the honeymoon phase and settled out of it, they fought like cats and dogs. The smallest of things could set them off, but then they would lean into a heated kiss and all would be forgotten.

The second half of their relationship was more turbulent. She grew tired of him shutting down, though she knew everything about him, and grew tired of him walking out of the house after a nightmare in the middle of the night, not wanting to talk about it. He never wanted to talk about it, she’d say. It seemed to still matter to him, enough that he had to drink to get some sound sleep, she pressed. He shook his head and continued walking out the door. Sometimes he would get a message on his phone and go to work without telling her. She hated that the most, and deep down, he knew it wasn’t right of him.

Meanwhile, Holden loved his job. It could be anxiety-inducing and traumatic at times, but he found that despite his initial reason for wanting to try the job, it was a career to him now and he loved helping people, and often didn’t even think about his parents on the job. But there was the occasional day where all he could think of was his parents.

When Isabella found out she was pregnant, it was like a light in the darkness to Isabella and Holden. He smiled, hugged and kissed Isabella when she took the test, and spun her around happily while she kissed him a hundred times. He was there for her every step of the way, for all the doctors’ appointments, for all the long, sleepless nights; he was there to hold her hair back when she got sick, there to calm her when she was scared or worried.

Eventually, Isabella wondered if the only reason they were so happy now was because she was pregnant. And ultimately, they decided to end their relationship before their daughter, Julia, they’d decided, after one night of looking through a baby book, was born. It seemed to be the best, and they decided to split custody in half, trading off every week. Isabella moved out a month after Julia was born. Co-parenting worked well for them, and they were good as friends, though deep down they were still in love and craved each other like nothing else.

Julia was Holden’s light, his pride and joy.

He adopted two Siberian Huskies, brother and sister, named Aurora and Bear when Julia turned one year old. They soon came to protect her and adored Julia, and Julia adored them. Julia is now three years old, and Holden doesn’t know what he would have done without the help he’s had from his aunt and uncle. They are like second parents to him, dropping everything and coming over at the drop of a hat when he’s on call at work, babysitting Julia and even dogsitting.

Luckily, Holden had trained the two dogs when they were puppies, and they are well-behaved though Aurora has a stubborn streak. On Holden’s off week, he misses his daughter a lot, and the two parents make sure to include time where they are both with their daughter, having family meals at each other’s houses and outings together. On his off week, he can be found at the bar sometimes when he’s not working.

One thing that has come back, after the car accident, is the impulsivity that he had as a young teenager. He sleeps around a lot, using it almost like a coping mechanism, but not quite. He’s gone back to his years of being a ladies’ man while also being a responsible, loving father. Life is ideal right now, for the most part, but his trauma still weighs on him every day, especially at night.

WANTED CONNECTIONS:

friends/best friends fwbs/hookups neighbors coworkers/hospital workers, etc. musical friends trauma-bonding: these two were in each other’s life around the time both of their traumas happened. or, similarly, this person remembers holden from the hospital where he stayed after the car accident, or they remained in touch with him. anything!!

#villageintro

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taliesin-bell · 4 years

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Hi! I was tagged by @sherlick-holmes to answer some fun questions :) Thank you!

rules: Answer 30 questions and tag however many blogs you want!

name: I go by Tali online :)

gender: Female

star sign: Leo

height: 5’1”

time: 4:03 as I write this

birthday: I don’t post it online. But I will say I’m 23!

favorite band: Fleetwood Mac, Mother Mother, London Grammar, Daughter, The Ink Spots, Florence + the Machine... probably forgetting some but that’s the main idea.

favorite solo artists: Fleurie, Ricky Montgomery, Taylor Swift, Mitski, SYML, Billie Holiday, MARINA, Ólafur Arnalds... so many more but these are just a few.

last movie: The Taking of Deborah Logan I believe? In terms of at home. Last one I saw in theaters was the Child’s Play reboot I think.

when did I create this blog: I wanna say it was like August 2018? Maybe July of that year? Somewhere in that zone.

what I post/reblog: I post Artbreeder portraits I work with if anyone is able to use them for character inspo or D&D character portraits. I reblog mainly video game things, quotes, art, stuff I find aesthetically appealing, etc.

last thing I googled: Mike Meyers today (I was curious about what he’s up to now since it’s been awhile since I’ve seen any of his movies)

other blogs: This is my only one! Hence why it’s such a mess of stuff lol. I just put all my interests on this one blog because I know I wouldn’t be able to manage multiple accounts (major props to my pals who can though!)

do I get asks?: Nah, but that’s okay! Unless I do the tag games I’m not great with replying on here (and I also have really bad anxiety so I can’t always be consistent).

why I chose my url: Taliesin was what I named my favorite horse in Red Dead Redemption (and obviously Tali is short for that), and Dapple came from dappled light. I love the patterns and Dapple is just the noun and sounded better than Dappled.

following: 230 (I think a lot are inactive now though. I need to go through and clean it out)

number of followers: 73

instruments: I sing sometimes? But I’ve never been great at any instruments. I played the recorder in school if that counts 😅 Would love to learn to play harp or piano or guitar though.

what am I wearing: Comfy PJ pants, and a huge gray T-shirt. I’ve been ill so I’m not very fashionable lately.

dream job: Voice actor. I love theatre as well, but the technical side. But voice actor is like a dream.

dream trip: I would love to tour around Europe and Asia. There’s just so much beauty in the world, I couldn’t narrow it down to just one place. I think staying in a country for a few days and then heading elsewhere would be really cool.

favorite foods: Mac n cheese, tomatoes, pizza, cucumbers, cod fish... lots of stuff!

nationality: American

last book I read: Agnes of God

top 3 fictional universes I would like to live in: The Wizarding World (as long as J.K. Rowling isn’t there. Not a fan of her transphobia and a lot of her beliefs, but the world itself is a comfort series), Mass Effect, aaand maybe Pokémon? I think that’d be really cute.

Tagging: @passingthetime , @rafeadlr , @peculiar-perryble, and @rule-of-rose

No pressure to anyone who might not want or be able to do this!

#asks #tag game #tali talks #thank you for tagging me!#text

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betterdaysareatoenailaway · 4 years

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Random Review #3: Sleepwalkers (1992) and “Sleep Walk” (1959)

I. Sleepwalkers (1992) I couldn’t sleep last night so I started watching a trashy B-movie penned by Stephen King specifically for the screen called Sleepwalkers (1992). Simply put, the film is an unmitigated disaster. A piece of shit. But it didn’t need to be. That’s what’s so annoying about it. By 1992 King was a grizzled veteran of the silver screen, with more adaptations under his belt than any other author of his cohort. Puzo had the Godfather films (1972 and 1974, respectively), sure, but nothing else. Leonard Gardner had Fat City (1972), a movie I love, but Gardner got sucked into the Hollywood scene of cocaine and hot tub parties and never published another novel, focusing instead on screenplays for shitty TV shows like NYPD Blue. After Demon Seed (1977), a movie I have seen and disliked, nobody would touch Dean Koontz’s stuff with a ten foot pole, which is too bad because The Voice of the Night, a 1980 novel about two young pals, one of whom is a psychopath trying to convince the other to help him commit murder, would make a terrific movie. But Koontz’s adaptations have been uniformly awful. The made-for-TV film starring John C McGinley, 1997′s Intensity, is especially bad. There are exceptions, but Stephen King has been lucky enough to avoid the fate of his peers. Big name directors have tackled his work, from Stanley Kubrick to Brian De Palma. King even does a decent job of acting in Pet Semetary (1989), in his own Maximum Overdrive (1986) and in George Romero’s Creepshow (1982), where he plays a yokel named Jordy Verril who gets infected by a meteorite that causes green weeds to grow all over his body. Many have criticized King’s over-the-top performance in that flick, but for me King perfectly nails the campy and comical tone that Romero was going for. The dissolves in Creepshow literally come right off the pages of comics, so people expecting a subtle Ordinary People-style turn from King had clearly walked into the wrong theatre. Undoubtedly Creepshow succeeds at what it set out to do. I’m not sure Sleepwalkers succeeds though, unless the film’s goal was to get me to like cats even more than I already do. But I already love cats a great deal. Here’s my cat Cookie watching me edit this very blog post.

And here’s one of my other cats, Church, named after the cat that reanimates and creeps out Louis and Ellie in Pet Sematary. Photo by @ScareAlex.

SPOILER ALERT: Do not keep reading if you plan on watching Sleepwalkers and want to find out for yourself what happens.

Stephen King saw many of his novels get adapted in the late 1970s and 80s: Carrie, The Shining, Firestarter, Christine, Cujo, and the movie that spawned the 1950s nostalgia industrial complex, Stand By Me, but Sleepwalkers was the first time he wrote a script specifically for the screen rather than adapting a novel that already existed. Maybe that’s why it’s so fucking bad. Stephen King is a novelist, gifted with a novelist’s rich imagination. He’s prone to giving backstories to even the most peripheral characters - think of Joe Chamber’s alcoholic neighbour Gary Pervier in the novel Cujo, who King follows for an unbelievable number of pages as the man stumbles drunkenly around his house spouting his catch phrase “I don’t give a shit,” drills a hole through his phone book so he can hang it from a string beside his phone, complains about his hemorrhoids getting “as big as golfballs” (I’m not joking), and just generally acts like an asshole until a rabid Cujo bounds over, rips his throat out, and he bleeds to death. In the novel Pervier’s death takes more than a few pages, but it makes for fun reading. You hate the man so fucking much that watching him die feels oddly satisfying. In the movie, though, his death occurs pretty quickly, and in a darkened hallway, so it’s hard to see what’s going on aside from Gary’s foot trembling. And Pervier’s “I don’t give a shit” makes sense when he’s drilling a hole in the phone book, not when he’s about to be savagely attacked by a rabid St Bernard. There’s just less room for back story in movies. In a medium that demands pruning and chiseling and the “less is more” dictum, King’s writing takes a marked turn for the worse. King is a prose maximalist, who freely admits to “writing to outrageous lengths” in his novels, listing It, The Stand, and The Tommyknockers as particularly egregious examples of literary logorrhea. He is not especially equipped to write concisely. This weakness is most apparent in Sleepwalkers’ dialogue, which sounds like it was supposed to be snappy and smart, like something Aaron Sorkin would write, but instead comes off like an even worse Tango & Cash, all bad jokes and shitty puns. More on those bad jokes later. First, the plot.

Sleepwalkers is about a boy named Charles and his mother Mary who travel around the United States killing and feeding off the lifeforce of various unfortunate people (if this sounds a little like The True Knot in Doctor Sleep, you’re not wrong. But self-plagiarism is not a crime). Charles and Mary are shapeshifting werewolf-type creatures called werecats, a species with its very own Wikipedia page. Wikipedia confers legitimacy dont’cha know, so lets assume werecats are real beings. According to said page, a werecat, “also written in a hyphenated form as were-cat) is an analogy to ‘werewolf’ for a feline therianthropic creature.” I’m gonna spell it with the hyphen from now on because “werecats” just looks like a typo. Okay? Okay.

