#and later on! lovers for life! also friends still just with an Added Facet!

[carnivalcarriondiscarded]

How does Barnaby meet Howdy in your modern human au? :0

oh, the entire "neighborhood" became friends in either middle or high school (except Eddie oopsies). Howdy ran a little 'underground market' (aka he sold stuff out of his locker or at his house, the goods varied) and Barnaby would often buy school supplies or, every so often, a cheat sheet from him. once or twice weed as well. but yeah they were also classmates a few times.

Howdy found Barnaby hilarious, Barnaby found Howdy to be excellent company, boom friends for life. Howdy didn't have many actual friends - just acquaintances and regulars, so Barnaby was his first real pal, and the "neighborhood" his first friend group! and only, technically

[spade-riddles]

"Adjusting Expectations" Post

This submission received a lot of responses and 120 notes, so I thought I would compile the comments here.

Anonymous said:

Adjusting expectations anon was so good. If their timetables are right and we do just need to be patient a little longer, can Kaylor please send us a sign? I guess it would be too loud to slip "adjusting expectations" into social media posts, but maybe they could both do something with playing cards? To show they are card sharks right now but they'll find their way home eventually? That would reassure people. And it would fly under the radar.

casuallycruel131313 said:

I agree with a lot of this but I think the main issue right now is that moral and ethical lines have been crossed and there's no coming back from that. In these post-Trumpian insurrectionist times it's unfathomable that they could continue the Kushner narrative I no longer care if or when they come out, I enjoy the music and I'm happy to observe from a distance because I'm interested from a PR/marketing point of view but my opinion of T &K as people has changed irrevocably and I don't see how they can clean the tarnish off.

@theprologues said:

Agree with most of not all if this but I would like to say as a Kaylor the toe Grammy stunt didn’t phase me. I was not crushed by that by any means. I just shrugged and honestly expected it. It was the attributing Betty and exile to him during the LPSS in November that bummed me out and really made me go...really?

rockcrow20 said:

Have to say I also agree with most of this.

I no longer have any expectations on anything changing any time soon and have not been surprised by the recent events its to be expected after everything over the years really

Nothing has really changed (bearding narrative wise) since I fell down the rabbit hole in 2017 (except that great night in nashville 2018 rep)

Honestly I can't say I am as invested anymore about them ever coming out as I was.

I think the wb/Joe thing was the last moment for me and the continual kushner connection just troubles me like many others.

I mean my kaylor motto for awhile now has been hope for the best but expect disappointment.

Low expectations = limited feelings of disappointment.

original-cypher said:

@rockcrow20 the WB was a breaking point for so many. You are absolutely right. There are just so ma'y contradictions that feel like absolute whiplash. (I know I seem to have been the only one experiencing that with Gorgeous but... that was a big one for me, too) But like. You go on a whole PR campaign about speaking up and standing up for yourself. You say you're capable and tired of men trying to take ownership of your success and profit off of your name. And you credit you literal damn work to a bloke? Bitch, 'consistency'? Look it up. It grossed me out. It would have felt iffy if I believed they were real. But since I wasn't born yesterday it just sent me the message "this is how far I'm willing to sacrifice my principles to not be queer".

rockcrow20 said:

@original-cypher exactly why it bothered me and I know alot us so much. Such mixed messaging of being a strong fighting for your rights female and then oh hey let me attribute some of my best work to my pr boyfriend and the pr pics where she is walking behind all the time like 🙄 The Betty thing that was big one for me too!

rainbowdaisy13 said:

This write up and the comments are spot on. I don’t have much to add other than like @original-cypher said, Miss Americana is tainted for me now and seems like at the very least, it was released too soon in the plan. I get we think they have had to pivot but man, that doc, and including her literally saying “gay rights make me me” at the end was such a false flag. To see her wax poetic about not taking shit from men anymore and then see her do the same old hetero weak woman song and dance routine with the WB shit for albums that are of her genius mind has been so disappointing. I still believe Kaylor is real and I hope they get a chance to show the world that. Karlie posting that cardigan pic in the woods before the folklore release cemented for me they are still together. Adding a baby makes me feel all kind of weird ethical things but I hope I live long enough to see it play out and wear my I Told You So shirt 😁

@kellykaylor said:

agree with your post... I dont care about toe stunts but what really pissed me of was hetwashing betty 🤮! beautiful post tho anon!!

roameroo said:

Totally agree with these all comments especially the strong messaging of MA only to turn around & pull that WB = my "bf" crap. I was disheartened by her mentioning him at the Grammy's only bc he's getting credit for sh*t he doesn't/didn't do. That is what irks me the most about this, giving him credit for her life's work.

always-the-last-word said:

Can I throw my pennies in the pool ?? Taylor will put out the big three first Fearless, RED then 1989 that should bring us to about August. This is where the excitement should begin. If Taylor preps and waits for National Coming Out day it's a no lose for her. Lover her money making machine will go through the roof !! If things go bad or good in the public eye she'll have REPUTATION Taylor's Version ready to release. It will be epic and she'll own it and be FREE.

@karlie-what-you-want said:

always-the-last-word I like this take a lot! I try not to be too optimistic but if she wanted to come out sooner rather than later, I think this plan would satisfy both business and PR needs (at least on Taylor’s end). Remains to be seen how Tay will help Karlie dig her way out of the mess they made together regarding the K*shners.

always-the-last-word said:

Always remember that Taylor has a PLAN. Some of her plans are year's old (easter eggs). Taylor's one and only LOVE is her music, everything else comes second. If KK wants to change and be with her full time she'll make moves around the same time frame. That's if she chooses to. In any event Tay will be open and own all her music. I've seen this film before and WE might not like the ending.

chosetherose said:

I’ve been going back and forth for a day trying to figure out what I wanted to say when I reblogged this post. I’m tired. I’m frustrated. I understand I’m owed nothing by Taylor or Karlie. I understand that circumstances out of their control have caused the girls to pivot over and over again.

