#but gordons family has some dark history

[gumnut-logic]

Cethair (Bit 2)

Óen | Cethair - Bit 1 | Bit 2

Glossary (contains backstory spoilers)

Many thanks to @onereyofstarlight, @idontknowreallywhy, @womble1 and @sofasurf for all their amazing support of my writing.

Here we continue with the fic about Gordon, but this bit focusses on Johnny and a little backstory.

Sorry for the delay in writing. I will get there eventually.

I hope you enjoy.

-o-o-o-

John was beside himself. Cóic’s thoughts were a turmoil and her heart anguished.

“It was not your fault, my love.” He reached up, ever so glad of his lanky height to reach her eyebrow feathers and rub her gently. “You know Gordon-“

She snorted, warm breath catching his long hair and tossing it about.

“Yes, he has a history of rapscallion-hood, but you know his heart. He would not have acted any other way, even should he have known this outcome. He did this for us.” He let his forehead rest against her white and gold cheek feathers, soft in their strength. “As did our father.”

That was a raw wound in his heart. Losing their father and king, his strength…all because…

It was Cóic‘s turn to interrupt his train of thought, sour that it was. He reached his fingers to his left temple, closing his eyes as her mind enveloped his.

It truly was magic. To be held like a child in the arms of a giant. Cóic had inherited the memories of the Ages, those who had come before, and the wisdom that entailed. But she was still young, unable to access it all until she was fully grown. Kyrano had spoken of it as a burden and part of John feared his beloved dragon would lose some of herself the day she came into her knowledge.

And feared he wouldn’t be good enough.

His father had spoken to him from a very young age about the importance of the gift he had been given, the honour it was to help guide a Matriarch into adulthood.

His mother’s family had been stewards of the great dragons across the Western Ocean and when the Matriarch of the tribe chose him to be the companion of her unborn child, the O’Treasaigh family had been ever so honoured.

His mother had held him in her lap telling him stories of the old ones and legends of their tribe leading back into the darkness of the past. How the tribe had grown strong and safe with the dragons, the great Thunderbirds. And how, in each generation one was chosen for the next Matriarch, the next great Thunderbird. Chosen for his mental prowess and agility, his strength for love and for kindness.

The Matriarch had chosen John.

And Gaat had not agreed.

John hadn’t been aware of it at first, until one day their father announced they were returning home.

As far as he and his brothers were concerned, they were home. The land of the Matriarch was all they had ever known. They were, of course, aware that their father was from across the ocean, very far away indeed. And they knew the story of how he had entered these lands held in Óen’s claws, a half-dead bedraggled mess - Kyrano’s words, not John’s.

The tales of Ériu, a land of eternal green and bounty, of their grandfather, Flaithri O’Treasaigh, king of their lands, and their grandmother who had trained in the Temple and knew all the medicines and was so kind to their people.

It would have been harder to leave if Gaat hadn’t forced the issue. John was still young when it all happened, but he remembered the fires and the screams. His mother grabbing him and Cóic, still in her egg, and bundling them up in furs so warm.

Of Óen’s bellows and fire, all the family’s dragons taking to the air in the darkness, his mother’s reassuring words as she held him close, his father’s voice firm and strong.

John shook himself. He often drifted when held by Cóic. He suspected she had interest in his memories and his point of view. They were so different, yet together they were one.

The family had returned to Ériu to great fanfare. The Flaithri was over joyous to have his son not only return, but with a wife and three strong sons.

The revelation of dragons took a longer time to settle, but eventually the O’Treasaigh family settled back into a new comfort, a new home that was as full of history as their previous.

The Kyrano family had travelled with them, their mother’s brother exercising the right to ensure her safety. Scott had once confided in John claiming Kyrano wanted to get away from Gaat as much as any of them. Gaat was a half-brother to both their mother and Kyrano, and a half they could both do without.

But as time passed and they all settled, it was good to have another family from across the Western Sea to share memories with.

Gordon and Alan were born one after the other and the Flaithri doted on both the young children. Five strong sons were cause for as much celebration as three.

The day Cóic hatched, John’s life changed.

He had slept with the egg every night, kept it warm as his mother instructed. It had so long been his companion, it was second nature to keep it safe. Until early in the morning dark, he had been awoken by movement and shattering eggshell.

She had bowled him over in eagerness, landing on his chest, still dripping with egg fluids. He had been bewitched by her beautiful turquoise eyes - to this day, he still was - though it had taken some time for her gold-tipped white feathers to fully come in. As a hatchling she had been rather scrawny, more like a bald bird than a dragon.

The wave of fond mock-offence had him smiling and he suspected that his response was her purpose in sending it.

It also brought him back to the present and separated him a little from her embrace. Today was one of mourning but in it there may be hope.

Cóic rumbled deep in her throat.

John startled. “Have you a response?”

The matriarch had sent out a request, across dragon minds seeking one willing to give everything for a heroic young prince. One willing to make the sacrifice to save him.

How the dragons saw his people, why they served, associated, and loved their human counterparts was not clear. While Cóic never hesitated to share her thoughts with him, there was seeing and feeling, but understanding was not a given. Dragonkind had its mysteries and its purpose and it was other than what humans pursued or recognised. It was also something John could only accept and trust.

But the call out across the seas and the land looking for one willing to give everything for a stranger…only clarified dragon difference. It was a hope, but it was also a terror, an unknown.

Cóic warbled, her heart lifting. She touched her great head gently to John’s.

She had an answer.

Her reassurance was a boon. Gordon could be saved.

As his fingers drifted through her neck feathers and he climbed into her saddle, his hope was joined by fear and his heart ached.

-o-o-o-

Next

[crippleprophet]

i want to thank you for your post from a few months ago about abandoning the idea that health is good. it's helped me process and unpack just how much the health framework has damaged me (and everyone; you could get multiple phds exploring how the concept of health categorizes and controls bodies!). and those ideas have extended beyond my personal life to my academic and professional writing and my interactions with loved ones - they've reached and impacted a lot of people.

i was a disabled child in a family of career athletes; the health paradigm was deeply engrained at an early age. now that i'm finally shaking those teachings, i've gotten a lot out of reanalyzing ideas i've always framed through a health lens. if it doesn't matter if i "eat healthily," since that's a meaningless concept, then how and why do i choose what i eat? why do i want to stretch regularly, if not because it's healthy and my doctors said it will improve my disability? how does my relationship with substance use change when health is taken out of the equation?

in these questions, i often find there's deeper and more satisfying reasons for my feelings and actions. this process reminds me of my experience with transness, in a way. reconsidering the concepts and assumptions underpinning a framework, deciding the whole framework is useless to you, and exploring what lies beyond it. thank you for opening such a freeing and fascinating door :-)

oh, woah, this absolutely made me cry, i truly can’t express how meaningful this is for me. (as you might know from following my blog lol) i’m homebound & only see two people in person unless i’m at the doctor, so this feeling of connection to other folks in my community is so deeply valuable, i really can’t thank you enough 💓💓

i definitely relate to the sense of rejecting health leading to a changed perspective on, like, everything in my life + prompting more intentional ways of engaging with my choices, routines, etc. following that theme of community, lineage, & ideas that ripple out, i’d love to take the time to mention just a few of the scholars, ancestors, comrades, & friends who have been life-changing for me in this area!

while there is a lot of transformative & vital work within disability studies, there’s still a lot of structural barriers against sick people’s contributions to formal theory + a lot of direct & indirect reinforcement of health as a good thing in the field. so i’ve found in many cases more resonant work in trans studies, mad studies, & postcolonial studies, by people affirming the pathology of their own identities & positions. just a few favorites of mine from within, across, & outside of these fields, in no particular order:

Sandoval-Sánchez, A. 2005. Politicizing abjection: in the manner of a prologue for the articulation of AIDS Latino queer identities. American Literary History. 17(3), pp.542-549.

Fritsch, K. 2013. On the negative possibility of suffering: Adorno, feminist philosophy, and the transfigured crip to come. Disability Studies Quarterly. 33(4).

Barounis, C. 2013. “Why so serious?” Cripping camp performance in Christopher Nolan’s The Dark Knight. Journal of Literary and Cultural Disability Studies. 7(3), pp.305-320.

