#canon taylor canon beau

[fangsforiris]

Chasing Shadows

Prompt: Another Love a Lifetime Ago, Dearest Dead, Mourning.

Person: Yui Komori x Female

HC’s:

TW: Talks of Pedophilic Behaviours, Stockholm Syndrome, Abuse, Neglect, etc.

If you are uncomfortable, exit out please !!

🕰️ Before the house, Yui had a crush/situationship/relationship with a girl.

🕰️ Yui definitely suffers from comphet.

🕰️ She’s a lesbian suffering from comphet, or at least a bisexual— leaning preference towards women and very little men.

🕰️ However, based on all the routes with all the boys, and her only developing an actual romantic attraction due to Stockholm Syndrome (mainly by a purely psychological approach to her conditioning, then eventual development— as well as the heavy abuse she as placed under to get to the select boys’ character development,) I’d say she’s a lesbian.

🕰️ Her entire life she was surrounded by men who asked a lot of her, and controlled her day to day routine.

🕰️ Her father canonically neglected her a lot when she was a child, leading her to gather household skills by a young age to sustain herself.

🕰️ She has an iffy relationship with her father, as she tries to speak well of him. However his sketchy— borderline pedophilic— behaviours towards her are questionable at best.

🕰️ She was heavily conditioned her entire life, unknowing of what her truth was other than what happened to be force fed to her.

🕰️ Yui would question her religion in secret. Mainly because of her conflicting sexuality, and Seiji’s influence.

🕰️ She’d find herself conflicted, as she’s never once had a crush on a man. Never felt the feelings the nuns would present to her. Nothing.

🕰️ Instead, it’d be for a woman. Which would instantly throw her for a loop.

🕰️ Cue the HEAVY Religious Trauma.

🕰️ Yui would pray to be ‘normal’ because she was afraid that she was cursed.

🕰️ She’d been told her entire life what happened to be ‘right’ and ‘wrong.’ So why was it now, that her happiness was considered a sin in the eyes of the lord…?

🕰️ It would take a ravenette woman to change that, or at least allow Yui to understand that it’s okay, and normal.

🕰️ She’d meet her beau whilst in the alley ways in Romania after sneaking out.

🕰️ Yui would tell you that, that night was the first time she felt truly alive.

🕰️ Her heart pounded, adrenaline to it’s all time high, her cheeks stained in a pinky-blush.

🕰️ I’d like to think that Yui has anxiety, or just high stress and ability to stress easy— but hides it well.

🕰️ Hence, nicotine.

🕰️ Yui 100% smokes, especially when she’s stressed. Even more so when suddenly moving in with the vampiric families she’d find herself acquainted with.

🕰️ So, there Yui was, smoking in the alleyway, when she meets her.

🕰️ Long black hair, reaching hip length and curled at its ends. Lime green eyes that stopped rooms and froze even the largest of crowds. She was beautiful, she was ethereal— coming out of an old 1950’s vintage movie, Yui knew she was home.

🕰️ Some would say that the woman fell first, and Yui fell harder due to her dwindling faith. But Yui would say otherwise. They both knew otherwise.

🕰️ Yui fell first, and then fell even harder.

🕰️ The woman? As she laid eyes on the blond, she knew she would be sticking around.

🕰️ Yui was never one for love at first sight, as all her given descriptions were supposed to be with a man, she could never gaslight herself to find the appeal.

🕰️ But that night… Yui couldn’t tell if it was the way the moon shone down, or the way the woman looked like an ethereal being from the heavens and hells. But one thing was for certain. For once, she believed.

🕰️ Yui knew that she’d love this woman for this life and the hundreds of other ones they’d share.

🕰️ She would wait, despite her reservations of her faith, she knew that she would never love anyone the way she loved this girl.

🕰️ Yui didn’t want to find another, not when the one she’d marry was right in front of her.

🕰️ It didn’t take long for them to share the cigarette Yui was casually taking in. And it didn’t take long for Yui to become a giggling mess at the woman’s jokes.

🕰️ Time stopped, and perhaps it was that, that made the two’s meetups become more frequent.

🕰️ They’d go to the late night carnivals, walk alongside the alleyways, and go on small dates— all in secret of course.

🕰️ In fact, on one late night carnival date, the two would find a photo booth, where they’d share their first kisses.

🕰️ Yui still keeps the pictures with her.

🕰️ The woman would play the piano for Yui, and even teach her a few songs.

🕰️ They would always gift each other flowers on their late night dates. Always surprising each other with what they came up with.

🕰️ Even going as far to see who’s bouquet of flowers matched the theme of their date the best.

🕰️ It would go on for a few years, with them meeting around when Yui was 13, and until Yui was 15-16, would they stop.

🕰️ The reason? The woman would get killed by the church, all on Seiji’s orders. As if to teach Yui a lesson.

🕰️ She’d be exorcised. A formal exorcism to be taken place in one of the church’s basements. And by Seiji’s orders, would Yui be forced to watch.

🕰️ The woman would smile at Yui, despite the pain, and Yui would stand there, next to her father, as the love of her life was killed.

🕰️ Yui’s Lovers’ last words were simple, sweet, yet soul crushing.

🕰️ “You’ll do wonders, Yui.”

🕰️ After it was done, Seiji would pass Yui by, before muttering one last remark at her.

🕰️ “Understand, that this is what shall come to pass when you entertain the devils sin. You, too, shall be cleansed.”