But, the root of my frustration in the past months stems not from me battling with the trivial (e.g. pap walks, etc.) but with my personal principles. I fiercely believe credit should be given where it is earned and I uphold this in my career regularly. To see Taylor crediting Toe with her art was deeply disappointing. Watch the 1989 and folklore acceptance speeches back to back and tell me it doesn’t upset you. I believe the K******s have blood on their hands and that their actions during the pandemic have killed people. To see Karlie still associating with one of them disgusts me.

I can’t help but think back in frustration - Would you really fall from grace to touch her face? (And in the brilliant words of @9w1ft) But would you die for her in public? I go back and forth feeling like questions like this aren’t fair at all and thinking they are sort of valid. At this point, it sort of feels like Taylor would only fall from grace for her lover if all the stars and facets of her life aligned perfectly. But perfection like this does not happen. Such is life. So why am I here?

I do question why Spade left certain messages in their final days. I am still holding hope a fervent revolution exonerates everyone. I so desperately want Taylor to regain control of her masters or re-records. Maybe this is the plan they thought was best with multiple goals in mind (re-records, having a family, coming out of the closet one day etc). I’m trying to remain patient because Spade told us to trust her endless yearning. But WOW it is asking a lot of us at this point.

Anonymous said:

Despite being a pragmatist kaylor and oftentimes getting into arguments with fellow optimistic kaylors (owner of this blog included) I think it's quite unfair -at this point- to say to the optimists who have patiently sat through the worst kind of stunts with the most terrible kind of people (yes I'm talking about the Kushner's friend group too) that they should have seen it coming. Besides, if it weren't for the optimists we the cynicals would have burned this fandom down by now.

Anonymous said:

Even if we ignore that an insurrection happened partially because of the family karlie's still working for and getting paid from, she literally said before the pregnancy debacle unfolded that j*sh was her last client while talking about cutting hair and doing a cutting gesture. How should we have interpreted that? 😤That a year later she would be more stuck with the Kushners than ever? We don't wake up on day and decide to have unrealistic expectations. She feeds into them. 😠

Anonymous said:

I have no expectation of Taylor coming out anymore. Zero. None. I have no expectation of her dropping Toe or even of Kaylor publicly reuniting. It doesn't even matter that much anymore. But I - do - expect 1 thing. Karlie to drop and completely dissociate herself from the Kushners and this has nothing to do with kaylor. It was everything to do with me being unable to support a person who willfully assists (now using her baby too) and receives money from a family that has made so many suffer.

Anonymous said:

A quick word from an ex-kaylor (who will never become an anti). A year ago, when the Trumps were still in power and untouchable and there was no baby, I was excusing and turning a blind eye to many things Karlie did for the K*shners. Even that dinner in September. I had also made peace with the truth never being revealed. But a year later the Trumps are gone, Karlie is still on full stunting mode now with a baby in the mix, a baby that is already being used by the Kushners, and I've really run out of excuses. Now the only thing that could possibly keep me on board is if I knew there was a good chance that the full truth would come out, so that Karlie's inexplicable and honestly borderline immoral actions could eventually make sense. But as your sub said, this is an unrealistic expectation, thus I became an ex-kaylor and I'm not planning to come back even when they reunite. 😕

Anonymous said:

What baffles me is that Taylor has explicitly expressed her regret about not giving her lover the credit she deserves and her doubt whether fame is worth hiding her true love: "when I walked up to the podium, I think I forgot to say your name", "what's a lifetime of achievement, if I pushed you to the edge". But yet again she didn't do anything to change this. I didn't expect her to acknowledge Karlie, but a nod or at least not falsely crediting her beard would be a good start.

Anonymous said:

1🙁 Let me chime in re: "expectations". I'm one of the kaylors who ever since the pregnancy reveal was trying to tell everyone there's NO way she was gonna dump him soon after birth let alone before that. It would bring too much unnecessary attention and Jerk would have never agreed to something that would make him look like a bad guy/husband. For the exact same reasons, I was also saying there's no way he wasn't going to post about the baby. All the above against the popular opinion back then.

2🙁 So I agree that the day of the birth post was known to T, not the timing though. Simply bc Kushner-leaning outlets made sure to note that detail. If they wanted it to go unnoticed, why draw attention to it? That being said, kaylors would have been more patient with this mess, if Karlie hadn't gone overboard with her freedom "smoke signals" last summer and Tay's "insiders" hadn't been insinuating that the end is VERY near. Both of them SHOULD have known by then how we would react to these.

3🙁 So it's natural that everyone feels played and has no patience for any more bullshit. Another sore point is how Jerk AND the Kushner-Trump klan monopolize the baby news. This isn't just to make it realistic, it's an abuse of Kaylor's baby's name to garner good pr for the worst family in America, with Karlie's blessing. In order for her marriage and split to appear realistic she's putting a LIFETIME burden on her child's back. Unless you believe she's eventually gonna say Jerk isn't the dad.

4🙁 So "we’re in a position we should realistically have been able to see coming". But we did see it coming, that why some made these extreme scenarios, bc this is the worst possible outcome. "Good people try to make it work, even in bad relationships." Ultimately this isn't just a "bad rs". It's a horrific association that should have been resolved ages ago, not one to bring your child into, doom it to suffer a similar fate, and expect people to sit idly and watch. That's what frustrates most.

[twentiethcenturymoviesandtv]

Ladyhawke: Facets of Film

There’s more to a good film than a solid story and compelling characters.  Otherwise, it’d be a book.

There’s a lot that goes on in the process of making a movie, in taking a story and putting it on screen.  There’s costumes, sets, props, special effects, camerawork, music, and, perhaps most importantly, performances that best get across what the script is trying to convey.  It’s a project containing a lot of different elements that all come together perfectly to tell a story in a visual medium in a meaningful way.  It’s not a movie without ‘movie magic’, after all.

Of course, some films do better with this than others.