Abrams, T. and Adkins, B. 2020. Tragic affirmation: disability beyond optimism and pessimism. Journal of Medical Humanities.

Stryker, S. 1994. My words to Victor Frankenstein above the village of Chamounix: performing transgender rage. GLQ: A Journal of Gay and Lesbian Studies. 1(3), pp.237-254.

Sexton, J. 2011. The social life of social death: on Afro-pessimism and black optimism. InTensions Journal. (5).

these were all immensely profound to me, but this last work, following Fanon, was such a complete & total frame shift for me that i feel the need to include some of it here (emphasis added):

This is precisely what Gordon argues is the value and insight of Fanon: he fully accepts the definition of himself as pathological as it is imposed by a world that knows itself through that imposition, rather than remaining in a reactive stance that insists on the (temporal, moral, etc.) heterogeneity between a self and an imago originating in culture. Though it may appear counterintuitive, or rather because it is counterintuitive, this acceptance or affirmation is active; it is a willing or willingness, in other words, to pay whatever social costs accrue to being black, to inhabiting blackness, to living a black social life under the shadow of social death.

This is not an accommodation to the dictates of the antiblack world. The affirmation of blackness, which is to say an affirmation of pathological being, is a refusal to distance oneself from blackness in a valorization of minor differences that bring one closer to health, to life, or to sociality.

[…] In a world structured by the twin axioms of white superiority and black inferiority, of white existence and black nonexistence, a world structured by a negative categorical imperative— “above all, don’t be black” (Gordon 1997: 63)—in this world, the zero degree of transformation is the turn toward blackness, a turn toward the shame, as it were, that “resides in the idea that ‘I am thought of as less than human’” (Nyong’o 2002: 389). In this we might create a transvaluation of pathology itself, something like an embrace of pathology without pathos.

To speak of black social life and black social death, black social life against black social death, black social life as black social death, black social life in black social death—all of this is to find oneself in the midst of an argument that is also a profound agreement, an agreement that takes shape in (between) meconnaissance and (dis)belief. Black optimism is not the negation of the negation that is afro-pessimism, just as black social life does not negate black social death by inhabiting it and vitalizing it. A living death is as much a death as it is a living.

if you want a pdf of any of these & are unable to find one feel free to hmu (although they will likely come with my annotations lol). this was a major topic of my master’s thesis for my disability studies degree (which was actually about disabled trans people, so i love that you connected this process of rejecting normality to transness in your own experience – i relate to that a lot) & i’m also happy to share that research with anyone who’s interested :)

i also have relevant thoughts & reblogs in my “stay sick” tag here (which i’ll add to this post) & my “embracing abjection” tag here + more broadly on my main.

& just a few of the many folks whose work + lives have shaped mine: @kelpforestdwellers @heavyweightheart @librarycards @crutchbutch @gatheringbones

i would also (always) absolutely love to hear more about your thoughts + writing if you would like to share! thank you again for taking the time to share this with me, i appreciate it more than i can say 💓💓

[susandsnell]

🔥 Batman comics in general

Send me a “ 🔥 “ for an unpopular opinion.

Oooh! I do think a lot of my saltier Batman comics opinions aren't exactly unpopular in nature (too much grimdark and never in the right direction, the misogyny, Killing Joke was a mistake, BruceBabs was a mistake, stop misusing Rogues), so I'll try to bring up some less-discussed ones! (Or at least ones I see discussed less, lol.)

Batfam is conceptually good, but nobody is handling it well. As I've previously expressed, Batfam content constantly oscillates between "Bruce is an abusive kidnapper of traumatized children he trains into child soldiers despite having the means to have them live in luxury, does not provide with love or positive reinforcement, and regularly pits against each other" and some of the most facile, cringey, early 2010s Tumblr conception of found-family to be seen, when I think it's more dramatically effective to find a happy medium between the two. A loving superhero found family with its share of dysfunction, hurts, and mistakes and appropriate nuance being brought to these conflicts is apparently too much to ask for (as is writers remembering Robin(s) and Batgirl literally exist as kid appeal characters).

Likewise, canon Harlivy is seldom handled well. As I said on Twitter the other day, "corporate Pride ate Harlivy". Harley Quinn and Poison Ivy's relationship, both back when it was subtextual and later on as it became Harley's main ship in iterations where she's able to get out of her abusive relationship with the Joker was groundbreaking and important. It was absolutely crucial to middle school me. But somewhere along the way, people lost the plot that they are indeed villainesses (whose queerness was meant to make them more endearing/sympathetic/relatable, but not change this status), and it fell prey to the respectability politics traps that plague just too many sapphic ships once they go canon. In order to be 'good representation', their villainy extends to 'haha RANDOM' irreverent chaos, and their personality gets boiled down to the shallow archetypes of 'chaotic and perky' Harley and 'snarky and sexy' Ivy. Their relationship to one another is 100% fluff, because God knows any nuance, tension, flaws, or friction between two master criminal characters with canonically tragic histories can't possibly be allowed. Because of the misogynistic expectations of Women Being Soft And Good coupled with the homophobic respectability politics of being as toothless, soft, and desexualized as possible to appear nonthreatening, sapphic ships are held to such unfair standards wherein the slightest conflict will be termed abusive and bad representation, and as such, they're written cardboard-flat, and unfortunately, this has befallen Harlivy in most canons where they're together. Even if it's realistically exploring things like recovery for either lady, because that's messy, and complicated, and nonlinear, and who wants that when you can have a memeable 'be gay do crimes'? Oh, but don't worry. Sometimes they will be sexually active - for the titillation of straight men. In-universe. (Don't get me started on the Harley Quinn show...) And poor Selina gets roped into third-wheeling/cheerleading the most boring possible version of them too often...

A lot of the most popular/famous titles are not the better ones. (Not you, Long Halloween, you're a delight and everyone loves you.) Everything that's there to say about The Killing Joke and The Dark Knight Returns has been said better by people smarter and better-versed in comics than me, but Batman: Hush is just contrivance upon contrivance, everyone and their mother is tired of the shit-billion stories about Joker fridging yet another person, and perhaps my most unpopular opinion is that Batman: Year One is entirely overrated. I like the noir atmosphere, the truly corrupted Gotham it gives us, and the sweet triumvirate between Gordon, Harvey, and Bruce, but seeing adaptations like The Batman (2022) and even The Dark Knight (yes, I'm saying something nice about Nolanverse for once lolol) take these elements and do so much more with them really highlights the weaknesses in this story. There's some really good origin/character work for Bruce becoming Batman and the psychology behind it, but past that, not a whole lot happens beyond a very thin and confusing police corruption plot, and everyone is just too damn mean for the sake of the grimdark setting. Bruce injures an already exploited child in the red-light district and sexually harasses the Gordons to throw them off his trail for being Batman, and the latter is played for laughs. Jim cheats on his pregnant wife with a coworker half his age and both women are portrayed as stereotypically in these roles as humanly possible. Selina Kyle is...there, to be angry and sexualized and not much else. It just feels like a lot of buildup without much payoff.

Lastly, and jumping off the above, I'm taking away the Gordon family from writers until they've learned to play nicely with them. I don't know what it is about Jim Gordon that makes writers - men in particular - work through justifying their weird issues about women, but my God, the poor man has been character assassinated to hell and back. (Everyone has in comics, but it's always in the same way with Gordon that properly grosses me out.) If he's not cheating on his housewife with a much younger coworker he's presented as oh-so-noble for not outright workplace harassing, he's neglectful, abusive, or otherwise aggressive to his loved ones in ways that are almost always justified or excused narratively because he's 'dealing with a lot' or xyz past trauma. He's frequently made into a mouthpiece for misogyny, calling women "bitches" in the Arkham series and making other such delightful comments, fetishizing Harlivy (in the Harley Quinn show!), or putting down Barbara's capabilities. If he's written to be struggling with addiction, it's always played as a joke. And for Barbara's part, since The Killing Joke, she's always such a favoured writers' punching bag/doll to put in uncomfortable relationships, often having her talents, skills and intelligence undermined in favour of portraying her as a sex-crazed, overemotional disaster who's in it for the thrills until she is narratively punished in some gendered way. I don't get it! I'm all for what makes characters tick or challenging them or giving them flaws or new horrific situations to work through, but why is it always the same tired, offensive hows and wherefores for the Gordon family? Let them rest!