🕰️ To this day, Yui could never fill the hole in her heart. The place that the woman left was infillable. She didn’t want anyone to become the next.

🕰️ In fact, Yui partially blames herself. For not being too careful, for letting her pride get the best of her. For choosing herself for once.

🕰️ The night before her lover would be killed, she suggested to run away. Just the two of them. It was still in the alleyway where they first met, and would they still share a cigarette and more.

🕰️ Yui would be hesitant. Especially about her father and other underlying factors.

🕰️ Yui would live with that regret for the rest of her days, constantly replaying that moment in her mind.

🕰️ To this day, Yui wishes she ran away. At least then, her lover would be alive and well, and they’d be happy. Hell, she’d be happy.

🕰️ I’d like to this the woman Yui was far too in love with for her own good could’ve been a human, or possibly a vampire.

🕰️ Thus making her first experiences with vampires lighthearted. And something to want and care about.

🕰️ Unlike the current, she’d reflect on the woman and not care as much as she’d realize that vampires and those of the supernatural can be good and are like any other people with goals, motivations, and aspirations.

🕰️ I’d also think that the vampire lover would be an aristocrat, further pushing how Yui can see the good in others and how her lover was different.

🕰️ it was ironic though, as what is a mortal to do when their immortal lover is dead and gone. Buried in an unmarked grave.

🕰️ Normally, it’s the immortal lamenting, so Yui always finds ways to mask the pain with this idea.

🕰️ Yui would constantly place white chrysanthemums on her lover’s grave. Which represent mourning, love, and eternal rest.

🕰️ Along with white babys breath, which symbolize everlasting love.

🕰️ I suppose it goes to show that even in death, Yui will mourn and love her immortal or mortal lover.

🕰️ Yui was the sun, and her lover, the moon.

[morningstar-chronicles]

do you have any agreste family headcanons for your dr?

definitely! but what kind largely depends on the DR, i think. i only have one miraculous DR listed on my pinned, but i have several kicking around in my head. so i'll just give you all of my headcanons! keep in mind i stopped watching the actual show a long time ago lmao

case #1: adrien and julian

despite adrien actually being older, julian acts older. adrien is still very much in the mindset of "i want to make my father proud!" and julian is kind of trying to act as a better role model for adrien to aspire to.

julian frequently dyes his hair loud colours and pierced his septum against parental consent (this is actually how he got the bull miraculous, which is a nose ring. master fu is the one who pierced julian's nose).

adrien wants to be a good role model for julian, and julian does want to look up to him to some extent, but their dynamic is very complicated considering how differently they feel about their father.

julian has wayyy more freedom than adrien (mostly because last time gabriel said no to something, julian pierced his septum. adrien would never).

julian models casual lineups for gabriel, and adrien models business and formal stuff. julian would have a lot more fun modelling for marinette though, since his style just doesn't match gabriel at all, and would probably completely turn on gabriel fashion as a company for one chocolate chip cookie. he absolutely fucks with marinette's ideas though- especially anything inspired by jagged stone.

despite looking like he would listen to emo or punk rock music -which he definitely does- he also hardcore vibes to taylor swift and other pop songs. once he stops doing things exclusively to piss off gabriel (i.e. once gabriel is dead) he gets into indie music and everything about him completely softens. he's a huge puppy dog.

julian gets perms. he also wears glasses (his father prefers him in contacts and makes him wear them for photoshoots).

adrien and julian are often forced to go to galas. their father doesn't attend with them. julian only goes if he can bring a friend, otherwise nathalie will have to drag a ragdoll julian into the car, and then julian lays on the floor of wherever the gala is until nathalie drags his ragdoll ass back home again. it's just a really bad look for the agrestes, honestly.

julian doesn't like felix. felix loves him like a brother. sometimes felix pretends to be adrien just so julian will tolerate him for a day. truthfully, julian doesn't like felix because he sees a lot of the things he doesn't like about himself in felix. he doesn't want to end up like that.

case #2: emilie's fertility treatments

this DR/AU stems from the popular headcanon that adrien is a sentimonster (did they make this canon??) because emilie had trouble conceiving- except instead of using dark magic, emilie just went to a fertility clinic like a normal person.

this resulted in five kids- the triplets (adrien, chase, and beau), and the twins (julian and emmy).

emilie was super excited to have all these kids, but died pretty promptly after the twins were born, so now they're all gabriel's problem.

adrien is the sweet summer child we all know him to be, and julian is of course julian.

emmy is julian's twin sister, and the only agreste girl. she's sporty and she's fun, and she's always nice to everyone. she and abby would be good friends!

chase is like adrien if adrien was kind of a dick. like, chase isn't actually rude or mean or anything, but he has sort of that energy to him where he probably would have been a bully in middle school and then grown out of it later in life. that is, if he ever went to school.

chase is a full-time model, and honestly has no interest in doing anything different. he's a nepo baby at it's finest. the only reason he would ever go to school is to make friends his age, but the condition of that would be keeping his grades up. besides, chase and chloe actually are good friends.

beau on the other hand is super interested in learning, but has no interest in making friends. he's extremely introverted and prefers to work on his own. he also doesn't go to public school.

adrien and chase are both models. beau is not. when he was little, gabriel tried to get them in triplet photoshoots and beau bit him. chase thought it was funny and considered also biting gabriel, but he actually likes all the attention he gets from modelling so he didn't.

adrien likes to braid emmy's hair. he learned to do a bunch of intricate styles so she could feel pretty even while they're not modelling.