See, the point of all of these things is for one simple reason: to better express the story and characters already present in the script. They are there to accentuate, to enhance, to be good enough to dazzle, but not so good that they overshadow the rest of the movie.  It’s a difficult balance, one that can be achieved if the same effort is put into both story and the actual movie-making itself.

The question today is, is that the case for Ladyhawke?

Does Ladyhawke use its storytelling devices well?

Let’s take a look, starting with one of the most important elements in a film: cinematography. (Spoilers below!)

The camerawork in a film can sometimes make or break it.  When done well, it is breathtaking, when done competently, it is adequate, but when it’s done badly, it’s really bad.  There’s more to camerawork than just pointing it at the action.  There’s a lot to consider.

The cinematography, teamed with the editing process, is designed to evoke a reaction out of the audience.  A good director knows how to use the camera to emphasize certain details, or overall feelings.  The camera is used to help tell the story, while leaving a visual mark on it.  Such scenes in Ladyhawke include the stunning shots of the landscapes, giving us wider looks at the expansive world that the characters reside in.

The camerawork in Ladyhawke is, most of the time, good.  Not fantastic, but good.  Most of the shots are standard uses of the camera to get us to take note of the dress in Navarre’s bag, or the emphasis on his sword.  The long takes in the fight sequence in the climax are notably impressive, building a steady rise in tension, as well as showing off the semi-realistic, brutal sword fight.

There are two scenes, however, that surpass ‘good’ camerawork, in my opinion, and become great.

The first occurs semi-early in the film, when the Bishop wakes up in a cold sweat in his bed.  He sits up, and we are granted a look at his bed and room: above him, carved into pillars, are birds of prey.  Hawks. Given his connection with Isabeau, it’s fitting enough, but then comes another work of brilliant editing.  Right after that shot, there is a wider one which reveals something else: carved into the bedpost are wolves, facing away from him. It’s an interesting and effective way to hammer home his connection with the pair before we even know what it is.

The other scene that I’m referring to is a little longer, but is, in my opinion, the best use of camerawork in this entire film.

It comes towards the end of the film, after Navarre (in wolf form) has been rescued from the ice-water and brought back to camp.  Isabeau waits with him as dawn nears, signaling both of their transformations.  There is an instant, made longer with movie magic, where the two watch each other transform, both fully aware of what is going on.  That moment is full of shots of their eyes meeting, and transforming, never actually showing the pair’s bodies change.  In another film, this edit would be an excuse to show off the transformation itself, but Ladyhawke doesn’t.

By using the camera effectively, this scene takes on a different emphasis, one of mutual love and grief.  This is the scene that fully drives home the couples’ love and separation, and the audience feels it, which, once again, is the point of good filmmaking.

Oddly enough, there are very few ‘special effect’ shots in the film itself.  It’s all very down-to-earth, with no outlandish creatures or large set-pieces. For being a film made in the era of big special effects, there’s nothing accomplished in the film that isn’t done with simple camerawork.  We never see a transformation in full, we only see before and after, with some clever shots in the middle to give us the idea.  While that may seem disappointing, it’s actually very smart to portray the scenes like this: it emphasizes the emotional impact of the sequence, and prevents any ‘dated looking’ special effects in hindsight.  It also adds to many of the film’s unique qualities and elements.

There’s more to a film than the camera, however.  Let’s talk about the rest of the visuals.

While nowhere near the iconography of The Wizard of Oz, Ladyhawke has its fair share of memorable images, notably Navarre’s black armor and gem-encrusted sword and Isabeau’s mid-air transformation into the titular Ladyhawke.

Part of what makes these images memorable are the distinctive looks of the characters, assisting with the expression of the character. Phillipe’s clothing is scavenged, looking appropriately thrown-together and unremarkable, further demonstrating his scrounging lifestyle and ‘normalness.’  Navarre is dressed in black armor, in a subversion of both the unscrupulous ‘Black Knight’ trope and the upright ‘Knight in Shining Armor’.  Neither villainous nor a champion, Navarre is a good man on a quest for revenge, a darker path than most heroic characters in fantasy films.  He rides a black horse and carries a unique sword that he plans to use in this revenge quest: once again, completing a memorable image.

By contrast, there’s Isabeau.

Isabeau doesn’t get armor, but she does get a simple, yet elegant enough, dress, combined with Navarre’s black cloak.  This gives her an ethereal vibe that slowly dissipates the more we find out about her, but still retains her sense of otherworldly dignity.

Speaking of otherworldly dignity, let’s discuss the score, which is anything but.

Now, I’ve mentioned this before, but it bears mentioning again: Ladyhawke’s musical score was recorded by Alan Parsons, and the result is a combination of orchestral instrumental and synth music. Does it fit?

…..Sort of?

Once again, the music is a part of the film’s individual identity, for better or worse.  Sometimes the music fits, (mostly the instrumental bits) but one of the biggest complaints about the film is, in fact, the soundtrack.  Many people’s complaint is that the music is incongruous, and takes them out of the film experience.  On the other hand, lots of people agree that it does add to the ‘individuality’ of the film.  So which is it?

Honestly, this one is usually personal opinion.  Depending on what one is looking for in a fantasy film, people either enjoy the soundtrack or dislike it.  Personally?  I enjoy it’s differentiation from contemporary fantasy soundtracks, but can understand why some would disagree.

No matter which way you feel about it, you do have to admit that it’s distinctive.

The musical score does rise and fall with the action, playing triumphant fanfares over battle sequences and quieter, introspective music over reflective scenes, and it does do what a soundtrack is supposed to do: get a reaction out of the audience, and help influence the emotion in a scene.

Another one of the odd things about this film is the lack of sets within it.