[cloakedsparrow]

Hi. This blog looks cool. How do I get into the bat family? I've looked at some stuff online but I didn't really understand and read some of the Wayne family adventures but I don't really know what order I should read the comics into.

Thanks @thisisbjustmehyperfixating! That really depends on what era/continuity you're intrtested in. There are a few distict different ones (although they do all tie together to some degree). I mostly read New Earth/Post-Crisis era stuff. Wayne Family Adventures isn't a good jumping on point for the comics as it seems geared more toward fandom fans than comic fans and doesn't seem to follow any canon continuity/characterization, from what I've seen.

There's a four part story called Batman: Year Three (Batman issues #436-439), which I think is a good jumping on point for New Earth bat family, as it introduces Dick/Robin while also showing some of Bruce's early Bat career.

Batman: The Cult is a really interesting story wherein Batman loses before the big win and Jason (as Robin) picks up the slack. Then, Batman #424 & #425 showcases Bruce & Jason's issues that lead to Batman: A Death in the Family (Batman #426-429).

The Mud Pack story (Detective Comics #604-607) showcases Bruce's headspace after Jason's death well and is a good read before Tim's introduction, I think.

Batman: A Lonely Place of Dying (Batman: #140-142 & The New Titans #60 &61) introduces Tim and really kicks off the bat family as it's generally known today.

Batman Annual #13 (1989) shows how Alfred ended up helping to shape Batman and why he stayed after Bruce started his crusade. It also shows that JASON was in fact the first Robin to wear pants and has some nice moments with Babs & Commissioner Gordon.

Batman #456 & 457 really kicks off Tim's Robin run. His first three mini series introduce a lot of great characters (I personally love Huntress) and concepts, too. They're collected in the trades Robin: Tragedy & Triumph and Robin: A Hero Reborn. The latter also has Batman #456 & 457 in it, so it's a good deal.

I'm personally a big fan of Batman: Dark Victory and Batman: Haunted Knight. I just love the way the Rogues are used in those stories.

Nightwing: Alfred's Return is a good story that focuses on those two named characters without Batman's immediate presence.

Batman: Son of the Demon (1987) showcases the relationship between Bruce and Talia nicely, gives some much needed history on her, and includes the original story of how they had a child together.

Batgirl #1-6 (2000) are packed full of information on Cassndra; they cover her background with David Cain, her language barrier, her fighting prowless and reason for fighting, as well as showing her relationships with Babs and Bruce.

I cannot reccomend the first 20-30 issues of Batman: Gotham Knights (2000) enough for bat family content. Several of the early issues include journal enteries or letters written by members of the family to showcase their feelings/relationships in a way they wouldn't otherwise express them. The story with Hugo Strange is peak Dick & Tim bat brother bonding. The issue with Cassandra really shows how alike she and Bruce are. You have issues that showcase Babs' relatipnship with some of the bats and ones that cover the Dick & Slade weirdness.

Red Hood: The Lost Days and Batman: Death and the Maidens take place before Batman: Under the Red Hood and I feel are really needed to understand Jason and Talia's side of the story, as UtRH is (understandably, since the story was first published in the Batman ongoing) very Batman focused.

I'm going to leave that here for now as it's getting a bit long and mobile is being a pain. Hopefully that gives you an idea of where to start looking for the stuff you see here on my blog. ^_^

[fearsmagazine]

WILD EYED AND WICKED - Review

DISTRIBUTOR: Gravitas Ventures

SYNOPSIS:  In a family haunted by a menacing medieval creature for generations, Lily Pierce grapples with the childhood loss of her mother, Silvia. Her therapist and girlfriend offer support as she navigates the pain of the anniversary of her mother's death. Encouraged to confront her past, Lily accepts an invitation from her estranged father, a disgraced history professor, to visit the farm where she grew up. To overcome the haunting presence, Lily must discover the strength and courage of a bygone era, a time when armored knights bravely faced and vanquished monsters.

REVIEW: Filmmaker Gordon S Foxwood sets out to tell a story that attempts to deconstruct a contemporary tale of knights and demons as a heroine grables with her mother’s demons, aided by her father and friend.

At its core, the WILD EYED AND WICKED exhibits influences from screenwriter Richard LaGravenese's "The Fisher King" and similar stories of the genre. Lily grapples with relationship issues and family trauma, but her psyche remains relatively stable compared to Parry in "The Fisher King." She embodies some aspects of both Parry and Jack Lucas. After encountering her mother's armor, letters, and pages from an old book about a demon, Lily ventures into the forest to confront the demon. The final act shifts the focus towards her relationships with her father and girlfriend. Ultimately, a collective effort is needed for Lily to break through and confront the demon. Director Foxwood does a commendable job of balancing these elements, but the film lacks fresh or compelling aspects to keep viewers engaged. Additionally, some of the dialogue feels insincere or unnecessary, and the story's lack of surprises diminishes its impact.

While the film features an attractive location and decent costumes, it falls short in several other areas. The cinematography is often very dark. The props lack authenticity due to insufficient aging. The editing pace is slow, featuring Lily’s excessive phone and laptop screen time. Lengthy dialogue scenes between Lily and her father utilize basic framing and methodical cutting, further contributing to the sluggish pacing. Numerous flashbacks to young Lily and her mother aim to provide background, but they ultimately slow down the narrative. The jump scares feel ineffective due to mistimed setups and poor execution. The obligatory montage sequence before the battle lacks energy and enthusiasm. The fight sequence is underwhelming, partly attributed to the simplistic demon design devoid of menace, the lackluster choreography and the sluggish editing.

Despite not being terrible, the performances failed to captivate this viewer. While the tale's depressing themes are appreciated, the characters lacked the spark needed to provide viewers with a sense of hope to sustain their interest. Unfortunately, there was no character or performance that offered any emotional contrast. All the emotional levels felt suppressed, and there were moments when the characters should have been more emotionally engaged but didn't come across as fully invested or enraged.

WILD EYED AND WICKED has a made-for-tv movie or Hallmark channel production feel to it. Many of its plot devices lack originality, resembling other stories and films with similar themes. The film lacks atmosphere, even during the protagonist's ride into the forest, and fails to build tension, suspense, a sense of wonder or  the loss of innocence. Although it is an independent film and may have had budget constraints, other filmmakers have achieved more with less. The overly ambitious film falls short. While it is clearly a labor of love for Gordon Shoemaker Foxwood, it is also a laborious watch for the viewer.

CAST: Molly Kunz, Michael X. Sommers, Stefanie Estes, and Colleen Camp. CREW: Director/Screenplay/Producer - Gordon Shoemaker Foxwood; Producers - Powell Robinson & Patrick Robert Young; Cinematographers - Matheus Bastos & Eyal Bau Cohen; Score - Kyle Hnedak; Editor - William Ford-Conway ; Production Designer - Hanna Hamilton; Costume Designer - Nadine Sondej-Robinson; Visual Effects Artists - Chris Riley & Justin Sarceno; Prosthetic Designer - Isabelle Isel; Practical Effects - Independent Studio Services & J&M Effects. OFFICIAL: www.wildeyedandwicked.com FACEBOOK: N.A. TWITTER: N.A. TRAILER: https://youtu.be/FQc3rDYwpaw RELEASE DATE: TVOD/Digital and cable On Demand June 11th, 2024

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)

Reviewed by Joseph B Mauceri

[ye-olde-sodor]

Dream Canon Au Lore Dump

OK so I'm finally ready to show off some DC au. Viewer discretion advised just in case because this is obviously a dark take, but at the same time I don't go too far with it. It's bleak, but not overly edgy if that makes sense.

To summarize, this au is an alternative take on how engine hierarchy works. We know that there is some sort of hierarchy and class system for the engines, but there's little to no information about it. The only evidence of it existing is from Gordon's "we big engines are important" rants from the model series.