emmy and chase model sports clothing, adrien and emmy model formal, business, and casual clothing, and again, julian models the most casual lineups.

gabriel cannot force all five kids to go, especially with no handler adult present. adrien, emmy, and chase go. sometimes julian goes just because he wants to bring me with him to impress me lmao 😭.

bonus: general headcanons, applicable to any miraculous DR

gabriel is a natural brunet. his hair is just white because he's old.

nathalie is working with gabriel because she's in love with emilie, not actually gabriel himself.

adrien views nathalie as his stepmom because he thinks she's in love with gabriel (gabriel also thinks this, but they're both wrong).

gabriel handed the butterfly miraculous down to lila because he views her as an apprentice. not quite like a daughter, because he does actively akumatize her and let her be in danger frequently, but he views adrien as a mirror of emilie and lila as a mirror of himself, and wants to be able to live vicariously through them. it's really weird and messed up.

hot take- i feel like emilie also wouldn't have been all that great of a parent. adrien is super attached to her obviously, but she would have been super fake and treated her kids more like accessories or therapists than kids. so, marginally better than gabe, but... still a pretty fucked up dynamic.

adrien has dimples, which he inherited from emilie. felix also has dimples, which he inherited from amelie. the only differences between them physically are that felix is slightly paler and adrien's hair has a slight wave to it that felix's doesn't have naturally. felix is also ever so slightly taller- only about a half-inch. only marinette and kagami can spot these differences.

this is either way more than you were expecting or not what you were looking for, but i had fun writing it!

[viilpstick]

𝐇𝐎𝐖 𝐃𝐎𝐄𝐒 𝐀 𝐌𝐎𝐌𝐄𝐍𝐓 𝐋𝐀𝐒𝐓 𝐅𝐎𝐑𝐄𝐕𝐄𝐑?

How can a story never die? It is love we must hold onto, the origins brought to you by love. When a story like hers with such dedicated meaning and strong roots manacled into your DNA, it is a hard task to simply leave it all behind. Never easy, but we try. Minutes turn to hours, days to years and gone the moments that pass shall never be forgotten, especially for spiteful people, but may love live on inside our hearts keeping to those who you can be sure to never leave and always will stay.

𝒄𝒉𝒂𝒓𝒂𝒄𝒕𝒆𝒓𝒔: Adeline Rosique, Twisted Wonderland oc

𝒘𝒂𝒓𝒏𝒊𝒏𝒈𝒔: Major character death (background), a bit of oc x canon (relationships), the section "appearance" still not added, warn me if I forgot any

𝒈𝒆𝒏𝒓𝒆: Angst, hurt, hopeful ending (background), fluff and angsty (relationships)

𝒂/𝒏: She is kinda inspired by the Archer, from Taylor Swift and Belle's backstory on the live action movie

OFFICIAL INTRODUCTION: "I need to get... Excuse me. I need to pass. What? I don't care if it's a fight, I have important matters to solve. Isabelle and Leona are the one fighting? Sevens, and they try to make me believe they are not in love."

Adeline Rosique, the vice-housewander at Rosantée, the Royal Sword Academy's dorm, channels the spirit of the Fearless princess.

Despite her initial aloofness and strict demeanor, it doesn't take long to discover Adeline's kind and warm side, with an energy of big sister of everyone and all, intertwined with a playful and cunning sense of humor.

While rumors circulate about a dark past, Adeline appears unfazed, insisting it doesn't bother her – or so she tells herself.

BACKGROUND

Adeline, destined to be the future heir of the illustrious kingdom of Westerian Beau, faced a turbulent beginning marked by the disdain of her father, Grendel Enchanta. Born to a union between a human and a fae, Adeline's arrival into the world was met not with joy but with Grendel's palpable disgust. His dismay, however, went beyond the mere disappointment of having a daughter; it was rooted in the perception that she was, in his eyes, aesthetically displeasing.

Grendel, harboring a profound resentment toward his fae spouse, concocted a sinister plan in response to his daughter's perceived flaws. In a calculated move, he aimed to turn the entire kingdom against Adeline's mother, leveraging prejudice and deceit to manipulate public opinion. The ultimate goal was to isolate and abandon Adeline, leaving her to face the world alone and vulnerable. The twisted plot orchestrated by Grendel Enchanta wove an intricate web of familial betrayal and political intrigue within the kingdom. Shockingly, the malevolent plan proved successful as the sentiment in the kingdom gradually shifted, and animosity festered against their once-beloved queen.

Grendel seized the opportunity and, with his daughter Adeline in tow, clandestinely retreated to a secluded cottage nestled in the enigmatic Shaftlands. In this isolated haven, Adeline's formative years unfolded amidst the shadows of her father's manipulative schemes. The idyllic facade of the cottage belied the harsh reality that she grew up mostly alone, isolated from the warmth of familial bonds and the camaraderie of the outside world. The villagers' aversion to her, cast Adeline into a lonely existence, as even the village children shunned her. Ultimately for her appearance.

Left to her own devices, Adeline found solace in the companionship of a single friend, well, an animal, who proved steadfast in the face of her isolation.

With her father often absent from her life, the cottage in the Shaftlands became both a sanctuary and a prison for Adeline, a place where the echoes of betrayal and deceit lingered. As she navigated the challenges of her solitary existence, Adeline's resilience and the bond she forged with her lone confidant would come to define her journey in the shadowy aftermath of her father's malevolence.