There are sets, obviously.  The cathedral, the prison, the barn, etc. are all examples of sets used within the film, but an equally large portion of it is set outside.  The film feels very natural in this sense, by using very grounded sets, further adding to the relatively realistic tone of the film as a whole.  The scenes in which the actors are performing are very tame, plain, and in a way, more accurate to the period and setting they are actually trying to portray. Unlike many contemporary fantasy films, Ladyhawke feels very real-world in comparison.  Being set in medieval Europe, there are no ornate palaces or magical caverns.  As a result, every set and landscape feels like it is genuine and solid, adding weight to both the story and the performances that are coming across.

And after all, the performances are arguably the most important element.

No matter the thought or quality put into sets, special effects, costumes, music or cinematography, in the end, it’s on the performances to sell the story and characters.  Each individual scene rests on the actors and their ability to compel the audience.

Matthew Broderick’s performance as Phillipe Gaston is charming, managing to pull off a semi-comedic character in fairy-tale circumstances. He’s sly and smart, but out of his comfort zone, rendering him rather helpless at times.  He is a character struggling to catch up with events, slowly becoming a part of the story and learning to do the right thing, even at risk to himself.  He’s humorous and later compassionate, expressive and outspoken to the other characters, and in his private discussion with God.

Navarre is almost the opposite, closed off and mysterious. Rutger Hauer’s turn as a good man cursed is very compelling, portraying both the grim determination for revenge, and the broken heart of one half of two star crossed lovers.  (Special mention goes to the above scene with the mutual onscreen transformation, appropriately heartrending, and his confrontation at the Bishop at the end.)  Hauer also has good chemistry with Broderick, depicting the growing friendship between the two very well.  He portrays the full gambit with restraint, giving the impression of emotion bubbling under the surface until his joyful reunion with Isabeau at the end.

Michelle Pfieffer as Isabeau is haunting and heartbreaking, a woman living a half-life, cursed to be with the man she loves, but unable to have a relationship with him.  Separated from all she knows, with little choice in her life’s direction, she also becomes friends with Phillipe, revealing the sad, borderline hopeless existence she is forced to live in.  (Again, special mention to that transformation scene, and her cold confrontation of the Bishop.)  She portrays a woman containing quiet strength, forced to go on and remain solid for both herself and Navarre’s sake in the face of the curse.

John Wood as the Bishop is appropriately disgusting, an old man motivated by jealousy and lust, taking out his anger on the couple.  He cannot bear to take rejection from Isabeau, and he remains obsessed with her after the curse that he dredges up.  He portrays a man attempting to retain control until the end. Unable to take Isabeau and Navarre’s bond, he attempts to break it, once and for all, leading to his own demise.

Leo McKern’s performance as Imperius is both comedic and remorseful, a man atoning for his past mistakes by trying to help the couple.  He contributes dry wit as well as his sincere services, and his connection with Phillipe allows him to help the couple. McKern shares many scenes with members of the cast that perfectly showcase his gravitas that effectively balance out his lighter moments, rounding out our memorable main cast.

Every character in this film is perfectly realized, coming together as a team against a rotten man.  There is no good vs. evil in this story, only the power of love over the power of jealousy and obsession.  These characters come across as slightly fairy-tale-esque, but slightly twisted in odd ways.  The performances are appropriately subtle and reserved, coming across as very genuinely human and understandable to a very genuinely human audience.

The acting, like everything else in this movie, is understated, and very simple.  It’s not bright or colorful, or loud, or epic, it is very down-to-earth and modest. It tells a compelling story with compelling people, assisted by the work done to make it (with the exception of the music) a very realistic and grounded story.  The performances perfectly match the rest of the movie, subdued, but genuine, and gripping to an invested audience.  Every element in this film is tailored to fit a specific mood, moving the plot along without being obvious about it.

Ladyhawke has been called a cult classic, unpopular upon its theater release.  It was greeted with mixed acclaim, labeled as ‘inconsistent’, and debated since then as to whether or not this film was actually good or not.   Yes, the music can seem a little incompatible with the film, but overall, it comes across as a reasonably consistent, grounded film with a compelling story and characters, and it really works.

Join me next time as we discuss the behind the scenes story of Ladyhawke with a segment titled: Facets of Filmmaking.  Don’t forget that my ask box is always open, and I hope to see you in the next article!

[mothermaidenclone-blog]

Ad Astra or This Movie Was the Brad Pitts

Ad Astra was the worst movie I have paid to see since 2015’s Kill Your Friends, which is my least favourite cinema experience of all time. It was a dry and dreary story about emotionally stunted white men in a bleak and boring capitalist version of space, with jarring and superfluous Christian undertones. The plot and everyone’s motives were so non-existent that Brad Pitt had to narrate the whole thing in a monotone so flat and dead I literally screamed all the way from the cinema to the bus stop when it was over, partly out of a frustration so deep it was non-verbal, but also just to finally hear some pitch variation.

*Ad Astra spoilers follow*

There technically were women in this movie. Lots of women, particularly women of colour, occupied high ranking positions and were addressed by their titles, a touch I think is important and that usually tips the scales in favour of a good review for me. We were graced with Adjutant General Vogel (LisaGay Hamilton), Captain Lu (Freda Foh Shen), Sergeant Romano (Kimmy Shields), Tanya Pincus (Natasha Lyonne) and Lorraine Deavers (Kimberly Elise), as well as several unnamed female personnel (Kayla Adams, Elisa Perry, Sasha Compère and Mallory Low). I would like to particularly highlight Natasha Lyonne’s performance as apparently she was the only actor employed to play a human being and not a replicant. She was on screen for maybe twenty seconds, as is sadly the case with most of these women, but was a glorious breath of fresh air as the only character to simultaneously emote expressively and speak with inflection and enthusiasm. The only one! In a two hour movie!

All of these women appear to be respected and capable members of various illustrious teams, but are always outnumbered by men. There are two male generals alongside Vogel and Deavers is initially outnumbered 4:1 on her space craft by men. Tragically, whenever a team is being picked off, it is always the people of colour who die first. Not only is this obviously racist, it is just a disgusting cliché that we just don’t need to see anymore in movies. Deavers dies first when Roy (Brad Pitt) forcibly invades their vehicle, followed by Franklin Yoshida (Bobby Nish), an Asian man, and Donald Stanford (Loren Dean), a white guy, is the last to go. Roy cradles him in his arms and attempts to save his life. I hope it’s not just me that sees something wrong with the order of events there.