In this au, there was a hierarchy established among the machines in the 1880s, but it was never as large or influential as it currently is. It was never recognized by humans until the Nationalization of British Railways in 1914, where it was briefly mentioned but didn't become law. This gave it more legitimacy with the engines, and it was regularly enforced among them. It was officially recognized by the British Government as law with The Railways Act of 1921 years later.

The recognition of the hierarchy brough engine rights into question. In the year 1926, British Governments and BR decided that only the preserved engines would have the most power as a means to test what would happen if machines had human rights and privileges (money, bank accounts, inheritances, lawyers, basically most of the stuff that humans have.) This, in turn, caused engines to enforce the system religiously.

The system established a strict class system for machines, especially in the locomotives. The Preserved are hailed as royalty, while those below serve them and their controllers. Thankfully, Sodor doesn't follow this Hierarchy as strictly as the Mainland, and it rarely if at all follows it. Due to this, however, almost all of the mainland engines see Sodor as a lawless place devoid of any proper rules because they preserve the old and obsolete.

Now that we understand the history of the system, how does it work? While most of it is self-explanatory, there are parts that need to be elaborated.

The Preserved consists of the elite engines who have made history, and have the most power overall. Each engine has their own family tree, similar to how we have our families. Engines typically have a Monarch, a representative of their family and their engine class. These Monarchs are part of the engine elite and are preserved, placing them at the top. For example, Flying Scotsman was the Monarch of the Gresley engine family before Mallard took his place.

Controllers are, while just as powerful as Preserved engines, still placed under these elite engines. This is because Controllers don't represent the progress towards engine rights the same way the preserved engines do.

Finally, Deviant engines are engines who don't believe in a hierarchy and actively rebel against the status quo. They either refuse to work for their superiors or physically can't even if they want to. If a Deviant engine partakes in a crime, they are then labeled an Outlaw or Criminal depending on the severity of the crime. If a Deviant engine cannot work, then they are labeled as scrap. If an engine is old, it is obsolete, and is therefore considered to be scrap.

Engines are sent to a variety of locations depending on their crimes. Scrap is sent to the scrapyards, while Criminals and Outlaws are sent to specialized yards meant to trap them until further notice. In some cases, criminals are sent to scrapyards to be scraped or to work there.

Deviant engines, on the other hand, are sent to one of the many Correctional Facilities that were established by Mallard Gresley himself. These facilities are meant to re-educate engines on how to properly work and address superiors. A detention center for engines basically. One of the most popular, and most relentless, of these camps is Mallard's Mainland Correctional Facility (MMCF). It's a camp that he personally owns and is the Head Instructor of. He's strict, merciless, and efficient. This in turn makes his facility the popular choice for controllers looking for a way to get their unruly engines in line.

While we're on the subject of Mallard, let's briefly explain him since he has a lot to do with the system. I'll go more in depth in another post.

Mallard and his siblings were raised to believe that the system in place is law, and that all engines of the past are obsolete (just like all Mainland engines). When most of his siblings were scrapped, Mallard was naturally grief stricken by the loss. He was convinced that he would be scrapped next...but then his speed clocked in at 126 mph.

He was preserved, and now holds the ideology that because he pulled off a feat that no one else could, that he was better at his job then his siblings, he was awarded with preservation. He takes this lesson to heart, and vows to "help" any engines who have lost their way and opened the Correctional Facilites. He believes that by enforcing the system that saved him he is doing the engines a service, but he's only doing more harm than good.

What's more terrifying than a villain? A villain who believes he's doing something good. That is who Mallard is in this Au, and I cannot wait to write more about him.

Going back to the system, not only are jobs in a hierarchy, but so are engine types.

The Steam population is slowly dwindling thanks to Dieseilization. Diesels and Electric engines are seen as the future for railways, and that steam is becoming obsolete, so they are seen as above all steam engines. Due to this, most Preserved engines have purchased their own Diesel and Electric engines as personal servants and workers. Very few steam locomotives get the job due to the decline in their population and their scarcity. Most modern locomotives see the job as an honor, as it further establishes their superiority over steam.

As you'd expect, some diesels are against this idea. Diesel and D/10 see the job as hypocritical to the system. Why would the new serve the old if the old are supposed to be destroyed? Why preserve a few of the old if you destroy the rest of them? It just didn't make sense. The two were labeled as Deviant engines when they expressed these views and took refuge on Sodor. The duo was anti-steam ever since.

Regardless of what they think, most engines are honored to get such a high positioned job. While non-preserved engines don't get paid, they get the opportunity to be preserved if they serve their engine well. This, of course, causes the job to be incredibly competitive, especially with the steam engines and their dwindling numbers. Foul play is even more common.

The hierarchy of engines, while currently in its infancy, is incredibly complex and incredibly strict. There's a lot that I want to do with this concept, but I have so much on my plate rn that it's going to take some time to get it all out. Regardless, I hoped you enjoyed the lore dump!

[scotianostra]

The award winning Scottish screenwriter Troy Kennedy Martin was born on February 15th 1932 at Rothesay on the Isle of Bute.

I’ll hazard a guess many of you will not know the name here, but the vast majority of you, well here at home anyway, will know one of the most iconic lines out of a classic movie, the words  “You're only supposed to blow the bloody doors off.”  

His father was an engineer and his mother a teacher. Moving frequently because of the second world war and his father’s work, his was a talented and creative family.

The family established themselves in north London, only to have the household income, never large, halved by the death of Troy’s mother when he was 15. The Catholic church helped to keep them afloat, and Troy went to Finchley Catholic grammar school, followed by Trinity College Dublin. After completing his National Service he wanted to move into the Foreign Office, but Troy, although having a toffee nosed name, did not speak with toffees in his mouth and was rejected. He thought if he was a published writer this might be a route in so set about work on a short work of poetry of novel, his novel, Beat on a Damask Drum but it wasn’t this that kick started his career on civvy street, but an article he wrote on boy soldiers in Cyprus the BBC picked it up and asked him to adapt it into a TV play. Based on his own experiences during national service as an officer with the Gordon Highlanders, this became the television play Incident at Echo 6, screened in 1958.

And that was the start of a career spanning over five decades, Troy Kennedy Martin is responsible for an impressive body of work and has left an indelible impression on the history of television. His work has touched the lives of millions of people all over the world and shaped the vocabulary of television today.

Kennedy Martin’s array of television successes include Z-Cars, The Sweeney and Edge of Darkness. He also made regular forays into cinematic script writing, most notably with his screenplay for The Italian Job. Another fantastic film he penned was  Kelly's Heroes, which featured some great actors in Clint Eastwood, Telly Savalas, Donald Sutherland and Harry Dean-Stanton 

Innovative and influential, Kennedy Martin showed that quality drama could be accessible. His nuclear thriller, Edge of Darkness , one of the key television works of the decade, was repeated on BBC1 a mere 10 days after the final episode had been transmitted on BBC2. His ITV production Reilly: Ace of Spies is another favourite of mine was also highly praised and was one of several works screened at his 2006 British Film Institute retrospective. Based on the true story of  Sidney Reilly, I never knew the story beforehand and I was shocked when Reilly played brilliantly by Sam Neill fell after a shot rung out and was left lying in the snow, I was willing him to get up....... Kennedy Martin;s script really hit home. 

They were a talented family, his sister Mo, was a member of the London/Irish folk group folk group The Tinkers, his brother was also a talented writer for television, he created the popular BBC Cop drama, Juliet Bravo, and The Sweeney, enlisting Troy to pen some of the episodes. 

Described as a “ A talented, generous and agreeable man, he was dedicated to his work. He married the Z Cars cast member Diane Aubrey in 1967 and remained devoted to their two children after their divorce.

Troy  Kennedy Martin  died of lung cancer on 15th September 2009 aged 77, in Ditchling, East Sussex.history television movies films

[inlumenhq]

Frank Longbottom, 29, Gryffindor alum, fc UTP, OPEN.