Oddly enough, the were-cats in Sleepwalkers are terrified of cats. Actual cats. For the were-cats, cute kittens = kryptonite. When they see a cat or cats plural, this happens to them:

^ That is literally a scene from the movie. Charles is speeding when a cop pulls alongside him and bellows at him to pull over. Ever the rebel, Charles flips the cop the finger. But the cop has a cat named Clovis in his car, and when the cat pops up to have a look at the kid (see below), Charles shapeshifts first into a younger boy, then into whatever the fuck that is in the above screenshot.

Now, the were-cats aversion to normal cats is confusing because one would assume a were-cat to be a more evolved (or perhaps devolved?) version of the typical house kitty. The fact that these were-cats are bipedal alone suggests an advantage over our furry four-legged friends, no? Kinda like if humans were afraid of fucking gorillas. Wait...we are scared of gorillas. And chimpanzees. And all apes really. Okay, maybe the conceit of the film isn’t so silly after all. The film itself, however, is about as silly as a bad horror movie can get. When the policeman gets back to precinct and describes the incident above (”his face turned into a blur”) he is roundly ridiculed because in movies involving the supernatural nobody believes in the supernatural until it confronts them. It’s the law, sorry. Things don’t end well for the cop. Or for the guy who gets murdered when the mom stabs him with...an ear of corn. Yes, an ear of corn. Somehow, the mother is able to jam corn on the cob through a man’s body, without crushing the vegetable or turning it into yellow mash. It’s pretty amazing. Here is a sample of dialog from that scene: Cop About To Die On The Phone to Precinct: There’s blood everywhere! *STAB* Murderous Mother: No vegetables, no dessert. That is actually a line in the movie. “No vegetables, no dessert.” It’s no “let off some steam, Bennett” but it’s close. Told ya I’d get back to the bad jokes. See, Mary and Charles are new in town and therefore seeking to ingratiate themselves by killing everyone who suspects them of being weird, all while avoiding cats as best they can. At one point Charles yanks a man’s hand off and tells him to "keep [his] hands to [him]self," giving the man back his severed bloody hand. Later on Charles starts dating a girl who will gradually - and I do mean gradually - come to realize her boyfriend is not a real person but in fact a were-cat. Eventually our spunky young protagonist - Madchen Amick, who fans of Twin Peaks will recognize as Shelly - and a team of cats led by the adorable Clovis- kill the were-cat shapeshifting things and the sleepy small town (which is named Travis for some reason) goes back to normal, albeit with a slightly diminished population. For those keeping score, that’s Human/Cat Alliance 1, Shapeshifting Were-cats 0. It is clear triumph for the felis catus/people team! Unless we’re going by kill count, in which case it is closer to Human/Cat Alliance 2, Were-cats 26. I arrived at this figure through my own notes but also through a helpful video that takes a comprehensive and complete “carnage count” of all kills in Sleepwalkers: https://www.youtube.com/watch?v=vmt-DroK6uA

II. Santo & Johnny “Sleep Walk” (1959) Because Sleepwalkers is decidedly not known for its good acting or its well-written screenplay, it is perhaps best known for its liberal and sometimes contrapuntal use of Santo & Johnny’s classic steel guitar song “Sleep Walk,” possibly the most famous (and therefore best) instrumental of the 20th century. Some might say “Sleep Walk” is tied for the #1 spot with “Green Onions” by Booker T & the M.G.’s and/or “Wipe Out” by The Surfaris, but I disagree. The Santo & Johnny song is #1 because of its incalculable influence on all subsequent popular music.

I’m not saying “Wipe Out” didn't inspire a million imitators, both contemporaneously and even decades later…for example here’s a surf rock instrumental from 1999 called “Giant Cow" by a Toronto band called The Urban Surf Kings. The video was one of the first to be animated using Flash (and it shows):

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So there are no shortage of surf rock bands, even now, decades after its emergence from the shores of California to the jukeboxes of Middle America. My old band Sleep for the Nightlife used to regularly play Rancho Relaxo with a surf rock band called the Dildonics, who I liked a great deal. There's even a Danish surf rock band called Baby Woodrose, whose debut album is a favourite of mine. They apparently compete for the title of Denmark’s biggest surf pop band with a group called The Setting Son. When a country that has no surfing culture and no beaches has multiple surf rock bands, it is safe to say the genre has attained international reach. As far as I can tell, there aren’t many bands out there playing Booker T & the M.G.’s inspired instrumental rock. Link Wray’s “Rumble” was released four years before “Green Onions.” But the influence of Santo and Johnny’s “Sleep Walk” is so ubiquitous as to be almost immeasurable. The reason for this is the sheer popularity of the song’s chord progression. If Santo and Johnny hadn’t written it first, somebody else would have, simply because the progression is so beautiful and easy on the ears and resolvable in a satisfying way. Have a listen to “Sleep Walk” first and then let’s check out some songs it directly inspired.

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The chords are C, A minor, F and G. Minor variations sometimes reverse the last two chords, but if it begins with C to A minor, you can bet it’s following the “Sleep Walk” formula, almost as if musicians influenced by the song are in the titular trance. When it comes to playing guitar, Tom Waits once said “your hands are like dogs, going to the same places they’ve been. You have to be careful when playing is no longer in the mind but in the fingers, going to happy places. You have to break them of their habits or you don’t explore; you only play what is confident and pleasing.” Not only is it comforting to play and/or hear what we already know, studies have shown that our brains actively resist new music, because it takes work to understand the new information and assimilate it into a pattern we are cogent of. It isn’t until the brain recognizes the pattern that it gives us a dopamine rush. I’m not much for Pitchfork anymore, but a recent article they posted does a fine job of discussing this phenomenon in greater detail.

Led Zeppelin’s “D’Yer Maker” uses the “Sleep Walk” riff prominently, anchored by John Bonham and John Paul Jones’ white-boy reggae beat:

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Here it is again with Del Shannon’s classic “Little Town Flirt.” I love Shannon’s falsetto at the end when he goes “you better run and hide now bo-o-oy.”

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The Beatles “Happiness is a Warm Gun” uses the Sleep Walk progression, though not for the whole song. It goes into the progression at the bridge at 1:34:

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Tumblr won’t let me embed any more videos, so you’ll to travel to another tab to hear these songs, but Neil Young gets in on the act with his overlooked classic “Winterlong:” https://www.youtube.com/watch?v=RV6r66n3TFI On their 1996 EP Interstate 8 Modest Mouse pay direct homage by singing over their own rendition of the original Santo & Johnny version, right down to the weeping steel guitar part: https://www.youtube.com/watch?v=VT_PwXjCqqs The vocals are typical wispy whispered indie rock vocals, but I think they work, particularly the two different voices. They titled their version “Sleepwalking (Couples Only Dance Prom Night).”

Dwight Yoakam’s “Thousand Miles From Nowhere” makes cinematic use of it. This song plays over the credits of one of my all-time favourite movies, 1993′s Red Rock West feat. Nicolas Cage, Lara Flynn Boyle, Dennis Hopper, and J.T. Walsh https://www.youtube.com/watch?v=Tu3ypuKq8WE

“39″ is my favourite Queen song. I guess now I know why. It uses my fav chord progression: https://www.youtube.com/watch?v=kE8kGMfXaFU

Blink 182 scored their first hit “Dammit” with a minor variation on the Sleep Walk chord progression: https://www.youtube.com/watch?v=sT0g16_LQaQ

Midwest beer drinkin bar rockers Connections scored a shoulda-been-a-hit with the fist-pumping “Beat the Sky:” https://www.youtube.com/watch?v=YSNRq0n_WYA You’d be hard pressed to find a weaker lead singer than this guy (save for me, natch), but they make it work. This one’s an anthem.

Spoon, who have made a career out of deconstructing rock n’ roll, so that their songs sometimes sound needlessly sparse (especially “The Ghost of You Lingers,” which takes minimalism to its most extreme...just a piano being bashed on staccato-style for four minutes), so it should surprise nobody that they re-arrange the Sleep Walk chords on their classic from Gimme Fiction, “I Summon You:” https://www.youtube.com/watch?v=teXA8N3aF9M I love that opening line: remember the weight of the world was a sound that we used to buy? I think songwriter Britt Daniel is talking about buying albums from the likes of Pearl Jam or Smashing Pumpkins, any of those grunge bands with pessimistic worldviews. There are a million more examples. I remember seeing some YouTube video where a trio of gross douchebros keep playing the same progression while singing a bunch of hits over it. I don’t like the smarmy way they do it, making it seem like artists are lazy and deliberately stealing. I don’t think it’s plagiarism to use this progression. And furthermore, tempo and production make all the difference. Take “This Magic Moment” for example. There's a version by Jay & the Americans and one by Ben E King & the Drifters. I’ve never been a fan of those shrieking violins or fiddles that open the latter: https://www.youtube.com/watch?v=bacBKKgc4Uo The Jay & the Americans version puts the guitar riff way in the forefront, which I like a lot more. The guitar plays the entire progression once before the singing starts and the band joins in: https://www.youtube.com/watch?v=pKfASw6qoag

Each version has its own distinctive feel. They are pretty much two different songs. Perhaps the most famous use of the Sleep Walk progression is “Unchained Melody” by the Righteous Brothers, which is one of my favourite songs ever. The guy who chose to let Bobby Hatfield sing this one by himself must have kicked himself afterwards when it became a hit, much bigger than "You've Lost That Lovin' Feeling."https://www.youtube.com/watch?v=qiiyq2xrSI0

What can you say about “Unchained Melody” that hasn’t already been said? God, that miraculously strong vocal, the way the strings (and later on, brass horns) are panned way over to the furthest reaches the left speaker while the drums and guitar are way over in the right, with the singing smack dab in the middle creates a kind of distance and sharp clarity that has never been reproduced in popular music, like seeing the skyscrapers of some distant city after an endless stretch of highway. After listening to “Unchained Melody,” one has to wonder: can that progression ever be improved upon? Can any artist write something more haunting, more beautiful, more uplifting than that? The “need your love” crescendo hits so fucking hard, as both the emotional and the sonic climax of the song, which of course is no accident...the strings descending and crashing like a waterfall of sound, it gets me every fucking time. Legend has it that King George II was so moved by the “Hallelujah” section of Handel’s “Messiah” that he stood up, he couldn't help himself, couldn't believe what he was hearing. I get that feeling with all my favourite songs. "1979." "Unchained Melody." "In The Still of the Night." "Digital Bath." "Why Does My Heart Feel So Bad?" "Interstate." "Liar's Tale." “Gimme Shelter.” The list goes on and on. Music is supposed to move us.