A similar scenario takes place in the lunar chase, which absurdly seems to occur in the same crapy looking buggies as the original moon landing, a confusing visual choice considering we’ve just seen a vast and impressive modern concrete moon base. The film takes the time to introduce us to Willie Levant (Sean Blakemore), a black officer who will be escorting Ray across the moon. As soon as we see he has a photo of his wife and child taped to his tablet screen I knew he was going to die - in the year 2019 I should not be able to predict that a black character is going to die because we saw a family photo. Can we just not anymore? Again, aside from the racism, that’s just shitty writing. I like to think that as a species, if we can conceptualise something as vast and seemingly impossible as solar travel, we can also move beyond basic and derogatory cinematic tropes.

I was most excited by the appearance of Helen Lantos (Ruth Negga), a woman of colour who occupies a position of power on Mars and introduces herself assertively using her full name. Also, her whole look was excellent. However, this brief release of serotonin was very short lived as she literally walks Roy down a corridor then is immediately cut off and superseded by a white guy with a man bun. Lantos does return later, but alas, as an exposition machine to give Roy some plot news about his dad. Even as she explains that her parents were murdered by his, Lantos falls victim to the dire, emotionless monotone that I can only assume was forced on the entire cast of this film. Then, she is an actual chauffeur and drives Ray to a manhole so he can continue his dad quest. A character brimming with original potential is presented as nothing more than a device.

The final woman to mention is the first one we see, Roy’s ex-wife Eve (Liv Tyler). We see the blurry, out of focus back of her head in the background of a shot before we see her face, and this is incredibly telling, because that’s all Eve is, the simulacrum of a woman. She could be anybody - so why she is Liv Tyler defies belief, I can only assume they held her loved ones hostage - her story is untold and entirely irrelevant. Again, she is only a device, although this time not for Roy’s forward momentum, but this time seemingly to emphasise that Roy is a total sociopath with no emotions whatsoever. We don’t learn Eve’s name for another twenty minutes, and it is an hour and twenty minutes before we hear her speak. Even then, it’s not a live conversation, because god forbid this film have too many of those, but a voice recording explaining that their relationship is over. I’m not going to lie, I’m pretty sure that’s what it was, but everything she said was so generic I have no memory of it whatsoever. She is presented as a ghost, a blurry image on a screen, a memory fixed in time, not a real person with agency and personality. At the end of the movie we finally see her in real time, and that is when she has made the unfathomable decision to meet Roy for coffee. Even her face in that moment gives no emotion away, perhaps because Tyler had no idea how to act this entirely nonsensical decision. To our knowledge, she would not have seen any change in Roy, only received news that he survived a dangerous space mission, which is apparently enough of a reason to get back with this emotionless egg of a man?

I almost didn’t want to devote words to them, but I think it’s important to address just how dire Roy and his dad H. Clifford McBride (Tommy Lee Jones) are. This is their film, they are the reason that all of these women’s stories are passed over. It is made clear over and over again that both Roy and Clifford believe they are the only people capable of completing their various missions. Roy hijacks a ship and inadvertently kills everyone on board because he thinks that it’s his destiny or whatever to get his dad back, never mind that they were all highly trained space personnel who were arguably better suited to the mission precisely because it wasn’t their dad. Clifford straight up murders his whole crew because they are too “small minded” to fly off further and further into space forever on a mission that has yet yielded absolutely no evidence of their goals. A variety of talented human beings are destroyed because of the entitlement of white men, their delusional and unshakable conviction that they are at the centre of the universe and that no one else could possibly accomplish the lofty goals that kismet apparently calls them to.

The way they speak about themselves and to each other is absolutely psychotic. Roy’s solo musings include, “The flight recorder will tell the story, but history will have to decide,” and “In the end, the son suffers the sins of the father.” Clifford imparts his son with the delightful greeting of, “There was never anything there for me, I never cared for you or your mother or your small ideas.” In addition, they both physically flinch from human contact at various points in the move. Now, I totally understand that we live in a neurodiverse world and that many people experience emotions and social interactions in any number of ways, and that is a beautiful thing that makes our world so interesting to live in. However, that these men both abjectly state that they have no empathy is presented within the context of their megalomaniacal ideals that they must accomplish their god-given quests irregardless of how many people they have to kill along the way. It is a facet of their strangely two-dimensional, arrogant and narcissistic personalities, not one part of many complex features that make a complete and relatable human being.

Roy has to literally say out loud that he is a human being at the end of the movie; “I will rely on those closest to me…I will live and love,” which makes him sound more like a learning AI trying to pass a Turing test than anything else. The music swells as Clifford throws himself towards the surface of Neptune in an orchestral deluge that is unsubtly significant in this very quiet film, as though I’m supposed to start crying and think anything other than, “well thank fuck, it’s about time this murderer dies in the cold vacuum of space, I hope Roy stays spinning and screaming here forever too.” We are supposed to feel sympathy for them as the heroes of this movie, despite the fact that they show no care for anyone else throughout the whole thing and act entirely in their own self interests.

Overall, the women in this film are given about five seconds of potential as they introduce themselves variously as decorated soldiers and otherwise capable personnel, before being shoved to the side, or murdered, for Roy. This is obviously objectionable, but is made so much worse by the fact that Roy is an emotionless, entitled, empathy-less white man who doesn’t care if other people have to die for him to get what he wants. That is what these women are being passed up in favour of. I felt like I was watching a two hour long Voight-Kampff test. Space movies like this should be about what we can achieve if we work together as a species, not about how white men will still be the kings of dreary capitalism, even on the moon. We can do better than this.