Adeline grew to study in Sword Academy at the dorm of Rosantée. Despite the challenges imposed by her tumultuous upbringing, Adeline persevered and pursued her education at the esteemed Sword Academy. However, the corrosive environment of constant bullying during her initial years took a toll on her resilience. By the second year, the weight of relentless mistreatment became unbearable.

In a decisive act of self-empowerment, Adeline chose to take control of her narrative. She embarked on a journey of radical transformation, altering her appearance in a way that defied societal expectations and norms. This drastic change became a catalyst for a profound shift in the dynamics of her interactions. The very individuals who once subjected her to ridicule and cruelty now found themselves confronted with a version of Adeline that defied their preconceived notions. The newfound strength emanating from her transformed appearance not only shielded her from further mistreatment but also became a symbol of her resilience and defiance.

PERSONALITY

Possessing a personality like Adeline Rosique is having a personality like a mirror that has a duality of her heritage. Bold and resilient, she faces the world with a determination forged in the crucible of adversity. Despite the hardships she has endured, Adeline carries herself with an innate sense of grace and poise, a testament to the influence of both her human and faye lineage. We may say, Adeline is a bold and sassy girl, however, most of the time she acts serious, with a rare smile on her face. This is just a façade though to a girl who loves to talk and seems mostly happy to meet new people.

Adeline's disdain for those who judge her based solely on her appearance fuels her resolve to defy expectations. So, it is to be seen that through Shaftlands a poor old lady that wanders all night and day long is actually Adeline, hiding for those who seek her power for illness. To move through the city undisturbed, a seemingly unassuming old lady, free from the superficial attention that often accompanies her true form. But even so, during the night she no longer uses the disguise, and only walks with a big dark green hoodie. 

Her boldness is evident in the way, unafraid to voice her opinions and stand up for what she believes is right. Some people who know the truth about the “lady” say that Adeline fear is to be denied by people who surround her for only her appearance, that leads her to act most as somehow rudely towards people. Adeline's boldness, however, is not a mask for arrogance; rather, it is a reflection of her unwavering confidence in her abilities and her refusal to be defined by the narrow judgments of others. Despite that, Adeline is not without empathy. Her experiences have cultivated a deep understanding of the struggles faced by those who don't fit neatly into societal norms. She is quick to lend a helping hand to those in need, a trait that endears her to those who truly see beyond the surface. Another noticeable trait is the thought of never needing help from anyone, she can help everyone, never the opposite.

In the intricate tapestry of her personality, Adeline Rosique emerges as a symbol of resilience, grace, and defiance. Bold, polite, and unapologetically herself, Adeline stands as a beacon of inspiration for those who dare to embrace their uniqueness in a world that often seeks conformity. Adeline believes, that people can’t leave her, if she leaves first, so she tends to be somehow rude and stern to others who she doesn’t know.

RELATIONSHIPS (main ones)

Sebek Zigvolt: Sebek has low tolerance over her, mostly by the fact how ironic she is with Malleus, it takes a lot of patience for him to let her be around himself and Malleus, especially when Malleus says that he doesn’t mind her jokes and sarcasm, which is unbelievable! He is the heir to the throne and he shouldn't let her talk to him like that. Sebek wonders if the Young Master has a reason.

Epel Femier: This one is hard, she knows she comes off as annoying to him, so, when he acted more rude than he should with her, Adeline used her UM on him. He stayed inside all day long, only leaving when Poppy helped him to get the forgiveness of her. By the end of the second day he was back to normal. Adeline apologises by the way she acted, yet, she keeps an eye in both Poppy and Epel after it, with a sly hint of amusement.

Poppy Cosette (Oc made by @justm3di0cr3): At first, Adeline admits that she was a bit antipathetic, and she knows it. It was mostly her first side showing up, but once she had to spend time with Poppy alone, they both had a sisterly bound; and from that moment from time to time Poppy and her would spend evenings together, maybe making apple or lemon pies. That's when, Poppy doesn't bring baskets with flowers and bread to Adeline, the half faye melts on the spot.

Che’nya: Although she sees him as a weird guy, he does make her flash a bright smile accompanied with a loud laugh from time to time. Adeline thinks he is just the class clown. But when he catches the eye of one of her friends she comes off to be rather amused by him more easily than before.

Fauna De Lis (Oc made by @shinysparklesapphires): Fauna and Adeline are great friends, and in general Adeline has a bit of admiration for the kindness of the girl, with that she becomes somehow like a protective sister like she is with most of her friends.

Isabelle Desroisiers (Oc made by @midnightmah07): Adeline says that one of the purest hearts of all the people she has met was Isabelle’s, due to the lovely like and kind yet stubborn and curious was what drew Adeline close to Isabelle. The usual dates with the friends are in a cozy room with books, a chess game, snacks and some small gossip here and there. She was the only one to break the rule of “if I leave first, no one can leave me” because Adeline knows Isabelle would stay.

Leona Kingscholar: Although the truth about his and Isabelle’s weeding, Adeline always had a feeling of something that was within hidden between them too. In her head all the hatred was a uncovered love for each other (she turns out to be right, but at first she comes out as annoying). But, she can't lie when says she finds Leona mostly like an annoying bastard, yet, she had to pull up with his attitude.

Rook Hunt: Though Rook may stir a hint of unease in Adeline, their shared cunning and sly nature forms a common ground; That is the matchmaking couples, this is how they got to make "an apple tart" couple along, all part of their cupid-inspired scheming.