King George II stood because he was moved to do so. Music may be our creation, but it isn't our subordinate. All those sci-fi stories warning about technology growing beyond our control aren’t that far-fetched. Music is our creation but its power lies beyond our control. We are subordinate to music, helpless against its power and might, its urgency and vitality and beauty. There have been many times in my life when I have been so obsessed with a particular song that I pretty much want to live inside of it forever. A house of sound. I remember detoxing from heroin and listening to Grimes “Realiti” on repeat for twelve hours. Detoxing from OxyContin and listening to The Beach Boys “Dont Worry Baby” over and over. Or just being young and listening to “Tonight Tonight” over and over and over, tears streaming from my eyes in that way you cry when you’re a kid because you just feel so much and you don’t know what to do with the intensity of those feelings. It is precisely because we are so moved by music that we keep creating it. And in the act of that creation we are free. There are no limits to that freedom, which is why bands time and time again return to the well-worn Sleep Walk chord progression and try to make something new from it. Back in 2006, soon after buying what was then the new Yeah Yeah Yeahs album, I found myself playing the album’s closing track over and over. I loved the chorus and I loved the way it collapses into a lo-fi demo at the very end, stripping away the studio sheen and...not to be too punny, showing its bones (the album title is Show Your Bones). Later on I would realize that the song, called “Turn Into,” uses the Sleep Walk chord progression. https://www.youtube.com/watch?v=exqCFoPiwpk

It’s just like, what Waits said, our hands goes to where we are familiar. And so do our ears, which is why jazz often sounds so unpleasant to us upon first listen. Or Captain Beefheart. But it’s worth the effort to discover new stuff, just as it’s worth the effort to try and write it. I recently lamented on this blog that music to me now is more about remembrance than discovery, but I’m still only 35 years old. I’m middle-aged right now (I don’t expect to live past 70, not with the lifestyle I’ve been living). There’s still a whole other half life to find new music and love and leave it for still newer stuff. It’s worth the challenge, that moment of inner resistance we feel when confronted with something new and challenging and strange sounding. The austere demands of adult life, rent and routine, take so much of our time. I still make time for creative pursuits, but I don’t really have much time for discovery, for seeking out new music. But I’ve resolved to start making more time. A few years ago I tried to listen to and like Trout Mask Replica but I couldn’t. I just didn’t get what was going on. It sounded like a bunch of mistakes piled on top of each other. But then a few days ago I was writing while listening to music, as I always do, and YouTube somehow landed on Lick My Decals Off, Baby. I didn’t love what I was hearing but I was intrigued enough to keep going. And now I really like this song: https://www.youtube.com/watch?v=EMnd9dvb3sA&pbjreload=101 Another example I’ll give is the rare Robert Pollard gem “Prom Is Coming.” The first time I heard this song, it sounded like someone who can’t play guitar messing around, but the more I heard it the more I realized there’s a song there. It’s weird and strange, but it’s there. The lyrics are classic Pollard: Disregard injury and race madly out of the universe by sundown. Pollard obviously has a special place in his heart for this track. He named one of his many record labels Prom Is Coming Records and he titled the Boston Spaceships best-of collection Out of the Universe By Sundown. I don’t know if I’ll ever become a Captain Beefheart megafan but I can hear that the man was doing something very strange and, at times, beautiful. And anyway, why should everything be easy? Aren’t some challenges worth meeting for the experience waiting on the other side of comprehension or acceptance? I try to remember this now whenever I’m first confronted with new music, instead of vetoing it right away. Most of my favourite bands I was initially resistant to when I first heard them. Queens of the Stone Age, Kyuss, Guided by Voices, Spoon, Heavy Times. All bands I didn’t like at first. I don’t wanna sleepwalk through life, surrounding myself only with things I have already experienced. I need to stay awake. Because soon enough I’ll be asleep forever. We need to try everything we can before the Big Sleep comes to take us back to the great blankness, the terrible question mark that bookends our lives.

#sleep walk #santo & johnny #neil young #queen #dwight yoakam #led zeppelin #the beatles #betterdaysareatoenailaway

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beiingalive · 4 years

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* ⌞ʾ⁎ ⊰ adria arjona, cis female, she/her ⊱ i think i just saw ANITA MORENO walk across trafalgar square, singing to YO PERREO SOLA ( BAD BUNNY ). you know, the TWENTY-FIVE year old SEAMSTRESS? people claim that they are just like ANITA from WEST SIDE STORY. it must be because they are LOYAL and OUTSPOKEN as well… though i could be wrong. all i know for sure is that they live at PETERSBURG apartment.⌝

❝ how can i hear what goes on twelve feet above my head ? ❞

name: ana josefina del carmen moreno rivera. nicknames: anita, nita. age: 25. date of birth: may 6th, 1995. hometown: san juan, puerto rico. current location: london, england. apartment: petersburg. occupation: seamstress.

pinterest: xx. playlist: xx.

→ 𝕙𝕚𝕤𝕥𝕠𝕣𝕪.

[ tw: sexual assault ]

✂ anita was born in san juan, puerto rico, to arturo moreno and dolores rivera. they lived in santurce, near the theatre district — this was convenient, as dolores was a seamstress who was often tasked with making the costumes for local productions, and arturo was a carpenter who dreamed of being a painter — the perfect combination to work in scenic design. they had a nice little home that had just enough space for their growing family ; after anita, they had three more kids — guillermo, esteban, and luis.

✂ being the oldest, anita always knew it was her job to help out around the house. she often took care of her brothers, making sure they were well fed, clean, and out of danger. she would walk them home from school, make them hold hands and look both sides before crossing the street. she would help them with their homework before doing her own. she practically raised those boys — and still checks up on them like they’re her kids.

✂ when anita was eleven, a workplace injury put her father out of a job. the morenos never had a lot of money, but now they struggled even more to make ends meet. dolores became the primary breadwinner, and her income just wasn’t enough. just a year later, they were forced to relocate to new york city, which promised more jobs and better salaries. a friend of dolores’ got her a job at a costume shop ; arturo worked as a handyman.

✂ at first, anita was optimistic about her new life in the big apple. she was bored with life in her little island ; she wanted so much more than what puerto rico could offer. anita wanted to travel, to see the world. she wanted to study art and fashion, to become a fashion designer herself. like other puerto ricans, she saw america as the land of opportunity. she quickly realized just how wrong she was.

✂ things weren’t as easy as she thought they would be. she quickly became disenchanted with the american dream and grew up angry and resentful as she watched her parents work their asses off for a salary that was a small fraction of what their white coworkers got. she got sick of getting taunted for having an accent, for being too loud, or having a name that wasn’t easy to pronounce ( “ ah - nee - tah ” , not “ uh - nee - duh ” ). she realized that in order to fit in, she would have to lose her accent and change her name. she would have to change who she was.

✂ but anita has never been the kind of person who would make herself small to make other comfortable. at her young age, she decided she wouldn’t go out of her way to fit in. she would not change who she was just to appease those around her. anita made the choice to be unapologetically herself, and she hasn’t looked back since.

✂ she met the sharks in her early teens, and she’s forever grateful for them. she finally had a group of people that made her feel like she belonged. most of the time, she was an outsider. she was the “ other ”. with the sharks, she felt like she was one of them ( even technically she wasn’t ). she didn’t care that they were a gang, she had no qualms about that. it would be naive to think they weren’t a target. they had to protect themselves by any means necessary. it also didn’t hurt that their leader, bernardo, was so easy on the eyes. anita fell in love with bernardo, despite all the warning signs.

✂ once she was old enough, she went to work. her family’s financial situation was better in new york, but she still wanted to help her parents any way she could. she was a maid, a waitress, a babysitter, an usher. she handed out flyers at the park. she answered phones at a call center. during the weekends, she helped her mom at the costume shop — anita was already making clothes for herself, so she might as well put those skills to good use. she did anything to lessen her parents’ burden.

✂ tw sexual assault: her connection to the sharks made her feel safe, but at 16 it became clear to her that she needed to protect herself as well. she was walking home late one night after the restaurant where she was working had closed, when three boys surrounded her and cornered her in an alley. she knew what they had in mind, but she just froze. her body couldn’t react to what was happening until the very last minute, when it was almost too late. she made enough of a racket to scare them off. she ran back home. she vowed never to depend on anyone else to save her.

✂ once she graduated high school and started working full time at the shop, practically running it. she would have liked to study fashion, but she knew it wasn’t a possibility — college was expensive and not for people like her. she had some money saved up, sure, but the applications alone would have created a pretty big dent in her savings. she didn’t even bother asking her parents — college was out of the question. she focused all of her energy into the shop.

✂ about a year ago, she heard through one of the shop’s clients about a shop that was hiring in london — anita grabbed maría and jumped at the opportunity. the fact that the boys had moved relocated to london a few years before was a decent incentive, but not a reason. anita had outgrown new york. plus, she’d always wanted to travel. so anita took her savings and hopped across the pond.

→ 𝕡𝕖𝕣𝕤𝕠𝕟𝕒𝕝𝕚𝕥𝕪.

zodiac sign: taurus. personality type: estp — the entrepreneur. enneagram: type 1 — the reformer. temperament: choleric. moral alignment: chaotic neutral. primary vice: envy. primary virtue: diligence. element: earth.

✂ anita is feisty. she’s passionate and intense. she’s loud, she’s bold, she has strong opinions and is not afraid to share them. she might seem like she’s all over the place, but her feet are firmly planted on the ground. she knows who she is, and won’t let anybody tell her otherwise. she knows what she wants, and she won’t let anyone get in her way.

✂ i mentioned she has strong opinions, right ? well, to her, they’re the only valid opinions. she's not afraid to tell someone when they’re wrong ( or when she thinks they’re wrong, which to her, is the same thing ). go forbid anyone ever tell her she’s wrong — heaven help that poor soul. once she’s made up her mind up her mind about something, no one can tell her otherwise. she’s stubborn as a mule.

✂ she’s everyone’s mom friend. she’s the tough love mom friend. she’ll nag her friends and force them to eat their vegetables, drink water, and moisturize. this isn’t just because she cares ( although she does, deeply ) , she also just loves telling people what to do.

✂ she’s a hard worker ; it’s not rare to find her still working at the shop way past closing time — but she knows how to let loose. anita loves to go out dancing and will constantly beg her friends ( especially maría ) to go out with her. she’s convinced there’s nothing that can’t be fixed by a night out on the dance floor.

✂ she’s a highly skilled seamstress. she can recreate any article of clothing by just looking at it ; no pattern necessary. most of her clothes are handmade, and she loves making garments for her friends. you see a dress you like at some shop? can’t afford it? anita will make it for you.

✂ she’s always on / off with bernardo. she loves him, and she’s sure that will never change. still, they’re both passionate, volatile people. they clash constantly, breaking up and getting back together. she adores him, but she also wants to hit him with a chair sometimes.

✂ her apartment is full of plants. all kinds. she’s a certified green thumb and will yell at anyone who thinks succulents are easy to take care of.