Birthday: up to player Gender & Pronouns: up to player Occupation: up to player Sided with: Neutral, pressured to pick a side by DE’s and OOTP alike

personality

Positive Traits: up to player Negative Traits: up to player

past

The Longbottom family had a long history of being neutral in all things pureblood elite-related. Of course, this meant that some people didn’t respect them as much, but Frank was raised to believe that was not necessarily a bad thing. Frank grew up getting to know people from all backgrounds. Their parents were Aurors, and Frank spent most of their childhood with their grandmother. But this was not necessarily a bad thing since it meant spending time with Nana Longbottom and her friend, Grandma Prewett. That meant time spent with Fabian, Gideon, and Molly - the best sort of friends Frank could have asked for as an only child. Once at Hogwarts, Frank proved to be quite popular. Their personality was warm enough to draw others to them, and Frank had a habit of putting others before themself. It wasn’t all that surprising that Frank got along well with Alice Lestrange now that Frank looks back at their relationship, but it is still surprising the two had become friends when their families had vastly different beliefs.

present

Following in their parents’ footsteps was an easy choice for Frank. They proudly joined the auror program and take their job seriously. Where they care as much as they do about the job, it wouldn’t be surprising if Frank ultimately sided with the Order of the Phoenix. The only thing holding them back from properly picking a side is pressure from other purebloods. Rodolphus has been nagging about taking the mark and has grown more and more adamant each day. Fabian and Gideon only have good to say about the Order. It’s too much to think about, and the people-pleasing part of Frank knows that picking a side will cause conflict, something that they are not ready to deal with.

connections

Molly Weasley - Close since childhood, Frank considers Molly and the twins family. Frank is willing to do anything to keep a smile on Molly’s face. At least, anything but give into giving the Order a chance. Being work driven has had Frank focused on the Auror department, with changes at the Ministry leaving them and Molly concerned about what the future may hold.

Alice Longbottom  - Marrying a Lestrange was practically unthinkable, but Alice had Frank wrapped around their finger in no time. The pair managed to fly under the radar and focus on work for a few years. The shift in power at the Ministry has left extended family encouraging Frank to declare a side on things, and they fear the wrong decision may lead to disaster.

Bellatrix Lestrange - Technically only related through marriage Frank tries their best to give their in-laws a wide berth. Frank knows the Lestranges are trying to sway the Longbottoms to the dark side. The less time Frank spends with Bella, the less they hear about the benefits of taking the mark and serving the Dark Lord.

Bios and posts that reference Frank Longbottom can be found by clicking this sentence.

suggested fc’s

Kiowa Gordon, Jordan Rodrigues, Varun Saranga

[amandamazzillo]

HALLOWEEN ENDS: Satisfying, Complex Conclusion to the Halloween Saga

With David Gordon Green's Halloween Ends--the story which began in 1978 with the release of John Carpenter’s terrifying, suspenseful Halloween--comes to a satisfying conclusion. 

The end of the revitalized Halloween trilogy which began in 2018 with the new sequel to the original film, explores Laurie Strode’s (Jamie Lee Curtis) journey to live her life away from the constant fear of Michael’s inevitable return time and time again. 

Halloween Ends examines how the presence of evil lived within Michael now roams free and permeates every corner of Haddonfield–living in the subconscious of every resident, leading to disastrous accidents sparked by the fear of Michael being around every corner. The evil spreads its way through the town, impacting how everyone lives with the constant fear of the boogeyman's return. 

Halloween Ends is a great conclusion to this story of Laura and the evil she fights against throughout her life. The film asks: Will Laurie finally find some peace and quite–some time to truly live her life? 

Complex, Believable Performances 

Halloween Ends gives us everything we could hope for in this final installment. We see glimpses of our favorite final girl having a moment to catch her breath. Jamie Lee Curtis gives an amazing performance which explores how Laurie has grown as a person. 

Seeing a character we have watched throughout the Halloween franchise fight for her life–and the lives of her loved ones–stand up and let pent up emotions out in the open, is cathartic and freeing. Jamie Lee Curtis's performance is exhilarating as a character who finally has had enough and releases all the emotions she has been keeping inside. 

Halloween Ends boasts challenging, captivating performances of complex, well-written characters who question their life as well as the history and overpowering pull toward evil in their hometown.

Andi Matichak returns as Allyson–who now lives with her grandmother Laurie Strode. Halloween Ends explores her character more intimately–examining how growing up in this family–and Haddonfield–has impacted who she is and what she wants out of her life. 

One of the standout performances in Halloween Ends is Rohan Campbell as Corey Cunningham–a young Haddonfield resident- who comes under fire from the town after a mysterious and deadly night. 

Campbell brings the complexity of his character to the foreground. We see Corey as an awkward, but well-meaning kid, trying desperately to deal with how the evil of Haddonfield permeated his subconscious during that fateful night. Corey’s accident, which begins the film, highlights how Haddonfield residents are always looking over their shoulder, waiting for the worst to happen–waiting for Michael’s return, even when he’s nowhere to be seen. 

Throughout the film, Corey tries to handle the outcome of that night, leading to a complex and challenging role which Rohan Campbell portrays perfectly from every angle. 

Gore and Creative Kill Scenes

Halloween Ends does not skimp on gory and intense kill scenes which harken back to the suspense which made us all fall in love with this iconic horror franchise with Carpenter’s 1978 horror classic. 

The horror of Halloween Ends erupts beautifully from well-crafted suspense and a dark, gritty atmosphere capturing how evil seeps into Haddonfield. 

The cinematography throughout Halloween Ends captures both the darkness of the holiday along with the joy of costume parties–and the warm, yet menacing glow of jack o' lanterns. 

The visual world of Halloween Ends all bursts from one central location–which helps create a lived-in and scary world where we expect to see Michael Myers emerge from the shadows at any moment. The bridge–which was filmed in Sylvania, Ga–used within the film acts as a hub for the town’s evil as well as the film’s strong visual tone. 

Halloween Ends builds suspense beautifully from its opening scene and continues throughout all of its kill scenes–which are both brutal and creative. Every moment of gore builds from an overwhelming sense of suspense, and utilizes the atmosphere and location of each moment well to create unique scenes that are both terrifying and unique. 

Halloween Ends maintains a strong visual style throughout the film both in its most horrific scenes as well as in its scenes which capture the bright lights and excitement of the holiday. Neon lights, motorcycle rides, and the dark, open road recall juvenile delinquent films of the 1950s–brought to even more through the performances of Rohan Campbell and Andi Matichak during these moments. 

Conclusion

Halloween Ends is a perfect conclusion to the Halloween franchise and is a fun, suspenseful trip inside the haunting world of Michael Myers and Haddonfield. Halloween Ends is a wonderful celebration of the season–both its tricks and treats–giving us spooky atmospheres, complex performances–especially from Jamie Lee Curtis, Rohan Campbell, and Andi Matichak–and an amazing cameo horror fans are sure to love.

[thailandeventguide]

These are the best movies in history. The movies we watch have a profound impact on our culture. From the earliest silent films to the latest blockbusters, movies have shaped our collective understanding of the world and our place in it. Thailand Event Guide explores some of the most successful films in history and cinematography. Exploring the Cultural Impact of the Top Movies in History   The first best movie in history to consider is "Gone with the Wind," released in 1939. This classic romantic drama set during the American Civil War has become an iconic representation of the era.  The movie popularized the idea of the "Southern belle," a stereotype of a woman from the American South characterized by her beauty, charm, and grace. One of the best classic movies of all time with a lasting cultural impact is "The Godfather," released in 1972. This crime drama about a powerful Italian-American mafia family has become a symbol of the power and influence of organized crime. The series popularized the idea of the "mafia don," an influential figure who commands respect and loyalty from his followers. "Star Wars" was released in 1977. The movie propagated the so-called "space opera," a genre of science fiction that focuses on grandiose stories set in outer space. This science fiction epic has become a cultural phenomenon, inspiring generations of fans and spawning a vast multimedia franchise and listed as the best movie in history. "Titanic" was released in 1997. This romantic drama about the ill-fated voyage of the RMS Titanic has become a cultural touchstone, inspiring countless imitations and homages and popularised as the "disaster movie," a genre of film that focuses on the catastrophic events that occur to its characters. These four movies have had a lasting impact on our culture and inspired countless imitators and homages. As we continue to watch and enjoy these classic films, we can appreciate their cultural impact on our lives. A Look at the Cinematography of the Best Movies in History Cinematography is an integral part of filmmaking, and some of the best movies in history show their stunning visuals. From the sweeping vistas of Lawrence of Arabia to the gritty realism of The Godfather, cinematography creates some of the most iconic images in cinema. Lawrence of Arabia, directed by David Lean, is a classic example of how the director uses cinematography to create a sense of grandeur and awe. The cinematographer, Freddie Young, used the vastness of the landscape in the deserts of Jordan to develop an understanding of scale and grandeur. Different camera angles and lenses capture the beauty of the desert, from sweeping long shots to close-ups of the characters.   The Godfather, directed by Francis Ford Coppola, used cinematography to create a sense of realism. Gordon Willis, the cinematographer, used various techniques to capture the gritty realism of the city of New York. He used low-key lighting to create a sense of darkness and mystery, and he used a combination of camera angles to capture the hustle and bustle of the city. Stanley Kubrick, who directed The Shining, created a sense of dread and horror. The cinematographer, John Alcott, used various techniques to create unease and terror on location in a hotel in Colorado. He used wide-angle lenses to make sense of claustrophobia and low-key lighting to create a sense of dread and mystery. Cinematography can create some of cinema's most iconic images. From the sweeping vistas of Lawrence of Arabia to the gritty realism of The Godfather, cinematography made some of the most memorable photos in film history. https://thailandeventguide.com/best-movies-in-history/?feed_id=1593&_unique_id=63e767cec21e2