Adriano Mélombre: It sounds like a positive transformation in the relationship between the half-siblings, Adriano and the person you're referring to. Overcoming the past and developing a sweeter relationship can be a rewarding and healing experience for both individuals involved. The fact that Adriano has extended an invitation for them to live together, along with their mother, suggests a desire for closer family bonds and mutual support. Such developments often require open communication, understanding, and forgiveness. Living together can provide an opportunity for them to deepen their connection, create new memories, and foster a sense of belonging within the family unit. Family dynamics can be complex, and positive changes like this one demonstrate resilience and a commitment to building stronger relationships.

MALLEUS DRACONIA

Will wait for Book 7 to finish!

TRIVIA:

Adeline is twisted on the Enchantress from "Beauty and the Beast"

Adeline means “noble” or “nobility” from German

Rosique means both “Rose” and “magique” that is “magic” in french

18 years old, born in June 24th (Adeline’s birthday is national fairy’s day)

Adeline's dominant hand is right

Fav. drink + food: Cranberry juice, lemon pie.

Least fav. drink + food: Warm water, boiled eggs.

Hobbies: Dancing

Pet peeves: Overly judgemental people

Likes: Long walks in a breeze days, parties

Talent: Fast learner

Adeline is twisted on the Enchantress from "Beauty and the Beast"

Adeline means “noble” or “nobility” from German

Rosique means both “Rose” and “magique” that is “magic” in french

18 years old, born in June 24th (Adeline’s birthday is national fairy’s day)

Adeline's dominant hand is right

Fav. drink + food: Cranberry juice, lemon pie.

Least fav. drink + food: Warm water, boiled eggs.

Hobbies: Dancing

Pet peeves: Overly judgemental people

Likes: Long walks in a breeze days, parties

Talent: Fast learner

DO NOT COPY, TRANSLATE OR REPOST IN OTHER MEDIA MY WORK viilpstick © copyright 2023

[antispopausandstuff]

my newest modern AU

.

it's only one of them, but eh.

'Everything Changes' ( name is being workshopped ) is the most school-centered ( i think i'll write them in a college setting instead of a high school one ) out of all of the other modern AUs i have. not that i would write a whole lot about the subjects, cuz i'm not going to college-

keep these in mind:

everyone will have modern names ( the original ones can be nicknames instead, though not for all ), with a few exceptions.

i'll be giving everyone degrees if they're in the college and if i know what degree they'd go for.

most of the ships will either be not canon or given more spice to be acceptable fanon ( seamista is not included, we hate seamista in this house ).

the already adult characters will not be included in the college, unless they are a teacher ( for ex, Spinerella and Netossa ), and will likely only be involved in subplots.

i will project as i see fit!

.

( will be formatted as surname, first name, to avoid confusion and respect cultures that usually have this format of title )

Students . . .

Randor Wicker Adora - 18 - Digital Arts Major // History Minor // Animal Care Minor // Foreign Languages Minor

Tomioka Ginna ( Glimmer ) - 18 - Aviation Major // Journalism Minor

Asharia Beau ( Bow ) - 18 - Computer Technology Major // Game Design Major // Ethnic Studies Minor

Wicker Catrina ( Catra ) - 18 - Criminology Major // Media Studies Minor

Deung Soojin ( Scorpia ) - 19 - Physical Fitness Major // Woodworking Major // Cosmetology Minor

Suwannarat Mazu ( Mermista ) - 19 - Photojournalism Major // Cinematography Major

Garcia Phil ( Perfuma ) - 19 - Plant Sciences Major // Animal Care Major // Gender Studies Minor

Jin Fuyi ( Frosta ) - 16 - Foreign Languages Major // Culinary Arts Minor // Journalism Minor

Noble Faye ( Flutterina ) - 16 - Graphic Design Major // Ballet Major // Metal and Jewelry Arts Major

Hall Shan ( Seahawk ) - 18 - Drama Major // Music Performance Minor

Jackson Kyle - 18 - Animation Major // Biomedical Sciences Major

O'Neil Lonnie - 18 - Mechanical Engineering Major // Boilermaker Minor // Media Studies Minor

Valenzuela Rogelio - 19 - Foreign Languages Major // Ironworking Major // Cognitive Sciences Minor

Trouble Double ( fake name ) - 19 - Drama Major // Criminology Minor

.

Adults . . .

Tomioka Arisu ( Angella ) - 44 - Mother of Ginna, Wife of Micah, College Dropout, CEO of Business

Tomioka Micah - 43 - Father of Ginna, Husband of Arisu, Culinary Professor

Mihara Chiyo ( Castaspella ) - Aunt of Ginna, Sister of Micah, Sister-in-law of Arisu

Wicker Sera ( Shadow Weaver ) - 50 - Mother of Adora and Catrina, College Dropout

??? Harlow ( Hordak ) - 51 - Partner of Eden, Technician & Florist

Perez Eden ( Entrapta ) - 49 - Mother of Emily ( robot child ) & her inventions, Science Professor

Noble Prince ( Peekablue ) - 32 - Older Brother of Faye, Drama & Music Professor

Taylor Hara ( Huntara ) - 45 - Legal Guardian of Soojin, P.E Professor

Randor Mara - 34 - Biological Mother of Adora, Assistant in Arisu's Business

Hughes Lin ( Light Hope ) - Friend of Mara, Mathematics Professor

Razz Madame - 64 - Adopted Mother of Mara, Pseudo-Adopted Grandmother of Adora ( 'pseudo' due to not legally related ), History Professor

Biko-King Nalia ( Netossa ) - 36 - Wife of Sadie, Gymnast Instructor

King-Biko Sadie ( Spinerella ) - 36 - Wife of Nalia, Creatives & Dance Professor

Asharia George - 43 - Husband of Lance - Father of Beau, Historian

Asharia Lance - 42 - Husband of George - Father of Beau, Househusband

.