✂ she has a small shoplifting problem. it’s nothing major. no need to worry.

✂ she has a cat named gasolina by daddy yankee. gaz for short.

✂ she’s a huge bad bunny stan. this may not seem relevant, but it’s important for me to tell you.

→ 𝕔𝕠𝕟𝕟𝕖𝕔𝕥𝕚𝕠𝕟𝕤.

✂ FRIENDS: i always have to start out with this one. anita’s a tough cookie to crack, but once she’s your friend, she’s loyal. she’s a ride or die kinda lady. your muse will not regret taking the time to get to know anita and earn her trust. they will have a friend for life.

✂ FRIENDS FROM NEW YORK: like i said, friend for life. your muse could have met anita when they were in high school, but this girl is not the kind of person to just let a friendship die because it’s been a long time.

✂ FIRST FRIENDS IN LONDON: she had the sharks, of course. but moving halfway around the world is scary and anita would’ve accepted any help she could get. these are the friends that helped her settle in and get used to all the cultural differences.

✂ PARTY PALS: anita loves to go out, so clearly she needs a little squad she hits up whenever she wants to hit the dance floor.

✂ FRENEMIES: anita’s a good friend, but she’s not everyone’s cup of tea. your muse might not like her. anita might not like them. anita might talk shit behind their back. anita might tell them to their face they that they suck, and might list the reasons why. anything’s possible.

✂ NEIGHBORS: could be friendly, could be not so friendly ! she plays a lot of loud music and doesn’t really have an inside voice. anita lives in the petersburg building, so if your muse lives there and you wanna say they live right next door, hit me up !

✂ COWORKERS: self-explanatory ! anita works at a shop that makes costumes for some west end shows, but they also take on a variety of clients ! they make clothes, they repair clothes, anything goes.

✂ CLIENTS: anita works at the shop, but will also take jobs on the side — she’ll take commissions, she’ll upcycle that oversized shirt you thrifted, of maybe just mend a torn-up skirt. anita is here for any of your seamstress / aspiring designer needs.

✂ FLINGS / FWB / HOOKUPS: like i said...on / off with bernardo. she’s not the kind of girl who’ll just wait around for him, so she will absolutely go out with other people ( and do other stuff with other people, winkwonk ) while she’s single.

✂ EXES: give me someone anita dated other than bernardo, please, i am begging you. give me someone she almost fell for before falling back into her old habits. i am on my knEES.

#musicalhqs:intro #→ intro !#( anita m. ) / * interactions .#( anita m. ) / * texts .#( anita m. ) / * muse .#( anita m. ) / * aesthetic .#( anita m. ) / * visage .#( anita m. ) / * playlist .#( anita m. ) / * memes .#( anita m. ) / * answered .

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moulinrougefanfanfans · 5 years

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Moulin Rouge for VOGUE!

(These are the HQ Photo Versions!)

Moulin Rouge!’s Broadway cast, photographed at Kings Theatre in Brooklyn. Sittings Editors: Hamish Bowles, Alexandra Cronan. Produced by 360pm. Set Design: CJ Dockery at Mary Howard Studio; Costume Designer: Catherine Zuber; Choreographer: Sonya Tayeh

Photographed by Baz Luhrmann, Vogue, July 2019

July 2019 Vogue (Online)

BAZ LUHRMANN WAS BORN to reinvent the movie musical for a new generation—which is exactly what he did in 2001 with Moulin Rouge!, his deliriously romantic mash-up, set in 1890s Paris, of La Bohème, La Traviata, and the Orpheus myth, with a soundtrack that exploded with modern-day pop songs, lavish Technicolor sets and costumes (by his wife, Catherine Martin), and a hyperkinetic cinematic style that drew on MGM musicals, MTV videos, and Bollywood spectaculars. The motto of this blatantly artificial world, served with a knowing wink (which nevertheless swept us up in its very real, very breathless emotions), could be borrowed from William Blake’s The Marriage of Heaven and Hell: “Enough! Or too much.”

In his own way, the brilliant theater director Alex Timbers—whose work includes Bloody Bloody Andrew Jackson, Here Lies Love, and, most recently, Beetlejuice—was born to reinvent Moulin Rouge! for the stage, as another generation of New York audiences will discover when his electrifying, eye-popping, and blissfully over-the-top adaptation of Luhrmann’s masterpiece opens on Broadway, after a smash run in Boston, this month.

“I’ve spent my life taking classics and interpreting them in radical ways,” Luhrmann says, “so how could I not applaud someone taking a work of mine and interpreting it in a radical way? You have to interpret things for the time and place you’re in. In the end, it’s still a tragic opera, but Alex applies himself to it in such a dexterous way that there’s irony and fun and music and emotion.”

Luhrmann grew up in Herons Creek, a tiny, remote Australian town with a total of seven houses in it, where, he says, “if you didn’t have a good imagination and an ability to create worlds in your mind, you were lost.” Fortunately his family, which ran a gas station and a pig farm, also ran the local movie theater and had a black-and-white TV set (which showed exactly one channel), and Luhrmann devoured a steady diet of old movies, including musicals, with which he fell in love. His mother was a ballroom-dance instructor who started giving him lessons early, and his father insisted that Luhrmann and his siblings study painting and music. Before long he was staging little shows, performing magic tricks, making films with his father’s 8-millimeter camera, and acting in school plays.

Apparently it was the ideal upbringing to produce an artist of dazzling originality, one with a singular, idiosyncratic vision and an expansive playing field: film, theater, opera, commercials, music videos, pop songs. After the success of his first two films, Strictly Ballroom and Romeo + Juliet—both of which had healthy doses of movie-musical DNA encoded into their cinematic language—Luhrmann wanted to take on the genre itself. He and his co-writer, Craig Pearce, set their film in Belle Epoque Paris, in and around the legendary Moulin Rouge nightclub, telling a tragic love story straight out of verismo opera with the Orpheus legend—a young poet and musician travels to the underworld in search of his dead love, Eurydice, and is reunited with her only to lose her again, emerging forever changed—as its mythical underpinning.

But Luhrmann also had what he calls a “preposterous conceit” that allowed his Orpheus—a Bohemian poet named Christian, played by Ewan McGregor—to metaphorically enchant the very rocks and stones to follow him because of his voice: “When our poet opens his mouth, ‘The hills are alive with the sound of music’ comes out of it,” he says. “Whether you like The Sound of Music or not, it’s a giant hit that’s got artistic cred—so it’s a funny, concise way of saying ‘The guy has magic.’” Preposterous or not, the conceit turned the love story between McGregor’s Christian and Nicole Kidman’s doomed Satine, a nightclub star and courtesan, into a pop fantasia, giving the music its audience had grown up with—from “Your Song” to “Lady Marmalade”—an operatic grandeur.

Luhrmann had long wanted to bring Moulin Rouge! to the stage but felt that he wasn’t the right person for the job—he worried that he was too close to the material and might be overprotective of it. Enter Alex Timbers, 40, a downtown wunderkind who has brought the cheeky, postmodern spirit of his theater company Les Freres Corbusier to Broadway and shares with Luhrmann a restlessly playful and inventive mise-en-scène. “When I saw Bloody Bloody Andrew Jackson, I could tell that his aesthetic and the way he told a story—very high-energy, very theatrical, ironic but also moving—had a certain kinship with mine,” Luhrmann says. “And after I met him, I knew that he would have his own interpretation but also understand the language of the film.”

The biggest challenge Timbers and his team faced was how to bring the film’s hypercinematic exuberance alive on a stage. “We had to create a visceral and kinetic excitement using an entirely theatrical vocabulary,” Timbers says. “We don’t have any of those virtuosic techniques like close-ups and Steadicam and music video–style editing, but you want the show to be able to leap over the footlights—emotionally, but also as a spectacle. So we use a lot of techniques to do that.”

Do they ever. From the moment you enter the theater, it’s clear that Timbers has realized his mandate to make the show—which he’s been working on for the past six years—“360.” It’s as if you’ve walked into the Moulin Rouge itself, courtesy of the gorgeously overwhelming set (by Derek McLane) that greets you: There are hearts within hearts, chandeliers, the stage flanked by a windmill on one side and an elephant on the other. Then out come the corset-clad boys and girls of the night (who come in all colors, shapes, and sizes) and the fashionable members of the Parisian demimonde in Catherine Zuber’s fabulous costumes. The next thing you know, “Four Bad Ass Chicks from the Moulin Rouge,” as the script identifies them—propelled onstage by Sonya Tayeh’s wildly exuberant choreography—are belting “Hey sista, go sista, soul sista, flow sista,” and we’re off to the races. “I wanted to build this exotic, intoxicating world that felt beautiful and dangerous and gritty and sexy,” Timbers says. “It felt really important for the sets and the costumes to use period elements, and for us to be ruthless about that, but to put them in a form that feels contemporary and surprising.”

The seven-time Tony-winning costume designer Zuber (The King and I, My Fair Lady) has done that and then some, tipping her hat to Catherine Martin’s designs for the film without imitating them. She’s even managed to design Belle Epoque finery that allows the dancers the freedom of movement to execute Tayeh’s propulsive choreography. Zuber is also a master of using costumes to reveal character and situation, as with the ornate gown she designed for Satine after she becomes the Duke’s courtesan and enters his glittering world. Inspired by designs from John Galliano’s 2006 couture collection, it features a bodice that looks like a cage and three rows of lacing down the back. “It’s almost like she’s a prisoner,” Zuber says.

Playing Satine this time around is Karen Olivo (West Side Story, Hamilton), who brings very different qualities to the role than Kidman, both physical (Olivo is a woman of color) and temperamental (desperate, determined, and down-to-earth, as opposed to ethereal). Aaron Tveit (Next to Normal, Catch Me if You Can), meanwhile, sings like a dream and brings the requisite dewy idealism to the naive Christian, but with a hint of something edgier.

The story is very much the same as the film’s: Satine is the star attraction at the Moulin Rouge, owned by the rapacious Harold Zidler (Danny Burstein), who is in financial hot water and in danger of losing the club. Christian and Satine meet and fall head over heels, but she has been promised by Zidler to the villainous Duke (Tam Mutu), who can give her the bejeweled life she’s always dreamed of, forcing her to choose between that and true love. Meanwhile, Christian and his pals Santiago and Toulouse-Lautrec (Ricky Rojas and Sahr Ngaujah) are writing a show, bankrolled by the Duke, that is meant to save the Moulin Rouge from going under. Then, of course, Satine has this persistent cough and . . . well, you know.

The big difference in terms of the storytelling is that book writer John Logan (Red) has fleshed out and deepened the characters and the relationships between them. “We looked at the major characters, asked what their backstories were, and tried to figure out how grounded they could possibly be in psychological realism and yet still be heightened in that way that musical theater demands,” Logan says. “How did Satine get to be this sparkling diamond—and what’s the price she’s paid along the way?”