[ttte-tugscrowskullausmainblog]

So, im genuinely curious all of a sudden. Whats Gordon's relationship like with Scot? Does he still get picked on by his little brother whenever he visits? And how often has Henry had to break up a would-be brotherly brawl? XD

Gordon: ". . ."

Henry: "Oh no..."

Gordon: "Scott is my older brother. And Scott and I have *no relationship*. I want nothing to do with him. He's nothing but a lying, heartless attention whore who cares about nothing except money and fame and being in *his* back pocket. I haven't seen him in a while, not since the Railway Show, and for good fuckin' reason. I don't want Thomas to end up like him. I don't want Thomas anywhere near him. He'll just get hurt. That's all Scott's really good at anyway..."

Henry: "G.. Gordon, wait!"

Gordon: "Not now, Henry! I need my bourbon.."

Henry: *sigh* "I have had to break up a couple fights between them, but I know they've been in more. Edward usually handles it, but I try to calm Gordon down. I don't know what's happened between them.. Or why Gordon has such a grudge against his brother. But I know it's a very heavy subject for him. He's almost broke down crying because of it... I don't want to stir up bad memories, or stress him out.. I don't want him to be in pain. I don't know that much about his past life, other than he's lost many siblings and has a horrid father and equally horrid mothers. Poor Thomas... Neglected since he was a newborn... I don't pry into it, I know how much it hurts him. Please... Give him some time before asking more questions like that..."

[tammysart]

Petition for Cass to be Bruce's official successor in the line of Batman! I feel like some title like "The Bat" would suit her perfectly.

Out of all the other members of the family -who almost all had at least some little run with the Cape- she'd be the most interesting one to see as Gothams big bad bat. After all, that she grew up as one of history's most skilled and deadly assassins while swearing never to kill again and having a moral code almost as great as the Dark Knight himself says something. Her ability to read people's feelings and intentions from facial expressions and gestures alone is a great advantage as a detective and when fighting opponents.

She has proven herself to Bruce over and over again. She isn't without reason one of her mentor and adoptive fathers most trusted clan members.

I also loved Dicks time as Batman... But let's face it. It's just not him at all. He himself even hated wearing the cape.

Jay... is Jay. We all know what kinda turn that would take. Doesn't change the fact that I freaking love him.

Timmy too would be a good and logical choice for the mantle. Him beeing the smartest member of the family (besides Barbara Gordon of course) and almost even an greater detective than the bat himself (Batman approved). But I don't really see him in that kinda leader role. He's much more of a teamplayer than some kinda broody loner, who never ever let's anyone see his true emotions (let's forget the Red Robin run for a moment here).

Ma babies Duke and Steph are absolute CINNAMON ROLLS. Don't even touch them DC!

As for "The blood son" Damian Wayne... Yes, the kid IS a fucking pain in the ass most of the time... which is kinda explanatory with him being raised way back in the 'League of Assasins'. But the brat DID change since then (I refuse to accept any fuck ups of his character development DC tries to force feed us). But he's always been trained to one day take his fathers place as batman. He never got to have a 'real' childhood. I know he seems to be most peoples 'obvious' choice in the Batman matter... But to me Dami shouldn't have to concern himself to living up to his fathers big footsteps anymore. Just to be his own damn self. Besides that, he's just too damn stubborn. And I kinda love him for that.

So yeah, just my itty bitty opinion.

[blackswaneuroparedux]

I think I have seen today one of the most extraordinary sights that anyone has ever seen. About 10 o'clock this morning I was peeping over the parapet when I saw a German, waving his arms, and presently two of them got out of their trench and came towards ours. We were just going to fire on them when we saw they had no rifles, so one of our men went to meet them and in about two minutes the ground between the two lines of trenches was swarming with men and officers of both sides, shaking hands and wishing each other a happy Christmas.

- Captain A.D. Chater (2nd Battalion Gordon Highlanders) writing home, 1914

One of the most remarkable stories of Christmas comes from one of the darkest moments of modern history. World War I ravaged a continent, leaving destruction and debris in its wake. The human cost, well in the millions, staggers us. But from the midst of this dark conflict comes the story of the Christmas Truce of 1914. The Western Front, only a few months into the war, was a deplorable scene of devastation. Perhaps as if to give the combatants one day to breathe again, a truce was called from Christmas Eve through Christmas Day.

As darkness settled over the front like a blanket, the sound of exploding shells and the rat-tat-tat of gunfire faded. Faint carols, in French or English voices on one side and in German voices on the other, rose to fill the silence of the night.

By morning, soldiers, at first hesitantly, began filing out of the maze of trenches into the dreaded and parched soil of No Man's Land. There was more singing. Gifts of rations and cigarettes were exchanged. Family photos were passed around. Footballs appeared. Up and down the Western Front, soldiers, who only hours before had been locked in deathly combat, now faced off in soccer games.

For one brief but entirely remarkable day, there was peace on earth. Some have called the Christmas Truce of 1914 “the Miracle on the Western Front.”

Anxious to print some good news, The Times of London reported on the events of the Christmas Truce. Soldiers recorded the day in letters home and in diaries. Some of those lines made it to newspapers, while others remained unknown until later brought to light. Here’s one such line from the diary of a German infantryman: “The English brought a soccer ball from the trenches, and pretty soon a lively game ensued. How marvelously wonderful, yet how strange it was. The English officers felt the same way about it. Thus Christmas, the celebration of Love, managed to bring mortal enemies together as friends for a time.”

“Friends for a time,” “the celebration of love,” “peace on earth” - this is the meaning of Christmas. But these celebrations, these truces, don’t last. After Christmas Day, the soccer balls and the soldiers went back into the trenches. The Christmas carols subsided and the war carried on. And even though World War I eventually ended, a few decades later, Europe’s countryside and cities became the field of battle once again, as did Africa and the Pacific, during World War II.

Events like the Christmas Truce are worth celebrating. But they lack something. They lack permanence. Such impermanent peace is what we often find in our quest for the real meaning of Christmas. If we are looking for permanent and ultimate goodwill, love, and peace, we must look beyond our gift-giving, get-togethers, and office parties. We must look to no other place than to a manger.

We must look to a baby born not with fanfare, pomp, and circumstance, but to poor parents in desperate times. Joseph and Mary, and the Baby Jesus for that matter, were real historical figures. But in a way, Joseph and Mary extend beyond themselves, beyond their particular place and time. They represent all of us. We are all poor and living in desperate times. Some of us are better than others at camouflaging it. Nevertheless, we are all poor and desperate, so we all need the promise bound up in that baby.

We are in need of a way out of our poverty of soul and the desperate state of our human condition. We find it in this child lying in a manger, who was and is Jesus Christ, the long-promised Messiah, Seed, Redeemer, and King.