Pets . . .

Swift Wind - Shire Horse, Adora's Best Friend - Sassy, Picky w/ People ( due to Sera and Catrina's mistreatment of Adora ), Playful

Melog - Birman, Just Friend ( maybe ) - Calm, Gentle, Patient

Imp - Microbat, Harlow's Kid ( he calls them that ) - Loud, Mischievous, Energetic

.

extra bits of info . . .

Adora is deaf, Rogelio is still mute, and Eden is hard of hearing

Adora and Catra aren't talking in the beginning ( had a fight previously and Catra won't reconcile )

Kyle, Lonnie, and Rogelio were involved with crime as kids ( not of their own choice ), got a clean slate through Harlow

Fiyu and Micah bond over food and rough childhoods

Soojin is an orphan ( mothers died at a young age ) and had been in the foster care system for a long time until Hara ( an orphan as well ) came along

when Mara and Adora see each other again, Adora doesn't recognize her but has a strange feeling ( Mara didn't know if she should say anything, so she kept quiet and tried to be casual )

Sera took Adora in, as a baby, when she was Lilian ( Light Spinner )

Prince and Faye don't get along, Faye hates that he's her professor ( they'll learn, eventually )

Arisu and Chiyo talk and hangout on weekends

Phil and Mazu are childhood friends

.

that's not everything, obviously, but i might actually draw for this AU soon-ish? hopefully? i dunno, i like this universe and the progressing storylines a lot.

i wanna make more posts like this, just talking about AUs at length, despite still keeping it sorta vague. i'm really wanting to talk about my 'Until It Ends' AU esp, since it's very high-fantasy and just gives me magical thoughts.

if you want to read about my other AUs, i made a masterlist of sorts. it'll likely be updated slowly as more ideas come to mind, but i won't put the details for this one on the list just yet.

[smallchaoscryptid]

2, 3 and 29 (for in any other universe)!! -kai

2. Go to your AO3 “Works” page, to the sidebar with all the filters, and click the drop-down arrow for “Additional Tags.” What are your top 3-5 most used tags? Do you think they accurately represent your writing habits? Hurt/Comfort (Accurate I sure do love hurt/comfort) Wilbur Soot Needs A Hug (I don't write much Wilbur anymore but when I did a good hug would have fixed him.) Angst (I love angst. I love making people emotionally feel pain it's fun) Alternate Universe - Fae (I think that my first thought was "Man, I haven't written a Spiderbit fae au" means the answer is yes.) Angst with A Happy Ending (Yes. I can't write angst without making everyone happy in the end. Real life and canon may not give everyone happy endings but I sure will.)

3. What are some tropes or details that you think are very characteristic of your fics? Love is always a big deal in my fics and it's not always like romantic love but it's almost always there. There is also a 'two people against the world' theme in my fics.

29. What songs would be (or are) on a playlist for [insert fic]? Explain your choices if you want! Kai targeted me with this one because they know I have playlists for most of my fics because it's what I turn on when I go to write most of the time. I need to organize most of them in fic plot order... (I would also love to talk about all my aus and their playlists if anyone wants to ask about them. Would also give me an excuse to organize them.) In Every Other Universe It Doesn't End Well Playlist If I was to treat it like a soundtrack: (Anything not mentioned is there for vibes.) Familia By Nicki Manaj, Anuel AA, Bantu - Plays during both of The Warehouse Scenes with Cucurucho. Way Up by Jaden - Plays during the first scene with Roier as Spiderman where he stops Cellbit from killing a man and the scene in the alley where Cellbit gets punched by the guy they are fighting. Sparks Fly by Taylor Swift - It is just the entire push and pull of Spiderbit throughout the whole fic. Roaring 20s By Panic! - Plays while Cellbit is being moody tm on the rooftop before the first confession. Memories By Thutmose + Let Go By Beau Young Prince - Would play after Cellbit is rescued and they are walking back/ first get to Roier's house. Self Love by Metro Boomin and Coi Lerray - This plays during The Second Confession Scene. It is also where I got the title from.

[leam1983]

"The Super Mario Bros. Movie" - Thoughts

When it first came out, you might remember that the Gamers (TM) had a bit of a moment based around the fact that Anya Taylor-Joy's portrayal of Princess Peach wasn't demure enough for their tastes. They'd grown up to Leslie Swann's high-pitched calls for the defacto beau of the ruler of the Mushroom Kingdom and to game after game more or less relegating her as a support character. 1992 more or less served as her first year in the canon spent as something other than a damsel in distress, as she had her own kart and threw shells around with the rest of the gang. In 1988, she joined Mario, got all Freudian and joined him on a quest to free Subcon from the evil Wart, as part of an extensive reskin of an earlier game known as Doki-Doki Panic. From then on, you'd have subtle context cues in several games suggesting that while Peach was typically overpowered by Bowser or the Villain of the Moment, she wasn't in any way powerless.