But the boldest change—and in many ways the heart of the show—is in the new songs, which give Moulin Rouge! fresh emotional resonance (and whip the crowd into a frenzy). Along with the familiar Bowie, Madonna, and Elton John tunes, expect to hear from the likes of Outkast, Sia, Beyoncé, Fun, Adele, and Lorde, to name but a few (there are more than 70 songs in the show). To curate Moulin Rouge!’s dizzying playlist, Timbers, Logan, and music director/genius Justin Levine holed up in a Times Square hotel room with a digital keyboard, dredged up their musical memories, and took note of what worked. Their taste is impeccable, whether using a song for its sheer exuberance, as with a rousing version of Lady Gaga’s “Bad Romance,” or to reveal a character’s inner desires, as Satine does with Katy Perry’s “Firework.”

Logan has been blown away to see how powerfully audiences have connected with the show—and the songs. “I went to a wedding recently, and when the dancing started, I heard half our score being played, which was wild,” he says. “And when you see audience members respond to the songs—‘They’re using thatsong? Oh, my God! No way!’—you can feel how excited they are. It’s an experience I’ve never had before. It’s magic.”

#moulin rouge #aaron tveit #karen olivo #danny burstein #vogue #Baz Lurhmann #moulin rouge broadway #moulin rouge musical #vogue magazine #articles #features #ricky rojas #tam mutu #sahr ngaujah #robyn hurder #jacqueline b arnold #jeigh madjus #holly james

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scotianostra · 4 years

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Happy 51st Birthday Gerard James Butler born 13 November 1969 in Paisley.

After the move, Butler was raised by his mother, with no further contact with his father until he was 16 years old. (Gerard and his later father reconciled, and remained close until his father died of cancer when Butler was in his early 20s.) During his childhood, Butler was enthralled with movies and acting, and his mother took him to several auditions. He joined the Scottish Youth Theatre and in one of his first roles played a street urchin in its production of Oliver!, a role I have played myself, in a school production I was in Fagin's gang, but alas fame was not to come my way as it did for Gerard

Despite his love for theater and film, Butler was anxious to please his family and believed that acting was not a realistic career choice for him. "I was a 16-year-old kid on the other side of the world from where they made movies," he later said. "Scottish actors never really got play. There was Sean Connery, and that was it." Though he claims he is "not the most academic of guys," Butler graduated near the top of his high school class and enrolled in the University of Glasgow, where he studied to become a lawyer and solicitor.

During his time in university, Butler was also the president of the law society and graduated with honours. Like many other new graduates, Butler decided to take a year off to travel abroad, and his ventures soon landed him in Venice, California, where he indulged in the high life: "This is when things started to go a little crazy," he later said. "Something very compulsive and dark and lusty and pleasurable but damaging took over. It was suddenly knowing I could go out and have a life of traveling, craziness, adventure, partying, women, and all the other things that go with that—including a sense of abandonment."

After California, Butler returned to Scotland to begin a two-year traineeship at one of Edinburgh's top law firms,(while there he shared a flat with my pal Peter)but soon found that he despised the job more and more, and he started slacking off and letting his depression show. A week before he was due to finish his traineeship, he went to the Edinburgh Film Festival and saw a stage production of Trainspotting, an experience that crystallized his disappointment with the law and his yearning to be an actor: "The guy playing the lead role was phenomenal. It was such an incredible atmosphere. And I'm dying inside. This is the life I wanted to live. I can do this. I know I can do this. But it's past now. It's gone. I'm 25. I missed that opportunity. A week later, they fired me."

Humiliated but determined to finally pursue his dream of acting, Butler moved to London, England, the next day and worked odd jobs while trying to get his career off the ground. While working as a casting assistant for the play Coriolanus, he ran into the play's director, Steven Berkoff, in a coffee shop and begged for a chance to read for the lead role. He says of the experience: "I gave it everything. Afterward, the casting director came up to me almost in tears. She said, 'You're the best he saw in two days!' Walking home was probably the happiest moment of my life, when there's an energy in you that can't be put down. I'd gone from handing out pages to getting the lead role." After a successful run in Coriolanus, Butler landed the lead in the exact same stage rendition of Trainspotting that had inspired him to try acting again, and he was really on his way as an actor.

Making the transition from the stage to the screen, in 1997 Butler starred with Judi Dench and Billy Connolly in Mrs. Brown and also scored a small part in the James Bond film Tomorrow Never Dies. During the film's shooting, he was picnicking with his mother near a river and heard screaming from a boy who was in trouble. He immediately dove into the river and saved the youth from drowning, winning a Certificate of Bravery from the Royal Humane Society as an example of his courage and caring.

After acting in a series of largely forgettable films, in 2003, Butler finally got his break with the role of the Phantom in Joel Schumacher's on-screen adaptation of the Broadway musical Phantom of the Opera. It was a demanding role that required the actor to sing most of his lines. Even though Butler had been the lead singer of a rock band during his time in law school, he was incredibly nervous about auditioning for the part: "I'd had maybe four singing lessons when I went to sing 'Music of the Night' for Andrew Lloyd Webber, which was perhaps the most nerve-wracking experience I ever went through. But I got the role.

Some people thought I did a great job, but others thought it was sacrilegious." Though Phantom did not hit blockbuster gold, it got Butler recognized in Hollywood, and four years later he landed the lead role, as King Leonidas, in 300, the testosterone-infused historical epic about a small legion of Spartan soldiers defeating the enormous Persian army. To look believable as a warrior king, Butler trained every day for four months in the most intense workout regimen of his life, giving him an incredible physique in time for the shoot: "You know that every bead of sweat falling off your head, every weight you've pumped—the history of that is all in your eyes," he said. "That was a great thing, to put on that cape and put on that helmet, and not have to think ...'I should have trained more.' Instead, I was standing there feeling like a lion."

Butler's role in 300 was a huge boost to his career profile. Since appearing in 300, the actor has starred in several romantic comedies such as P.S. I Love You with Hilary Swank and The Ugly Truth with Katherine Heigl, along with appearing on many "world's hottest men" lists. And his career isn't showing any signs of slowing down.

Despite all of his success, Gerard Butler still retains the breezy attitude of a guy who rolls with the punches and has a down-to-earth sense of humour. Looking back, he is still slightly stunned at the twists his life has taken and reflects on what could have been: "I wasn't going to be an actor. I was going to be a lawyer ... There was something else at work, something I didn't have control of. If I hadn't [messed] up that job, I wouldn't be sitting here right now. I might be a very mediocre lawyer in some small town in the middle of Scotland."

I half expected a tweet on last nights Football from Gerard, but he has been quiet since the beginning of the month when he tweeted.

Devastated to hear that we lost one of the true greats today. He was such an enormous inspiration to me, and a big part of the reason I’m even here. He gave a little Scottish boy inspiration and hope that there was a place for us in this business.

On the movie front, Butler fans who like his "...has Fallen" films, will be pleased to know that Mike Banning will be back with a fourth instalment Mike Banning called Night Has Fallen, no more details about that as yet, but if it attracts stars like Nick Nolte and Morgan Freeman, who co-starred in Angel has Fallen, it is sure to be another hit.

#Scotland #scottish #actor #birthday

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timeagainreviews · 4 years

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“The Faceless Ones” gets a facelift

Back in 2011 when I was first getting into Doctor Who, I managed to track down the Loose Cannon Reconstructions of the missing Doctor Who episodes. For those, like myself, who did not grow up on Doctor Who, classic Doctor Who can be a bit of an adjustment. The editing is slower. The dialogue is closer to theatre than television, and there is so much padding. That being said, over time I grew to love classic Doctor Who and rewatch it more than I do the new series. Regardless, the reconstructions have always been a bit of a slog to get through.

Watching a reconstruction is tedious, even with good writing. The fleeting moments where some fan shot a four-second clip pointed at the television are like small oases of movement in the desert of static imagery. Despite the valiant efforts of some truly talented fans, nothing will ever beat the real thing. So whenever a new animated remake of a missing Doctor Who episode is announced, I get excited. The opportunity to see these static images once more brought to life with movement is always good news. Except maybe when that announcement is "Fury From the Deep," when clearly "The Evil of the Daleks," is next in line, but that’s a gripe for another review.

For my review of "The Macra Terror," I watched the colour version of the story. However, this time around, I decided to stick with the classic black and white, which I found I much prefer as it feels appropriate to the storyline. I almost feel like the colour versions are an attempt to rope a younger audience into watching something old. As these animated reconstructions go, I feel as though the animation has gotten increasingly better. However, I can’t exactly say that this time. I will go into it further but suffice it to say, I feel as though some corners were cut. That isn’t to say that there aren’t moments of brilliance. For instance, the inclusion of the mugshots of both the Roger Delgado and Sacha Dhawan Masters into the background was a clever little easter egg.

"The Faceless Ones," is a bit of an odd story from beginning to end. Frankly, it’s overly long and a bit clunky, but at its heart is a mystery that keeps you wrapt with anticipation. It starts with the Doctor and his three companions- Jamie, Polly, and Ben landing the TARDIS at Gatwick airport. It’s a strange bit of storytelling from the outset as the primary source of conflict comes from the fact that the Doctor and his friends are trespassing where they shouldn’t be. The Doctor basically says "Cheese it, the fuzz!" and they scatter, running away from the police. The true point of this sequence is to split the group up. While running from the police, a strange group of mystrerious men load the TARDIS onto a flatbed and drive it away. Polly wanders into a building with a chameleon logo, where she witnesses the ray gun murder of a nosy inspector. Now the story has focus, we now have a mystery.

The Doctor and his pals go in and out of states of capture at the hands of airport security with such regularity that it begins to become laughable. Having no passports, the Commandant wants to keep the Doctor and Jamie for questioning, but the Doctor insists they look for the body of the man Polly saw murdered. The airport’s Commandant fills the role of the insufferable prick trope just long enough to draw the proceedings out into a proper six-episode runtime. I understand the need for a character’s refusal to believe in aliens as a reasonable reaction, but it becomes repetitive after three or so episodes. Luckily, the man actually proves to be rather useful further down the line, which is a nice break from the usual trajectory of such characters in Doctor Who which is usually one that leads to their and/or others’ demise. He does eventually acquiesce and go looking for the body, but they find nothing.

We learn that the man murdered was an inspector by the name of "Gascoigne." The men responsible for his death, Spencer and Blade, believe he may have been sent by the parents of one or more missing people. There are a few pieces to the puzzle early on. We’re shown a collection of postcards, over which Gascoigne was murdered. There also is the case of this strange organisation- Chameleon Tours and their collection of unused foreign stamps. We know the two things play in together, but how exactly is unknown. All the while, Ben seems to bumble from scene to scene with not a lot to do other than save people at the last moment, which seems to be all he’s ever really good for. As final stories for companions go, "The Faceless Ones," does a great job making a case for the departure of both Ben and Polly. As opposed to going out on a high, Ben and Polly’s own uselessness is highlighted here as they almost seem like an afterthought.