And now for some asides:

What the actual fuck was the font at the beginning? I guess a red serif all caps should have alerted me to the fact that I was about to watch a horror movie.

As a lover of space horror, I was absolutely gutted that it was a bad CG angry baboon and not a cool gross alien. Also, what was that scene? “Hmm, we need to get rid of this loser because Brad Pitt is the best at space ships and he needs to be the captain. Uhh…what about…space monkeys? Yeah! Space monkeys on a deserted Norwegian ship. That makes sense.”

Can I just have a film bout those moon pirates fighting space capitalism please? I was more invested in them that anyone else in this garbage movie.

Credit for the Bradd Pitts joke goes to the talented and lovely Ed Cheverton

[sushigirlali]

The Politics of Dancing - Part II (Reylo Fanfic)

Part I - Part II - Part III - Part IV

Summary: Ben has known Rey most of her life, but when things change between them one tumultuous night, can he convince her that they have a future? Or will secret legacies, scheming parents, and fetching suitors get in the way?

Parings: Rey + Ben Solo|Kylo Ren, Finn + Rose Tico

Continuity: Regency AU

Rating: E

A/N: Sorry for the wait, friends, I haven’t been feeling very inspired lately. The Tumblr apocalypse and subsequent drop in activity has got me down. On the bright side, this story is now going to be a three-parter. This chapter was getting really long, so I decided to split it up. Enjoy!

Master list –> AO3 | ff.net | Tumblr 

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The Politics of Dancing - Part II

By: sushigirlali 

——————

London, December 1818

——————

Peering over the rim of her crystal wine glass, Rey slowly sipped the sweet red liquid in lieu of answering Lady Shara Bey’s probing questions. Poe’s mother could be a little pushy, but Rey was too used to Leia’s brand of brazen self-confidence to be excessively offended by her lack of tact.

“Really, my dear, you must come visit Yavin after the new year,” Shara simpered. “We have the most picturesque landscapes and historical homes, not to mention a great number of fashionable neighbors to dine with.”

“Thank you for the invitation, but my father and I have plans to stay in town through Easter,” Rey said noncommittally, finishing her glass and signaling Artoo for another. I wonder if anyone would notice if I just kept the bottle. “Maybe another time, though,” she added, not wanting to sound ungrateful.

Appearing disappointed but not discouraged, Shara tried a new approach. “Did you know my son was recently titled Viscount of Yavin? His father will retain the title of Earl until his death, at which point the name will be bestowed upon Poe.”

Rey slanted her friend a look, trying not to laugh at his pained expression. “Congratulations, my lord.”

“He’s also incredible marksman, you know. I don’t think I’ve ever seen his equal. In these dangerous times, it would certainly be reassuring to have someone as capable as him by your—”

“Rey can shoot just as well as any man,” Poe interrupted brusquely. “So, I don’t think she’s in need of a protector.”

“And what would you know about the needs of women?” Shara snapped, putting Poe on the defensive.

“Mother, can we not—”

Covering her friend’s hand where it rested on the table, Rey stepped in to head off a confrontation. “Poe understands me quite well, and I him, so there’s no need to be insulting, madam. He’s a credit to your house, whether you want to acknowledge it or not.”

Lady Bey rounded on Rey, but their hostess cut her off before she could make a retort.

“Shara, would you mind switching seats with my husband?” Leia requested, seeming to materialize out of thin air. “I would so love to catch up with you.”

Leia’s tone was friendly, but her steely gaze made it clear that she wasn’t asking.

“I—yes, Leia, that would be lovely,” Shara said stiffly, dropping her napkin as she stood. “If you’ll excuse me, Lady Niima.” She gave her son a small nod. “Poe, I’m…I’ll see you later.”

He inclined his head, but didn’t speak again until she was out of earshot. “Thanks, Rey,” he said under his breath.

“No problem,” she returned, giving his hand a comforting squeeze.

Following Leia and Shara’s progress toward the head of the table, Rey was unsurprised to find Ben staring in her direction. What did surprise her, however, was the automatic rush of heat that raced up her spine just from making eye contact with the man.

Tilting her head, Rey studied his unique features, admiring the way his inky black hair fell wild around his pale face, the silky strands sticking out at odd angles were her searching fingers had sifted through them earlier. He wasn’t classically handsome, not in the way Poe was, but Rey found his too large ears and deep-set eyes and slightly crooked nose ridiculously tempting.

Not to mention that scar, she hummed, tracing the faded mark with appreciative hazel orbs.

He’d been a hellraiser in his youth, and she’d idolized him because of it. So many society men were afraid to be themselves, to be real, but not Ben Solo. He was outspoken and honest, even when he probably shouldn’t be. If she’d been a man, Rey liked to think that she would have followed in Ben’s footsteps.

Well, maybe not literally, she allowed, sizing him up. His height and build were so far out of the norm that he stood out in any room. Especially tonight.

Ben looked dashing in his neatly tailored black coat and trousers, the custom-made vestments showing off his long legs and broad shoulders to perfection. Still, Rey couldn’t help but picture his powerful body stripped of all finery on black sheets, just the way she’d seen him last night.

So manly, so beautiful…

The longer she surveyed him, the more she wanted to crawl across the table and slide into his lap; to feel his thickly muscled arms wrapped around her again as she devoured those sinfully full lips…

Get ahold of yourself, Rey! she chided, feeling her nipples stiffen behind the thin fabric of her chemise. Now is not the time to be letting your imagination run wild!

But it was too late. As if sensing her wicked thoughts, Ben’s dark gaze fell to her breasts, scraping across her taut peaks like he owned them. Why did I decide to forego a corset again? Cursing her lack of appropriate undergarments, Rey crossed her arms and prayed that he was the only one who’d noticed her wanton behavior.

Stop looking at me like that, she mouthed, fighting down the heat rising in her cheeks.

No, he replied with a smug smile, obviously amused by her blatant response.

Why, you—

“Hey, kid!”