The birth of Jesus so many centuries ago might have been a slightly-out-of-the-ordinary birth. Even in ancient times, stalls didn’t typically double as birthing rooms and mangers didn’t typically double as cribs for new-born babies. And that newborn baby was very much out of the ordinary. Of course, in some respects, He was perfectly ordinary. He was a human being, a baby. He got hungry. He got thirsty. He got tired. When He was born, He was wrapped in swaddling clothes—the ancient equivalent of Pampers.

An infant; helpless, hungry, cold, and tired.

 **Bartolomé Esteban Murillo - Christ Child on the Cross (1660)

Yet, this child was the Son of God incarnate. He was Immanuel, which translated means “God with us.” According to the Apostle Paul’s account, this infant created all things. This infant created His own manger. And this infant, this King, brings peace on earth, ultimate and permanent peace through his sacrifice on the cross.

[wclovewhatismortal]

Story / Character Inspirations

As we approach the ending of the fic, I thought it might be fun and illuminating to show you guys where some of the inspiration for certain parts of my story came from. There’s a myriad of media in here - some you might appreciate, others you might not. Keep reading to find out more! (banner credit to @cinnabarts )

Let’s begin with one of our protagonists:

First off is Hollyleaf and Kate Austen (LOST):

Diane: What did you do? Does Wayne know about this? Kate: Just remember that you were here and you didn't see me, okay? Diane: Katherine! What did you do? Kate: I took care of you, Ma.

I’d be lying if I said that Kate didn’t help me flesh out Hollyleaf’s character. These characters have such stark similarities that there was no way I wouldn’t have mentally equated them. Hollyleaf and Kate are both morally grey individuals with qualms over the circumstances of their birth. The took fate into their own hands by murdering a heinous man in cold blood. Hollyleaf slit Ashfur’s throat, leaving his body to drown into the lake. Kate blew up the house of her abusive father Wayne, engulfing him in flames as he slept. Fire and water.

Both characters paid the consequences, no matter how righteous the act might’ve seemed.  Inevitably, they ran away from their families and pasts, into a tumultuous future.

(headshot credit to Kor-ka on dA)

Next in line is:

Thistleclaw and Petyr Baelish (GoT):

“You know, you remind me of another girl. Beautiful, like yourself; and intelligent, like yourself. But she wasn’t happy. She cried, often.”

If you know anything about Petyr Baelish, then you know that he’s one nasty motherfucker. So, in my mind, this was a great fit! In fact, when I wanted to learn how to better write a manipulative, child-grooming narcissist, I intentionally sought out his character to use as an example. 

Utilizing a character such as Thistleclaw always felt like toeing the line for me, but I reminded myself that he is, in fact, canonically written that way. I just took what was already there and expanded on it. I gave him a more dubious history with some milk-curdling depth. Personally, I dislike my Thistleclaw more than the canon version, and part of that is thanks to Baelish.

(headshot credit to Kor-ka on dA)

NEEEEEEXT!

Maggottail and Darth Vader (Star Wars):

“I don’t fear you!” “Then you will die braver than most.”

If you re-read Intermission II, then you will notice that I actually commandeered that quote for Maggottail to use against one of Thistleclaw’s cronies. What can I say? 

My original inspiration for Maggottail was a Vader-esque character: someone who shed their old identity, consumed by the darkness and birthed into someone else entirely. If you’re all caught up with LWIM, then you know that Maggottail’s true identity is a cat known as REDACTED. Like Vader, he’s an old man with lingering injuries (from a lightning strike... or maybe a FORCE lightning strike?) who has little to no ties left to his distant past.

Maggottail grew from there into someone else entirely. He’s a religious nut from an older age where Medicine Cats held far more power. He used that power and influence to his advantage when he usurped the leadership position in Shadowclan. His journey after that is something I’ve contemplated writing before, maybe as a post-story one shot.

(headshot credit to Kor-ka on dA)

Moving on...

The Black Rock (LWIM) and The Black Rock (LOST):

Did I take a location from LOST and turn it into a location in the Place of No Stars? Yes. Yes, I did. TBR in LOST is actually a ship in the middle of the jungle (no, I’m not explaining that). It’s filled with dynamite; likewise, TBR in LWIM is a popular place to start shit and Fight Until Someone Is Dead. As you can see, death is an outcome for both. The coincidences stop there.

(^ amazing art credited to the wonderfully talented @amande-dooce​)

~

The next one is purely based off a scene from an indie movie I saw when I was 20.

Creature: High five! Gordon: Ask why it wants a high five. Harry: Why, in your own words, do you want a high five? Creature: Because high fives... I want a high five because high fives is what man does! Gordon: Come on, keep it talking. Harry: Gordon, please let me do my job.  Gordon: Why are we here, “Brynn”? Creature: Life is a series of incomplete moments from which there is no escape. Harry: Well, that's different.

This scene from Dave Made a Maze always stuck with me. The protagonists approached a cardboard caricature of one of their friends, Brynn. The cardboard creature looked and spoke like Brynn, but obviously wasn’t her. It was some strange entity, using the fake body to entice her “friends” to come closer, close enough to reach...

Similarly, One Eye (aka the “Shadow Creature”) did the same. Come closer, and it’ll tell you everything you ever wanted to know. Too bad Hollyleaf forgot to tell Maggottail the part about not to walking further into the cave once you feel sand on your feet. Oh well. What’s done is done, right?

(art credit for One Eye to dreamtrailarcade)

Thanks for reading! If you’ve come this far, here’s a tiny excerpt from the last chapter:

For one very real moment, Sorreltail thought she was going to die.

The concept of mortality was complicated enough to those who were already dead. In spite of that, the sight of Thistleclaw’s sharp, glistening talons reminded her that this might be the last thing she ever saw. As far as she knew, there wasn’t anything else in a post-Starclan reality – just a big, empty nothingness where Sorreltail didn’t exist, and nobody else did, either.

[pwilzfan73]

True story behind The Conjuring 3 – inside Arne Cheyenne Johnson’s “the devil made me do it” court case

The latest instalment in The Conjuring franchise once again has its roots in a real-life case.

By Patrick Cremona, Radio Times. UK.

Published: Friday, 21st May 2021 at 2:56 pm

The Conjuring 3 takes its title from a real-life court case that dates back to the 1980s. The Conjuring: The Devil Made Me Do It takes a look at the case and the Warrens’ involvement in the case that originated the phrase “the devil made me do it”.

Patrick Wilson and Vera Farmiga return as paranormal investigators Ed and Lorraine Warren for the next instalment in The Conjuring horror franchise, with the new movie heading to UK cinemas on 28th May 2021.

As with the previous movies in the franchise, The Conjuring 3 is taken from a real case file with reported connections to the supernatural. Previously we’ve seen spin-off movies focused on the Annabelle doll, also inspired by the Warrens who keep it in their occult museum.

Vera Farmiga and Patrick Wilson as Lorraine and Ed Warren. Warner Bros Pictures.

The case in question this time around is the trial of Arne Cheyenne Johnson, a man who was convicted of manslaughter in Connecticut in 1981 – becoming the first person to have claimed a defence of demonic possession during a murder trial.

The Conjuring: The Devil Made Me Do It true story

The Conjuring 3 is inspired by the trial of 19-year-old Arne Cheyenne Johnson, who was charged with murdering his landlord Alan Bono in February 1981. During the trial, the defendant gained infamy for becoming the first person to claim a defence of demonic possession in a United States court – although perhaps unsurprisingly this version of events was not accepted by the judge.

His defence rested on testimony given by the family of his fiancée, Debbie Glatzel. Debbie’s 11-year-old brother had reportedly been the subject of demonic possession in the months prior to the murder, with his parents having grown increasingly worried by a number of unexplained and ominous events.

The story really starts in July 1980, when the 11-year-old David Glatzel was helping Johnson clean up a Connecticut rental property he was prepping to move so he could move in.

While there David claimed to have come across a “burnt and black-looking” old man who he claims pushed him into a waterbed saying he would bring them harm if they moved into the house.