This is made even more painfully obvious when the brand new character of Samantha Briggs is given more prominence and agency within her first scene than Ben or Polly get in the entire serial. We learn that Chameleon Tours is some sort of front for a shady bunch of aliens that replace people by taking over their identities. Polly, having been kidnapped is replaced by a body double, pitting her against the Doctor and Jamie. Acting as though she’s never seen the two, she goes off to work at her new job as a receptionist for Chameleon Tours. This is where we meet Samantha, a young girl from Liverpool searching for her lost brother. All she had to go on was a postcard from her brother sent from Rome. Polly’s double benefits in no way by helping her learn the truth, so Samantha’s enquiries are deflected.

Around this time, Inspector Gascoigne’s partner, Inspector Crossland, has gone looking for him which leads him to the Commandant. He informs him that he’s there investigating his missing partner and looking into the activities of Chameleon Tours. Throughout this bit of the story, I honestly couldn’t tell you what Ben is up to. He’s a fart in the wind as far as the story is concerned. Other than being sent off to investigate, there is very little for him to do. The fact is, this is the Doctor and Jamie show at this point. The Doctor once again tries to plead with the Commandant, and once again runs away feigning a bomb with a bouncy ball. Jamie goes off to eavesdrop in the waiting area outside Chameleon Tours, which is where he overhears Samantha talking to fake Polly.

All the while, the baddies have a mole in the air traffic control room in the form of Meadows, a man replaced by a chameleon body double early on in the story. Because of this, they know the Doctor is a threat. While Jamie and Samantha flirt and compare notes, the Doctor heads back to the Chameleon Tours hangar to seek out Ben and further answers. There he discovers a penlike device which was used earlier to kidnap Polly. The Doctor pockets the device and continues his investigation. It is at this moment when the Doctor discovers the original Meadows in a crate, unresponsive, but seemingly alive. Spencer watches the Doctors activities over CCTV and draws him into a room which he proceeds to fill with cold gas. After a struggle, the Doctor plugs the gas nozzles with rags and covers the camera with his oversized coat. Upon arriving, Spencer finds the Doctor, seemingly unconscious, that is, until the Doctor springs awake and sprays Spencer in the face with the pen device and makes a break for it.

Jamie and Samantha have pieced together by now that Chameleon Tours give their young passengers pre-stamped postcards ahead of their flights. Their claim is to save the travellers time by posting the postcards for them, but in actuality, this is to dupe their families into believing they made it to their destinations. It’s a rather sinister plot which still leaves quite a few unanswered questions. Namely- if the passengers don’t arrive at their destinations, where do they end up? It’s enough for Crossland to consider a lead which he brings to the Commandant’s attention, but they’re afraid to tip their hand too much. If they halt the Chameleon Tours flight to Zurich, they may never find the answers or evidence they’re looking for.

The Doctor finally wins the Commandant over to his side by showing him the pen device can freeze fake Meadows’ tea instantly. At first, I thought the Doctor was antagonising Meadows, but it turns out, he simply didn’t recognise his face from the catatonic man in the crate earlier. It’s funny to imagine this, as modern Doctor Who would never allow such a lapse in the Doctor’s memory, but it’s part of why I love the Second Doctor so much. You can buy that this man is simultaneously the smartest man in the room, while also believing he would forget such an important face. There’s a sort of effortless absent-minded brilliance to Troughton’s performance that I just find utterly charming. The point is driven home by a small little one-off line where the Doctor asks Meadows if they have met before. Villains are left to wonder just how much the Doctor knows, up until he’s standing over their smouldering corpse muttering "Oh crumbs."

After the Doctor’s display, and Crossland’s encouragement, the Commandant gives the Doctor free reign of the airport for twelve hours to investigate. At this point, Jamie and Samantha arrive with the envelope of postcards giving Crossland enough cause to go question Blade. The Doctor, Jamie, and Samantha head off to look into the room where the Doctor was gassed. However, as the Doctor is leaving, Meadows plants a device on his back. Crossland finds Blade aboard a flight but discovers the plane is not a normal plane at all. After serving the passengers food and drinks, the stewardess seals them behind a giant vault door. I got a kick out of this bit as the animators were clearly having fun designing hip '60s inspired passengers on the plane. In fact, some of the background character designs throughout most of this serial range from inspired to questionable. Either way, it was nice to seem them at least trying, for the most part. The plane disembarks with Crossland aboard. Blade encourages Crossland to watch on a screen as the passengers vanish into thin air.

Meanwhile, the Doctor, Jamie, and Samantha go back to the hangar to try and find the command centre of the Chameleons. While searching, they discover a monitor showing a live feed from the room where Meadows was copied into fake Meadows. However, before they can go search for the room, the device on the Doctor’s back is activated, knocking him to the ground. Spencer emerges and renders them unconscious with another pen device. Upon waking up, our three heroes have discovered themselves unable to move, and in the path of a laser, very slowly creeping toward them, or at least Jamie or maybe Samantha. Either way, someone is going to die if they don’t work fast enough. This is such a cute moment in the episode as it’s like something from a bad James Bond film or Austin Powers. The villain leaves the heroes unattended while a laser slowly inches toward them. Classic.

It’s moments like these that really make me sad the episode is missing as I would have loved to see the faces Patrick Troughton pulled while struggling to move. Jamie and Samantha are able to move just enough for Jamie to use Samantha’s compact mirror to deflect the laser back at itself. Having destroyed the machine, the trio is suddenly very much not paralysed as they all stand up, good as new. Adorable. It’s a great little slice of campy goodness that is pure genre inspired fun. I’m all about it. All the while, Blade informs his director that he has an "original," in the form of Crossland for him to possess.

The Doctor and his friends find the conversion room where the airport medic, Nurse Pinto, is helping convert another Chameleon. The conversion involves attaching what looks like a Wiimote to each subjects’ forearm and transferring the biological information of the human victim to the Chameleon. After some adjusting, they’re able to talk like a human and even recall the memories of their original. In this case, it’s Jenkins, one of the immigration officers at the airport. I rather liked a small detail here that Jenkins still lived with his parents. Call me crazy, but it was a bit of character building that made you feel for a guy. Classic Doctor Who is full of those moments if you know where to look for them.

The Doctor and Jamie pretend to be a doctor and patient as to throw Pinto off their scent. But even if she believes their story, she’s still not going to allow them into the X-ray room where she performs her vile conversions. Jenkins and Spencer watch from a monitor, angry that their enemy has once again escaped his fate. But they let the Doctor leave as they have bigger plans and will let him come to them in his own time. Upon returning to the control tower, the Doctor learns that Crossland has been unheard from in quite some time.

At about this time, the crew of the control tower really begins to take shape. The secretary, a woman named Jean just kind of comes out of leftfield as MVP. First, she drops the bomb that not a single airport has reported ever receiving passengers from a Chameleon Tours flight. And then even further, allows herself to act as a decoy long enough for the Doctor to go root around in the X-ray room. Jamie goes off to find Samantha who has bought a ticket on the next Chameleon Tours flight in an attempt to take the investigation of her missing brother into her own hands. It seemed a bit weird to me that she would do this, seeing as they were already uncovering a huge chunk of the mystery at this point, but I guess the writers needed a reason to thrust Jamie into the action as he pockets Samantha’s ticket and goes in her place. That is, before stealing a rather saucy kiss from the precocious lass. Seriously, why was she never a companion? Samantha was awesome. Samantha 2020.

The Doctor finds two of the Wiimotes and completely misses the original Nurse Pinto propped up in a closet behind him. Once again, the brilliant imbecile misses the biggest clue right under his nose. Hoping to call Meadows out, the Doctor returns to the control tower again. But he’s not there. This is one of the most frustrating elements of this story- the constant back and forth between locations is enough to give you whiplash. On top of that, there is the constant cycle of capture and escape, capture and escape, capture and escape, that really bogs this story down. I wish it could have been more streamlined because as you may guess, they end up back in the X-ray room shortly after. Agh! Pick a fucking location and stick with it! Honestly, it’s writing like this that loses me the most and is why I couldn’t tell you where Ben is at this point in the story. Seriously, where is Ben? I don’t even care anymore.

Jamie gets taken onto Samantha’s flight in her stead. Only when the food and beverages are served, Jamie is off to be sick in the loo. He was referring to aeroplanes as giant metal beasties in the first episode, and now he’s flying in one. The dude may be made of sterner stuff, but even the best of us get airsick. Due to this, Jamie doesn’t disappear like the other passengers. Must be something to do with the food and drink, huh? Having realised Jamie took her ticket, Samantha becomes irate, but the receptionist guides her to Jenkins who of course pulls a ray gun on her. Another ray gun. Another capture. Woof.

The control tower tails the Rome flight with Jamie aboard with a small fighter jet, which honestly is a little weird. Did they just happen to have this fighter jet and pilot on hand? Is this a thing airports usually have? I honestly don’t know. Either way, the sequence doesn’t make much sense other than maybe they had some stock footage of a jet they kind of thought was cool. It’s funny then that the footage should now be missing and thus needs to be recreated by a computer years later. What was probably ten minutes of film splicing back in the '60s is now hours of rendering. These CGI plane shots are honestly one of the few times where the animation is more impressive than live action. So kudos to the animation department as those shots are genuinely cool.

Despite their cool rendering, the fighter jet is no match for Blade’s lasers as it is quickly shot out of the sky. It is just around this point that the Chameleon flight must have also crashed as it too disappeared off the radar. However, the Doctor believes that as opposed to going down, the plane actually went up- into space. Of course, the Commandant gives this theory zero credence. But the Doctor is absolutely correct as we see the plane’s wings fold back like a rocket ship and thrust higher and higher into the sky until it approaches a large black satellite orbiting Earth. This is once again one of those moments where I am cursing the lack of footage as I would relish the ability to see the models built for this sequence. I will say however, this is, once again, a crowning moment for the animation department.

Now aboard the satellite and unaffected by the plane’s vanishing trick, Jamie discovers drawers full of what appear to be small people lying unconscious. At this point, the plot still hasn’t really come fully together, so seeing tiny people in drawers is just mind-boggling. You think you have some idea as to how or why these bodysnatchers are doing what they’re doing and the story throws us this brain bender. Hats off to the writers because I challenge anyone to say they saw this bit coming ahead of time. As it turns out the passengers didn’t vanish, so much as they were shrunk down into tiny people. The reason why? Because the satellite wasn’t big enough. Which actually makes a lot of sense in some ways. Terry Pratchett once wrote that a gnome character of his was the richest man in Ankh-Morpork, by ratio. If his resources stretch further, then a dollar buys him more than it would a full-sized man. Brilliant.