A lot of the griping probably is rooted in nostagia. Gamers around my age are used to swooping in and saving the day, and, well, Peach and the later stable's lot of princesses aren't exactly the type to need to be saved. If anything, Peach is depicted as quite proactive in her own right in the later games - the catch being that as she's attuned to her own feelings, she's not adverse to the occasional good cry. There's a balancing act in effect here, between the first-hour fans who either got started with Donkey Kong abducting Pauline or with Peach being stuck in yet another goddamn castle, and the fans who might know her better from Super Mario RPG or the New Super Mario Bros. series - where she served as a player-controlled character showing as much drive and agency as the two Brooklyn plumbers.

Of particular note is the criticism that Illumination removed Peach's dress for the final third of the movie, replacing it with what the pundits called a "battle uniform" to put forward the image that she's strong and independent and whatnot. That... got a bit of an eyeroll out of me.

Watch the movie, and you realize that her supposedly heretical wardrobe change references her Mario Kart 8 outfit. There's an extended sequence that sees Cranky Kong loan his army of Kongs to Peach in order to defeat Bowser, and it's used to reference the later game's kart design - and character models. And, well, that's Peach's entirely canonical outfit.

Of course, there's also the question of what Peach does in the movie; which is initiate Mario to the specifics of the Mushroom Kingdom and serve as an ally - as opposed to a love interest. She's not showing concern for Mario because he's her beau and he's putting himself in danger, she's showing concern for him out of base decency.

Again, the first-hour fans expect Peach to just - sit there, squandering her animation budget, maybe fidgeting in abject terror or spending a few frames to cutely gasp in horror or concern. I get that it's a sudden change if you haven't paid attention to other princesses in the canon, like Daisy or Rosalina - but I'll also remind them that in the epilogue for Super Mario Bros. Odyssey, Peach chooses neither Mario or Bowser as her consort. She, at the end of it all, chooses to go at it alone, perhaps rightfully ticked off by the men's posturing.

It's not a relationship that's meant to be consumed. Mario isn't Aragorn, he isn't King Arthur. He's just a helping hand Peach comes to implicitly trust and care for as a friend.

And Bowser? The movie does a lot to humanize him, and it only makes his ploy worse. That leaves you with an ordinary Brooklyn schmuck and his brother, a capable leader forced to request their assistance, and a toxic acquaintance that hasn't caught on to the fact that he doesn't even know who Peach actually is. He has this image of her in mind - see Jack Black's to-be-expected Rock Ballad moments - but it never coalesces; and he's enabled by a version of Kamek voiced by Kevin Michael Richardson pulling something of a Peter Lorre impression. For all of his arcane know-how, Kamek (or Magikoopa, for the oldies like myself) feels like a spineless wimp with his own barrage of fetishes. See the gag that has him serve as a Peach stand-in while Bowser rehearses his confession.

The short of it is Bowser's a big, domineering, dangerous and controlling wet fart. And, well, that's usually how it goes with abusers.

My only real gripe with Peach in the movie has to do with her design, in that I get the sense that only her resting face really aligns with Nintendo's renders. The moment she moves, she starts to look like a recast from a cancelled Despicable Me sequel, with a ton of squash-and-stretch involved. I would've expected a movement range going on the more subtle end of things, personally - like Mario's, ironically enough.

As for the supposedly godawful Chris Pratt take? He ain't actually that bad. Making Mario feel like a Brooklyn native would've obviously meant stripping the Charles Martinet-ness for his first ever full-on speaking role, while referencing it as Mario deliberately channelling the hokey "First-Generation Sicilian American" accent that unfortunately still sells, today - for video ads for his plumbing business. That means very little "It's-a me"'s are on offer, which is honestly kind of refreshing.

I liked it. It was a little short and a little shallow, but it packed plenty of moments worthy of pulling out the "I understood that reference" meme.

[lmdoodleshack]

Making an NPC Masterpost that will only grow larger and more intimidating in time.

This is for me so I don’t have to bounce through several documents just for basic NPC details and also keep track of which Rifts I’ve confirmed or not.

[???] Meaning that they may or may not possess a (awakened) Mythos. Everybody canonically has a latent Mythos, even if it isn’t active.

Club MIDSUMMER:

[”King of the Entertainment District”] - Fairy King Oberon

Sun-hi ‘Goodfellow’ Byeon (Manager) - Robin Goodfellow/Puca

Devon (Bartender) - “Elven Mythos”

Darwin (Bouncer) - “Dwarven Mythos”

CROWN CORP:

Claudia Julia Latreia - “Final Inevitability Mythos”

Khalid Suleiman/”Seraphim” - “Angelic Mythos”

“Kinkajou” - [???]

RAVENSEYE NEWS:

Formerly known as: Eden Mittwoch (CEO) - Odin

Brenda Mittwoch - Brynhildr

Cailean Wagner - “Otherworld King Mythos”

Orson Viceroy - “Arthurian Swordsman Mythos”

‘Frosty’ - Perchta/Frau Holle

Accompanying Swordsman - “Druidic Sea God Mythos”

Masked Madwoman - “Tortured Eternal King Mythos”

Holland “Holly” Weiss (Reporter) - [???]

Mac (Cameraman) - [???]

‘GENERAL’ NPCS:

Kai Guoliang (Kingfisher Shopkeeper) - “Tactician Fisherman Mythos”

Issa Jelani (Doctor) - “Healer Lioness Mythos”

Beau (Rainbow Connection Host) - Iris, Goddess of Rainbows

‘AUCTION-INTRODUCED’ NPCS:

Marlene Goddard (Philanthropist) - [???]