When David returned home he continued to see the old man. He described him as having a white beard, wearing jeans and a flannel shirt. David claimed the man’s skin was charred as if he’d been burnt too. The young boy experienced night terrors and woke up with bruises and scratches on his body. He’d wake screaming and tell his parents he’d seen the sunken features of the old man “like an animal”, with horns, pointy hears and jagged teeth (via People). (The Conjuring 3 demon appears to have gone a different route, with early photos showing a white masked man wearing a striped red long coat.)

The family said they also had heard unexplained noises coming from their attic.

In trying to get to the bottom of the issue they had called in Ed and Lorraine Warren – who by this point were already well-known paranormal experts – to diagnose and cure their son.

Ed Warren said he heard banging and growling sounds coming from their basement, and that he also say a rocking chair move on its own. Speaking to paranormal researcher Tony Spera, Ed claimed David’s toy dinosaur also walked on its own towards the family. He also said a deep voice spoke to them saying: “Beware, you’re all going to die.”

Lorraine also claimed she saw a black mist appear next to David while her husband interviewed him. “While Ed interviewed the boy, I saw a black, misty form next to him, which told me we were dealing with something of a negative nature. Soon the child was complaining that invisible hands were choking him—and there were red marks on him. He said that he had the feeling of being hit,” she told People magazine.

David’s mother Judy had previously claimed it was a ghost, but the Warrens rejected this idea saying it was an indicator of a demon.

Lorraine also claimed she saw David being choked by invisible hands and he told her “he had the feeling he was being hit”. She told People that she could see red marks afterwards and she heard him growl and hiss. Lorraine also claimed he spoke in unrecognisable voices, that he recited passages of the Bible as well as Paradise Lost. Debbie Glatzel also claimed he spit, bit, kicked and swore at her and he flopped around “head to toe like a ragdoll”.

She also told the Chippewa Herald Telegram that “he manifested. Just a face on the wall. High cheekbones. A narrow chin. A thin nose. Big black eyes hidden in dark holes. He showed his teeth.”

Ed Warren also told The Washington Post: “Right away, I knew there was something to this. I felt like a good fisherman when he knows there’s something on the line.” He added that he thought there were 43 demons inside the boy, and David named them all.

David Glatzel’s exorcism

In the movie, Father Gordon (Steve Coulter) blesses the home. The priest’s name was changed for the movie, but a Roman Catholic priest did visit the home to bless it.

After continued efforts from the Warrens, the Glatzels, and multiple priests (including Rev Francis E.Virgulak) a formal exorcism took place, with witnesses claiming that a demon fled the child’s body.

Ed Warren claimed Arne, who was present at the exorcism, shouted: “Take me on, leave my little buddy alone!”

Apparently, David showed signs of improving, but Arne started to deteriorate. TV series A Haunting covered the case in the episode Where Demons Dwell, claiming that the demon took control of Johnson’s car forcing it into a tree. While he was uninjured, he was shaken by the experience. The series also blamed a demon when Johnson fell from a tree while working.

Judy told The Washington Post she paid $75 an hour for a session with a local psychiatrist too, but it was up to church officials to set up and pay for further psychological testing (via Newsweek). David’s parents were told he was “normal” but had a “minimal learning disability”.

Alan Bono’s murder

Clearly not content with its newfound freedom, though, the story goes that the spirit then immediately took control of Johnson and it was under his control that the murder of the landlord took place several months later.

Johnson and Debbie Glatzel decided against renting the original home, and instead rented a small house near Debbie’s work. Debbie was working a dog groomer for the landlord, Alan Bono, 40, who was also the kennel manager.

Bono, who has been renamed in the movie as Bruno Sauls, lived in an apartment above the kennels.

On the day of the murder, Johnson had taken the day off work and spent the day with Debbie, 26, at the kennel. Along with some other companions, Debbie, Johnson and Bono had lunch at a local restaurant and enjoyed a few drinks, becoming drunk in the process, and when they later returned to the kennel a heated fight broke out with Bono becoming increasingly agitated.

During this argument, Bono seized Debbie’s nine-year-old cousin Mary, who had also been present, and refused to let her go – which then led Johnson to confront him and eventually stab him repeatedly with a five-inch pocket knife, all while growling like an animal. Bono suffered “four or five tremendous wounds” mainly to his chest area.

Bono died several hours later and Johnson was later arrested roughly two miles away from the murder. The murder is believed to be the first murder in Brookfield, Connecticut’s 193-year history, and the first in the 30 years since the town had police records.

The next day, Lorraine Warren immediately claimed that it was a case of demonic possession, which naturally led to much media coverage around the world.

Ed and Lorraine Warren

Ed and Lorraine Warren arrive at Danbury Superior Court - Getty

Arne Johnson’s Trial

Johnson’s trial began on 28th October 1981 at Connecticut’s Superior Court in Danbury.

Johnson’s lawyer Martin Minnella attempted to enter a plea of “not guilty” due to demonic possession stating Johnson “was possessed by a demon, and it was a demon who actually manipulated his body.” It was the first known court case in US history that had attempted this defence.

Minnella, speaking about the case and the fame that followed, said: “The courts have dealt with the existence of God. Now they’re going to have to deal with the existence of the Devil.” (via the New York Times).

However, the plea of not guilty due to demonic possession was immediately thrown out by presiding judge Robert Callahan who said that it would be “irrelative and unscientific” to allow testimony on these grounds, and so despite the ensuing media attention the jury was not legally allowed to consider demonic possession.

Johnson’s defence claimed that he hadn’t been the same after Glatzel’s exorcism, and witnesses were called upon saying they saw a demon transfer from Glatzel to Johnson. Debbie Glatzel also testified that Johnson behaved similarly to Glatzel. Ed Warren claimed Johnson had made a “fatal mistake” by taunting the alleged demon.

Debbie claimed Johnson had come to Bono’s apartment to repair a stereo for him, but that Bono had been drinking red wine and the pair got into an argument about payment for the repair. She also said Johnson was in a trance when he stabbed Bono.

According to reports, in the three months Debbie and Johnson had lived next to Bono they had been friends. The police believed that Bono and Debbie’s relationship was more than boss and employee, but Debbie denied this despite the police claiming the argument was over her rather than the stereo. The Conjuring: The Devil Made Me Do It does take this angle into the story, exploring the ‘jealous lover’ plot, which was also shown in the 1983 movie The Demon Murder Case (starring Kevin Bacon).

L-R Patrick Wilson (Ed Warren), Sarah Catherine Hook (Debbie Glatzel) and Vera Farmiga (Lorraine Warren) in New Line Cinema’s ‘The Conjuring: The Devil Made Me Do It.

After the jury deliberated for more than three days, Johnson was convicted of first-degree manslaughter on 24th November 1981 and was sentenced to between 10 and 20 years in prison. He was released in 1986 having only served five years of his sentence.

Even though demonic possession was not actually allowed as a legitimate defence in the trial, the case became colloquially known as “the Devil made me do it case” – hence the subtitle of this film.

Where are the Glatzels and Johnson now?

Johnson married Debbie Glatzel while he was in prison. He also got his high school diploma while inside. The pair went on to have two children.

Lorraine Warren went on to write the book The Devil in Connecticut with Gerald Brittle detailing the case, and they shared the profits from the sales with the Glatzel family. David’s brother Carl Glatzel did speak out against the book when it was republished in 2006 saying it was a “complete lie” and that “the Warrens concocted a phoney story about demons in an attempt to get rich and famous at our expense.”

Carl claimed the Warrens told the family they’d be millionaires – it was later confirmed they were paid $2,000. Carl also says David was suffering with his mental health at the time, but he recovered. In 2007, David and Carl filed a lawsuit against Brittle and the Warrens for unspecified financial damages. They sued the authors and publishers for violating their privacy, libel and “intentional infliction of emotional distress.”

Brittle claims his book is based on fact and he interviewed the Glatzel family for more than 100 hours, which he has video of. Lorraine Warren also said the six priests who performed exorcisms on Glatzel agreed that he was possessed.

Debbie Glatzel and Arne Johnson have always backed the account of the possession, but David’s father denies his son was possessed.

How the movie tackles such a complicated case and how closely they stick to the real life events remains to be seen.

The Conjuring: The Devil Made Me Do It is released in cinemas on 4th June, 2021 on HBO Max and 28th May in the UK.