After discovering the jet pilot was electrocuted (by lasers somehow), the Commandant is beginning to soften to the idea that the Doctor is onto something with his spacemen theory. After confronting Meadows with the Wiimotes, our MVP Jean stops his ass with a rolling chair. Seriously, I love Jean. Jean 2020. At this point, Meadows just kind of becomes their bitch and totally spills the beans about their plans. How their planet faced a catastrophe and how they needed new bodies, new faces. He even gives up the satellite position and the fact that they have some 50,000 young people on board, ready for conversion. He even leads them to where the real Nurse Pinto is being held. I think if they’d have broken out the thumbscrews he would have copped to kidnapping the Lindbergh baby. What a chump.

Around this time in the story, the animation begins to take a serious nosedive. Nurse Pinto kills a policeman with a ray gun, and I swear to God that the policeman has a partner that looks exactly like him. Now, I know this is a story about body doubles, but reusing the same character design on two separate human characters in the same scene is just lazy. I thought at first that perhaps the actors in the original version were twins. But then, later on, you see two of the same faced cops in a scene together again! So it’s not just twins, it’s triplets, evidently. And they all grew up to be coppers on the same beat. Sorry animators, but you’re nicked!

Shortly after, the link between Nurse Pinto and her original is broken and fake Nurse Pinto turns into a pile of clothing and some sort of amniotic fluid. Her water just broke in the worst way possible. I’ve said it before, but part of me wishes they would improve upon some of the foley in moments like these. Mark Ayres does a great job mixing and remastering what was already there, but would some sound effects be completely out of line? Some squidgy squashy mess would have gone a long way to sell this moment. I figure a seasoned Doctor Who pro like Ayres would really be able to deliver such a thing. Also, if you ever get curious to know what Mark Ayres looks like, I’ll save you a google search and just say- he looks exactly how you picture a guy named Mark Ayres to look. Just a little fun fact there.

The real Nurse Pinto and the Doctor decide to pretend to be chameleons at this point so they can infiltrate the satellite. However, Spencer’s not having it as he’s onto them, but he allows it because he has plans to take turn the Doctor into an original for yet another Chameleon. Upon arriving on the satellite, the Doctor discovers Jamie has been turned into a Chameleon as well, which is rather funny as the Doctor laments the loss of Jamie’s charming Scottish accent. Those two, I swear. It’s as Frank Rossitano from 30 Rock once said "I’m not gay gay. I’m just gay for Jamie." Before they can turn the Doctor into one of their ilk, the Doctor destroys their machine buying the Commandant down on the ground some time to find the originals the Chameleons were linked to.

All the while, the Doctor is sowing seeds of doubt among the Chameleons that their director, in the form of Crossland, only cares for himself. That he wouldn’t care if he endangered them into becoming puddles themselves. He drives the point home by bluffing that they have found the locations of the originals. It’s a gambit that actually seems to work as Spencer and his men begin to question their director. The Commandant, on the ground level, is still plugging away, trying to save the day from his end. I kind of love the Commandant for following through with the Doctor’s bluff, and with such gusto. As I said, he really comes into his own by the end of the story. It’s kind of a shame that the guy never got a name. In the same vein as Counter Measures, I could see him, Jean, and maybe even Crossland in their own spin off adventures. They’re really a great group of one-off characters. Nurse Pinto and Samantha can come too.

It’s rather weird to me that the Chameleons opted to hide the originals as opposed to just taking them with them in the first place. After Samantha and Jean discover 25 cars registered to Chameleon Tours, they set off to search the car park. We find out that the catatonic originals have been stowed away in the cars to slowly die while the conversions complete. This may seem like a really dumb place to stash a body, but it’s not exactly unheard of. The airport of the city I’m from actually missed a truck containing the body of a man for eight months. Either way, it’s an odd little plot hole that exists mainly to give the Doctor something to hold onto and create dissent within the ranks. There is literally no reason not to take the bodies until the process is done. But ok.

Seemingly out of nowhere, the great stool pigeon that is Meadows, grows a pair and escapes from his guards. This is where the animation gets really ropey. I don’t know if it’s because the black and white versions are a 4:3 aspect ratio as compared to the 16:9 ratio of the colour versions, but as Meadows wrestles free, his body proportions are comically incorrect. His arms look about several inches too short, and they are positioned in such a way that the shoulders are set far too high. My guess is that the animators originally made this scene for the widescreen ratio, and merely squashed the image, thus shortening the arms for the black and white version. As opposed to, you know, bending the elbows. He tries to subdue Samantha but eats pavement. Slow clap for Meadows. Meadows 2016.

To prove they aren’t bluffing, the Commandant removes the link on Jenkins arm which turns him into a puddle aboard the satellite. This sends the Chameleons into a frenzy and they shoot their director, killing fake Jamie in the process. The Doctor negotiates with the remaining Chameleons to return all of the missing people and even agrees to help them find a cure for the catastrophe that set them on this path in the first place. After finding Crossland stuffed in a locker like a high schooler, he and Jamie go back home.

Down on the ground level, Jamie parts ways with Samantha, which is really kind of sad considering what a great character she turned out to be. What's even worse is that with Ben and Polly up and deciding to stay in 1966 London for basically the most boring of reasons, there was definitely a vacant spot for her to fill in the TARDIS. I would have really liked to see her as I instantly identified with her plight to find her brother. My family has experienced the disappearance of a loved one, and I know exactly how that feels to not know whether someone you love is alive or dead. They absolutely nailed that part of her character, and it was great to see it portrayed accurately. She could have been great. Instead, she stays behind and Jamie continues onward with the Doctor. However, the episode ends on a note of mystery- the TARDIS appears to be missing! Hopefully one day I’ll be able to follow up on that mystery with yet another animation to review, but until then, you’ll just have to wait! That is unless you already know.

All in all, the Faceless Ones is a pretty cool story with some rather lousy execution. There are quite a lot of moments that work to its benefit, but it’s marred by it’s bloated runtime. This story could have easily been told in four parts, and I feel as though it was a perfect candidate to be edited down into a single movie à la "Planet of Fire," or "Terror of the Vervoids." The strongest elements are the characters. And another bit of praise is that it was a slight departure from the base in peril episodes that dominated the Second Doctor Era. I do rather like Brian Hodgson’s score as it was genuinely creepy at parts. It evokes memories in me of the Woodsmen in Twin Peaks dancing to the impossibly slowed sounds of Beethoven’s "Moonlight Sonata."

Regardless of any ropey bits of animation, I absolutely admire the work and craft of the animators involved. The character likenesses were an improvement upon "The Macra Terror," (especially Polly). There are points where you know the production team had to invent shots from thin air to fill the gaps that existing tele-snaps and sound simply weren’t illustrating. There’s a lot of creativity involved that evokes a lot of the same spirit of the original series. There’s also those really fun opportunities to retroactively tie the old series to the new. Such as the Dhawan Master, or yet another Magpie Electricals reference. Although they are far from my favourite companions, it’s also nice to finally see Ben and Polly’s send off in proper motion. As always, it’s the next best thing to the original.

#Doctor Who #the faceless ones #second doctor #Jamie McCrimmon #Polly Wright #Ben Jackson #Patrick Troughton #frazer hines #Anneke Wills #Michael Craze #animation #TARDIS #BBC #chameleons #chameleon tours #Time and Time Again #sorry this was late #seriously it's been a busy day

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watusichris · 5 years

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I Went to “Rock ‘n’ Roll High”

This story, now expunged from the web, originally appeared on Night Flight in 2015. ********* “Pay five bucks and be in a movie starring the Ramones? Hell, yeah!” And so it was, 37 years ago this month, that I made my first appearance before the cameras, as an extra in the concert sequence in Allan Arkush’s Rock ‘n’ Roll High School.

At that point, I was laboring as the staff writer and publicist for Landmark Theatre Corporation, then a chain of repertory movie houses that included the Nuart, the Sherman, and the Rialto in the L.A. area. (Today it’s an art house chain owned by billionaire Mark Cuban.) In October of that year, I’d become the “rock critic” for the Los Angeles Reader, a new alternative weekly. I’d been a die-hard Ramones fan since the release of their first album in 1976; in fact, I had lost my job at the free-form Madison, Wisconsin, radio station I had worked for after playing their first album in its entirety on the air in the middle of the afternoon. I still hadn’t seen the band live, so I was understandably excited when a tantalizing flyer fell into my hands. It read, “BE IN A MOVIE! AND ATTEND AN EXCLUSIVE RAMONES CONCERT!” I jumped at the chance, called the phone number on the flyer, and reserved two $5 dollar tickets to attend an evening shoot at the Roxy on the Sunset Strip. Why were the filmmakers charging a fin to make the scene? Well, first of all, they knew they could get away with it: The Ramones were punk pathfinders who commanded a large fan base in L.A. More importantly, the money would help defray the cost of a picture that was being filmed on a budget that could charitably be called infinitesimal. Rock ‘n’ Roll High School was the second solo project by director Arkush, the former lighting director of New York’s Fillmore East, who had labored for several years at B-movie titan Roger Corman’s New World Pictures. Arkush had convinced Corman to let him lens his rock ‘n’ roll comedy – a bargain-basement fusion of A Hard Day’s Night and The Girl Can’t Help It – but he had to make the picture on a three-week schedule for a cost of $180,000, virtually nothing for a professional feature. (Historical footnote: The original script for the film, conceived as Girl’s Gym, was written by my University of Wisconsin classmate Joe McBride, who had based his story on a student walkout at his father’s high school in Superior, Wisconsin, in the ‘20s. Joe went on to write authoritative books about Orson Welles, John Ford, and other directors and produced several documentaries about the movies.) On Dec. 14, 1978, I joined a couple hundred other suckers – uh, extras – at the Roxy at 5:30 p.m., for the second of two shoots for the picture that day. The earlier shoot, which had convened at the ungodly hour of 8:30 a.m., had been largely devoted to filming footage in the club’s cramped upstairs dressing room area and tight set-ups featuring the band and the picture’s stars. The Roxy was standing in for the fictitious “Rockatorium,” the exterior of which was actually the Mayan, an ancient, ornate theater in downtown L.A. In the picture, high school rocker and adoring Ramones fan Riff Randell (P.J. Soles of Halloween and Carrie) and her gal pal Kate Rambeau (debutante actress Dey Young) attend the Ramones concert against the express wishes of evil Vince Lombardi High principal Evelyn Togar (Mary Woronov, a former member of the Exploding Plastic Inevitable, the dance troupe that had performed under Andy Warhol’s auspices with the Velvet Underground at their New York club gigs). The venue was crowded that night, and insanely hot, thanks to the movie lights that sent temperatures soaring inside the small venue. It was under these extreme circumstances that the “audience” of extras was introduced to the tedium of movie-making; we were directed to pogo up and down repeatedly as the Ramones ran through pre-recorded versions of the five songs – “Blitzkrieg Bop,” “Lobotomy,” “California Sun,” “Pinhead,” and “She’s the One” – that would be heard in the movie’s climactic concert sequence. I stood about 20 feet from the stage, melting in my heavy leather bomber jacket, and surveyed the crowd. An actor costumed as an enormous white mouse stood a few feet to my left. The open cash-for-casting call had drawn a motley assemblage; the extras ranged from Valley girls in Fiorucci finery (not entirely unlike what Dey Young is wearing in the scene) to hardcore Hollywood punks. Standing directly in front of me, and visible in most of the shots taken from the stage, were the Germs’ lead singer Darby Crash and bassist Lorna Doom. You can’t miss Darby – he’s wearing a white jacket sporting a black Germs armband. (He would die from a suicidal heroin overdose just shy of two years to the day later.) It was a long night, protracted by multiple camera set-ups and inevitable retakes, but the crowd weathered it with good humor. After all, we were all gonna be in the movies! But the icing on the overheated cake came at the end of the shoot, sometime after 11 o’clock, when, after a brief pause, the Ramones returned to the stage, plugged in for real, and treated their fans to a loud, full-on, seven-song mini-set. (The action wasn’t filmed, but audio can be heard as an extra on Shout! Factory’s 2010 DVD re-release of the movie.) When I finally saw the finished film after it opened in April 1979, I was gratified to discover that I had not been consigned to the cutting room floor. If you look carefully – I mean, very, very carefully -- at the shots of the crowd taken from the stage, in the upper left-hand corner of the screen you’ll see a guy with shoulder-length hair and ugly glasses, clad in a bomber jacket, punching the air with his fist and chanting, “HEY! HO! LET’S GO!” That would be me. The film’s final scene, the destruction of Vince Lombardi High by its rebellious students, was still to be shot, and a week or two later some of us trekked down to Mt. Carmel High, an abandoned Catholic school in Watts, to visit the location. (This was probably on the eve of the Ramones’ Christmas show at the Whisky a Go Go, which I attended.) Temperatures in L.A. that week hit record-shattering lows, and so, after a couple of hours milling around freezing amid the chaos on the street, I split the scene before the building was blown up. But stories of that night rapidly circulated among L.A. punkdom: The technicians in charge of the pyro had underestimated the power of the charge, and when it was detonated it reduced a large part of the school to rubble, and also blew out dozens of windows in the neighborhood, terrifying the local residents. That’s show biz. It does look great on screen. Four years later, I had the opportunity to hang around the Wiltern Theatre location of Allan Arkush’s second rock movie, the ill-fated Get Crazy. (Allan had managed to survive the case of exhaustion that had put him in the hospital at the end of the Rock ‘n’ Roll High School shoot; the picture had been completed by Joe Dante, who had co-directed 1976’s movie spoof Hollywood Boulevard with him, and would go on to helm Gremlins). I interviewed Allan at home at that time; he is a charming guy and a complete music nut, and also the only person I know who has a light show installed in his living room. The Ramones likewise survived the Rock ‘n’ Roll High School shoot – they had already managed to live through making an album with Phil Spector, so they were game for anything. Sadly, only drummer Marc “Marky Ramone” Bell is still with us today. But the movie – as cheap, goofy, and frequently silly as it is -- lives on in TV, repertory, and film festival screenings as a testimony to the band’s energy, spirit, power, and bountiful sense of fun. I’m glad I had a chance to be a small part of it.