Rey jumped as Han dropped into Lady Bey’s empty seat. “Uncle!”

“Sorry about that,” Han chortled, patting her on the shoulder, “I didn’t mean to scare you.”

“It’s quite alright, sir,” she said, playfully wrinkling her nose at him. Maybe I should tie a bell around your neck just in case, though. That’s twice now you’ve snuck up on me tonight, a third time could be disastrous.

“And you, Lord Dameron, how is your evening going?” Han courteously inquired.

“Whatever the opposite of festive is,” Poe deadpanned, lifting his glass in salute.

“Yes, the atmosphere is rather tense for a yuletide celebration,” Han said jovially, reaching past Rey to click his glass against the Viscount’s. “I apologize for any consternation you might have felt due to my wife’s meddling. She can be a bit overzealous when it comes to the art of matchmaking.” He threw a wink at Rey. “Especially where my darling niece is concerned.”

“Uncle,” she groaned, “not you too!”

“Now, now, Rey, I just think—” Han stopped short as See-Threepio dragged a serving cart laden with at least five different cuts of meat and several sauces into the room. “I just think we should talk about this after dinner. Heaven forbid we let all this incredible food go to waste!”

Saved by the second course!

Rey thought irreverently.

Good thing Han prefers food to lectures…

——————

Gripping his goblet tightly enough to shatter it, Ben glared at the perfect picture his lover made sitting next to Lord Dameron: her pretty white dress and sun-kissed complexion playing nicely off his black hair and formal attire. Rey and the newly appointed Viscount looked good together and he hated it.

Since when are they more than mere acquaintances, anyway? he sulked, annoyed by how well they seemed to be getting on. What could they possibly have in common? Ben’s brow furrowed as Rey slid her hand over Dameron’s. And why the hell is she touching him?!

While they weren’t enemies per se, the older man had been a thorn in his side since university. Popular more for his personality than his wealth, something Ben had always been sensitive about, Poe had been his rival in everything from fencing to making friends, but up until tonight, they’d never pursued the same woman.

First Johnson, now Dameron, Ben frowned. Is Rey friendly with every eligible bachelor in the county? How many other men do I have to compete with?

Unused to feeling anything but supreme confidence, Ben tried to reign in his riotous emotions. It wasn’t Rey’s fault that he’d been supplanted as her dinner date, after all, that honor belonged to his interfering mother. Having long given up trying to arrange the love life of her only son, it appeared that Leia had moved onto her niece. Unfortunately for the Skywalker matriarch, Rey had a mind of her own.

Good luck, mother. That little spitfire has an independent streak a mile wide and I very much doubt you’ll be able to exert influence over any facet of her life. Ben took a thoughtful swig of ale. Besides, Rey would never allow herself to be bullied into anyone’s bed. She’s always been adamant that only the deepest love would induce her into…into…oh!

All at once, Ben realized that sneaking into his room had been a declaration of sorts, an admittance of Rey’s feelings and intentions toward him. At the time, he’d been too eager to possess her to pick up on the significance of her actions, but now, recalling the way Rey’s beautiful body had tangled with his, practically shouting how much she loved him, Ben felt like a fool for not being more perceptive.

We made love from one side of the room to the other, locked together for endless hours in our own little world and yet, somehow, I failed to see the sentiment behind her surrender. Ben marveled at his own stupidity. But what does she want long-term? To become my mistress? My wife? Or was last night just a passing fancy?

He supposed he should be wary of getting in too deep too fast, but he wasn’t. Beyond her boldness in the bedroom, Rey’s jealousy on the dance floor and subsequent ardor on the veranda gave credence to the notion that she felt more than simple desire for him.

Is this love then? he mused. It could be. We’re good together. Ben paused. No, better than good. We’re fantastic together. Amazing, even. Hell, we barely took time to breath let alone consider the consequences, and I…I…oh, shite! Ben cursed as realization struck. I completely neglected to take precautions with her!

Regardless of who bewitched whom, Rey had come to his bed untouched, putting the onus on him to protect her from potential repercussions. But he hadn’t; he’d put her at risk. She could be carrying my child even now. I want her, but am I ready for that kind of responsibility? he wondered.

Only vaguely aware of his mother standing up beside him and moving around the table to speak with Lady Bey, Ben allowed himself to envision what life would be like with Rey by his side. They could ride together, like when they were younger, read to each other in the library, have hours long discussions over dinner…and make love every night. There was so much he could teach her, so much she could teach him…and if she was pregnant, well…

The more he mulled over the idea, the less terrifying the prospect of fatherhood became. We might have twins, a boy to going shooting with Rey and a girl to practice calligraphy with me. They’d have freckled cheeks and dark hair and big hazel eyes…

As the appealing image formed in his mind, Ben decided that irrespective of what his mother or Luke had in mind, the only way Rey was getting engaged to someone other than him this holiday season was over his dead body.

——————

For as long as she’d known Ben Solo, he’d never been one to wear his heart on his sleeve. But in the past few hours, he’d admitted to being jealous of Finn, nearly seduced her on the dance floor and then on the patio, and now he was giving Poe dark looks as well.

What is going on? Rey stared down at her plate, pushing her venison around without really seeing it. It’s not like we’re engaged or anything, and he hasn’t once mentioned love, so why is he acting so territorial? I need to get him alone again and—

“I wonder what’s wrong with Lord Ren this evening,” Poe said, voicing her concerns.

Rey schooled her features, hoping no one else had noticed Ben’s strange behavior. “I have no idea what you mean.”

“Don’t you? Ren looks like he’s contemplating murder every time he glances in my direction. Have I done something wrong or is the wild mushroom soup not to his liking?” he inquired.

“Well, he does hate mushrooms,” she said drolly. I’m not sure how he feels about you, though.

“I’ll just assume the soup is the most likely culprit, then,” Poe chuckled. “What a relief! I wouldn’t want to be on the wrong side of my old schoolmate; he’s a real fire-eater.”