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bobbiehoney · 4 years

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⌞ʾ⁎ ⊰ phoebe tonkin, cisfemale, she/her ⊱ i think i just saw BOBBIE LANGDON walk across trafalgar square, singing to SHE* ( HARRY STYLES ). you know, the TWENTY NINE year old MARKETING EXECUTIVE? people claim that they are just like BOBBIE from COMPANY**. it must be because they are CHARISMATIC and INDECISIVE as well… though i could be wrong. all i know for sure is that they live at BALTIMORE*** apartment. { violet, 23, est, she/her }⌝

yaaaaa’ll ! hi!! i’m violet! I admined the first little version of this group with fie and i’m so excited to join this community of musical theatre nerds, my fave people. i’m 23, I use she/her pronouns, and i live in the est time zone. i’m a (struggling lol) actress and writer. i’m a slut for any and all sondheim, and i first saw company when i was 16 and I didn’t really *get it* but I loved it. since then i’ve seen a lot productions (except the current broadway cast) and i always find something new in it. I was in a really cool gender-swap-y production of the show earlier this year (seriously it was so queer and inclusive and great) and while I didn’t play bobbie we spent a week just talking about the show and the dynamics of all of the characters and I have many ideas of how I would play bobbie....and muse.....SO ANYWAYS - ya’ll ready for a character study?

bobbie. bobbie, the very best wingman. bobbie, the perpetual third wheel. bobbie, the reliable. bobbie, the undependable. bobbie, the warmest. bobbie, aloof and mysterious. bobbie, the very best listener. bobbie, the cluelessly insensitive. bobbie, the romantic. bobbie, the heartbreaker. bobbie, the sentimental. bobbie, one of the guys. bobbie, the tease. bobbie, the magnetic. bobbie, the zombie.

background

bobbie’s name is actually elizabeth, after her grandmother (her fathers mother), and her grandmother’s mother. but most folks, her many dear friends included, don’t know that. her family never really called her anything but bobbie, and when asked if bobbie is short for something she’s always taken aback for a moment because she kind of forgets that it is.

she’s a born and bred new yorker and while she fits very easily into the london lifestyle, she’s still grouchy about how the bagels aren’t “right”, and things like that. she’s been living in london for about five years now, but she also travels a fair amount for work and visits nyc often.

she was definitely born into wealth, but bobbie isn’t materialistic, really. she lives a very “comfortable” lifestyle, but doesn’t hoard her wealth and donates a large amount of her income to charity. she isn’t financially dependent on her family, and hasn’t been since she graduated college, which she’s a little proud of. is she a yuppie though? a bit.

she works for a large corporation and kind of dislikes that, but she’s very very good at her job. she’s always had a natural ability to know what attracts people, and that translates perfectly into marketing.

I think bobbie had a normal childhood, not a perfect one, but nothing traumatic I don’t think. I do imagine that her parents were pretty distant from each other and that they got a (somewhat expected) divorce when bobbie was in college. she’s definitely an only child, and her parents are proud of her...but, like everyone else, they don’t understand why she won’t settle down.

personality

the thing about bobbie that kind of defines her whole personality is that she is just super magnetic. she’s personable, witty, and people are just very drawn to her. she doesn’t really understand that, though, if that makes sense? bobbie is definitely confident, but she doesn’t really see herself as much different than anyone else. people just love being around her, and she loves being around people.

bobbie is the biggest extrovert, a complete social butterfly and the life of the party. can make friends with anyone. she...really hates being alone, in truth. and has a penchant for hanging out with couples, she’s basically an eternal third wheel, but she enjoys that.

in denial. just always in denial. large capacity for denial.

important: bobbie is an observer. she’s always watching, listening (not just hearing), judging, and taking stock of people. (“she always looks like she’s keeping score. who’s winning, bobbie?”) that’s why she and joanne are the closest relationship that bobbie has in the show, among both friends and lovers. they’re both watchers, they’re like cats. (”sometimes i catch her looking and looking - i just look right back.”) the emotional climax of the show happens because of joanne.

the wild thing about company is that you’re mostly told and not shown what bobbie’s personality is like, because the scenes are focused on the couples/dates and the songs are introspective thoughts. the couples describe bobbie as being dependable, helpful, loving, and basically the glue that keeps their lives together. the three characters that bobbie has romantic relationships with describe her as withholding, cold, and undependable. that’s because that’s the two sides of the bobbie coin, if you will.

bobbie is an incredible friend. the four couples in the show are definitely her best friends in the world, and she would go anything for any of them. but they are definitely the only people the bobbie is dependable with, aside from her family. she also loves them dearly but sometimes she is this meme after hanging out with them or their kids lol. she says yes to them way too much and sometimes she is....incredibly burnt out and overwhelmed.

she’s an amazing friend, but one things change from platonic to romantic, she’s usually pretty quick to flee. she doesn’t know why. she tells herself that they just weren’t the one, that it just wasn’t meant to be because if it was she wouldn’t run so hot and cold. she’s very affectionate and charming with her lovers, she almost always seems to share a connection with them, and then she disappears. no one ever really knows why. she feels bad ghosting people, but she always says it’s for everyone’s best interest.

in all honesty bobbie could have settled down, she did find someone who could have been her “one” in pj/kathy. they both wanted to marry each other, but neither made the move, and bobbie feels deep regret for that. so the problem is her, not anyone else. she just can’t commit.

bobbie probably drinks too much, but she says it’s okay because she’s a fun drunk and she rarely gets sloppy. but she drinks too much.

bobbie definitely has bad impulse control, and often doesn’t really think things through, especially when she’s hit with a big emotional shift. i.e. when she proposes to amy/jamie in the show.

she’s lowkey kind of a square.....like she definitely smokes weed (canon!) and drinks but she also refuses to smoke a cigarette when joanne pressures her to (which, i get is an emotional thing and not really about the cigarette but stick with me here) and she’s very put off by peter and susan’s polyamy so AND she’s super taken aback by how *radical* and *wild* marta/theo is (which...isn’t much these days, it’s all just kind of aged material lol)......bobbie is not *as* cool as she thinks.

a line I always keep in mind about bobbie, which paul says - “a person like bobbie doesn’t have the good things, and she doesn’t have the bad things. but she doesn’t have the good things.”

notes on company (mostly for anyone who might consider playing a character from the show)

i’m playing bobbie at 29 about to turn 30, rather than 34 about to be 35. honestly i just had trouble finding the perfect fc, and so i aged her down. (why doesn’t aubrey plaza have more resources? ugh!)

she’ll turn 30 eventually, but whooo i just wanna have fun being dumb bobbie before she becomes slightly more evolved bobbie.

my bobbie is VERY bisexual. I would really enjoy a mix of the original genders of bobbie’s lovers and the revival’s. so april/andy, pj/kathy, and marta/theo are all welcome! as is jamie/amy. (though honestly I would prefer an amy) and i would like to keep the romantic/sexual undertones with joanne, if possible, unlike the revival. (& her lil flirtation with jenny because idk if they change that to david in the revival or not?) my version of bobbie would basically sing about all of her pals in “someone is waiting”, she sees things that she loves about all of them and would want in a partner.

connection ideas (I am very bad at these but i’ll try to think of more)

bobbie would have a million acquaintances. from work, from the grocery store, from the tube. she talks to strangers, she flirts with everyone she encounters, even if she is silently judging them at times. but she’s nice, I promise.

friends! of course, all of the friends. let’s see how they could know eachother!

bobbie is definitely besties with her neighbors, or tries to be.

look...bobbie dates casually, multiple people at a time, always. i’m open to all sorts of different relationship dynamics! bobbie may or may not break their heart a little bit though, i’ll warn ya’ll lol.

and of course!!! SPURNED LOVERS or exes of any type and on any terms!

#this only took 200 years i'm so sorry i just have a lot of THOUGHTS

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