“You have no idea,” Rey mumbled, knowing full well how it felt to burn up in Ben’s arms.

Something in her tone must have given her away because Poe looked suddenly suspicious. “Is there something you want to tell me about you and Lord Ren?”

“There’s nothing to tell,” she denied, glad that Han appeared to be lost in conversation with Baroness Kanata. Please, keep him busy for me, Maz, because I don’t think Poe is going to let this go.

“No? Judging by your behavior, and Ren’s, there seems to have been a development in your relationship since the last time we spoke,” he said speculatively.

“You’re just imagining things,” Rey gulped, reaching for her wine. He’s definitely not going to let this go.

“Careful, love,” Poe cautioned, gently steadying her hand to keep her from knocking over the nearly full glass of claret.

“Thanks,” she said sheepishly, setting it down again without taking a sip.

“You’re welcome.” Then, more seriously, “Even if you don’t want to tell me now, just know that you can always confide in me, Rey. I’m no gossip.”

“I know,” she replied solemnly. “You’ve trusted me with so much about your own life, but I—I’m scared. I did something brash last night, something that could have lasting consequences...”

“Rey, I’m sure whatever you did is—”

“I seduced Ben,” Rey confessed in a rush. “I don’t know what came over me, but I went into his room and took my nightgown off and I—we—and it was wonderful—but now he’s acting strange and possessive and I don’t know what to do!”

Poe hid it well, but she could tell that she’d shocked him. “You went to him?”

Rey squared her shoulders, determined to take responsibility for her actions. “I did.”

“And he didn’t turn you away?” he said in surprise.  

She shook her head, puzzled. “Should he have?”

“Not necessarily,” Poe said without judgement. “Ren must want you very much to risk being ostracized by his own family, though.”

“How do you mean?”

“I can’t imagine Lord Skywalker will be pleased that his nephew deflowered his adoptive daughter,” he said bluntly.

“But it wasn’t Ben’s fault!” she protested. “I seduced him, remember?!”

“Rey, Ren is a man. An experienced man, at that. I can assure you that it will matter very little to your father whether you initiated the situation or not,” Poe said plainly. “Skywalker may not be very traditional, but he’s still your guardian.”

“Oh, I…hadn’t thought about it that way,” Rey grimaced. “What should I do then? I can’t imagine not seeing Ben anymore, but I don’t want to hurt Luke either.”

“As long as you’re discreet, I wouldn’t worry about it too much about it for now,” he offered. “Your father doesn’t strike me as particularly perceptive when it comes to matters of the heart.”

“No, he’s not,” she agreed. “There’s always been something between Ben and I, a special connection as it were, but I don’t think Luke has ever noticed.” Rey relaxed a little. “Thanks, Poe.”

He waved away her gratitude, looking mischievous. “So…” he muttered, leaning close, “did you enjoy yourself?”

“That’s none of your business!” she blushed, surveying the table to make sure no one was listening, least of all her wayward relatives.

“Of course it’s not,” Poe conceded, lowering his voice. “But did you?”

Rey bit her lip, vacillating on whether or not she should answer.

“Oh, come on, it’s not like I’m going to repeat anything you say, no matter how raunchy.”

“I know you won’t,” she sighed, playing along. “Alright, yes. I enjoyed myself. Immensely.”

“And he didn’t hurt you?”

“No!” she exclaimed. “No, the experience was…umm…satisfying.”

“Good.”

“Is that all?” Rey said sarcastically. “Any other personal details you’d like to know?”

“Just one,” he said dryly. “Do you want to sleep with him again?”

“Poe!”

“In for a penny, in for a pound?” he grinned.

“Well, I—I wouldn’t say no,” she stammered.

“And what about him? Do you think he still wants you too?”

“I don’t know,” she said evasively.

“Rey.”

“Maybe?”

“You don’t know?” he teased. “I could always go ask Ren directly, I suppose.”

“Don’t you dare!” she yelped. “Yes, okay?! Happy now?”

“Are you?” Poe asked rather pointedly.

Rey was quite for a moment, caught off-guard. “You know, I think I am,” she said in amazement. “I think Ben’s wanted me for a long time; maybe even as long as I’ve wanted him. He was careful to never let on, you see, but by the way he performed last night…”

“Then you know what you have to do,” he said with a playful wink.  

“I do?” she said bemusedly.

“Really, Rey?” Poe rolled his eyes. “If you’d like to continue your…relationship, I suggest you ask Lord Ren to make an honest woman out of you first.”

“Marriage?” she gasped.

“Is there another word for satisfying your natural urges without societal contempt?”

“But I’m nobody,” Rey asserted. “Why would Ben want to marry me?”

“Don’t sell yourself short,” he said sternly. “Earl Johnson said you’ve been made Luke’s legal heir. If that doesn’t make you more attractive on the marital market, I don’t know what will.”

“But I don’t want him—or anyone—to fancy me simply because I may or may not be inheriting a fortune,” she frowned. “And I really do wish Finn would stop spreading that rumor around. I haven’t even discussed it with—”

Rey stopped speaking as Artoo came around to remove their dinner plates and set the table for dessert.

“Buck up, darling.” Poe pushed back his chair. “You’ve always felt a special connection with Ren, right? I’m sure he feels it too.”

“Perhaps, but where are you going,” she said sharply.

“The loo,” he laughed. “Sorry, love, but nature calls.”

Rey worried her lip. “But what if Ben approaches me while you’re gone?”

“I’m sure you can handle him, Rey. You’re no shrinking violet.”

“I know,” she snorted. “It’s just…he makes me so crazy sometimes that I want to—”

“Kiss him? Marry him? Bear his children?”

“Now that would be telling.” 

——————

A/N: I’m actually kind of hoping that the title to EPIX is such a spoiler that they’re not even going to tell us what it is! I don’t know, I just think it would be super exciting to go into the movie with a little surprise dropped into the title scrawl XD Thanks for reading! Please review!