Harrison Goddard (Philanthropist) - [???]

Elisabeth Coda (Theater Actress) - [???]

Stephan Zola (Tech Company Shareholder) - [???]

Christina Havfrue (Art Collector) - [???]

Damian Orwell (City Councilmember) - [???]

Marius Coda (Philanthropist) - [???]

Iara Bakir - “Heavenly Beauty Queen Mythos”

THE ‘GO-GO’s’ (Shipwrecked Venue Band):

Jayce Tripp - Prince Iason

Barry Horne - Orpheus

Harold - Heracles

Piper - “Blacksmithing Argonaut Mythos”

Carol and Zeke - “Winged Argonaut Siblings Mythos”

HEARTSTONE CAFE

Jimmy Smalls (Cook) - “Goblin Mythos”

Sally (Waitress) -  [???]

CASE 1 NPCS:

Sandra Bakir (Heavensent Manager/Lounge Singer) - “Heavenly Justice King Mythos”

Adam Bakir (Heavensent Club Co-Manager/Bouncer) - “Heavenly Storm Lord Mythos”

Marie LeBlanc - [???]

James (Leo’s Boy) - [???]

Thomas  (Leo’s Boy)  - [???]

Calvin (Leo’s Boy) - [???]

CASE 2 NPCS:

Olivier Horne (Conductor) - [???]

Hannah Sharpe (Concertmaster) - [???]

Tommy Wright (Orchestra Member) - [???]

Bernard Anderssen (Security Guard) - Beowulf

Melody Wright (Former Actress) - Maenad/Bassarid

Viola Briar (Former Actress) -  Maenad/Bassarid

Meredith Aria (Former Actress) -  Maenad/Bassarid

Alphonse Horne (Former Stagehand/”God of the Arts”) - Dionysus

CASE 3-4. NPCS:

Ashley Taylor - “Twisted Vampiress Mythos”   

Ian Armstrong - [???]

Evelynn Armstrong - [???]

Orchid Foley - “Great Detective Mythos”

Jasmine McNamara (Clergywoman) - [???]

Rachel Raymond (Librarian) - [???]

MORAY’S FORMER CREW:

Amrita Mangal - “Invincible Demon King Mythos”

Orville Dior - “Bloodthirsty Fae Woman Mythos”

Mun-hee Byeon - “Good-natured Thief Mythos”

[aliveandfullofjoy]

It’s the first day of 2021, which calls (yet again!) for my ten favorite new-to-me movies I watched in 2020!

The rules are the same as always: no movies from this past year (2020) or the year before (2019). Every other year is free game.

All ten of these movies are fascinating and beautiful and well worth your time, so consider this a strong endorsement for all of them. I’ve also included ways to watch all of the films (as of this writing, Jan. 1, 2021). 

01. Two for the Road (dir. Stanley Donen, 1967; USA) Donen takes the ideas of romantic cinema and celebrates it while injecting a healthy dose of painful reality. He chooses two of the English language's most attractive movie stars, Albert Finney (in full himbo mode!) and Audrey Hepburn, and follows their ten-year marriage as seen on their various road trips across Europe. It's a memory piece more than anything else, but the arc of their relationship is clear and their palpable connection burns through the screen. These are two beautiful, intelligent adults who love each other deeply, who are still physically attracted to each other, who are able to hurl verbal jabs and insults at each other with the best of them. Finney is magnificent, but Hepburn sort of steals the show. In what is probably her finest onscreen performance, she gets to grow from a virginal bride to a fully fleshed out adult, living beautifully in different shades of sexy and goofy and bitter. They make a screen couple for the ages. The script is funny without losing its honesty, it's tragic without leaning too far into artifice, it's romantic without being treacly. It's a remarkable balancing act and makes for a masterpiece. (Two for the Road is available to rent online or viewed at this link.)

02. Stop Making Sense (dir. Jonathan Demme, 1984; USA) Stop Making Sense feels like a miracle. It hints at a narrative arc, but that part is unimportant. It’s a live performance recorded and packaged specifically for consumption as a film. In its brief runtime, it becomes a living, breathing, sweating testament to David Byrne’s skill as a performer, as a songwriter, as a storyteller, and to the remarkable talents of everyone in Talking Heads. It’s a breathtakingly joyous experience. I can’t remember the last time I watched a recording of a live performance that captured the same brand of energy, of buoyancy, that you feel as you’re leaving a great communal experience. This is a masterpiece that proclaims as loudly as possible that there is no joy greater than making art with people you love. (Stop Making Sense is currently streaming on Amazon Prime.)

03. Scattered Clouds (dir. Mikio Naruse, 1967; Japan) Filled to the brim with unspoken turmoil and emotional devastation, Naruse's final film chronicles the rough terrain of a relationship between a widow and the man responsible for her husband's death. Spanning years and exploring just how deeply these wounds can go, much of the Scattered Cloud’s success rests on the performances from Yuzo Kayama and Yoko Tsukasa. Kayama is a handsome, likable screen presence who beautifully lives in his own cloud of grief. Tsukasa gets a bit more to chew on, as this really is her story: her arc and her inability to move forward, despite the best intentions, is one of the film's most lasting ideas. Brutally sad but incredibly beautiful. The work of a master filmmaker. (Scattered Clouds is currently streaming on the Criterion Channel.)

04. L’Atalante (dir. Jean Vigo, 1934; France) My only regret with L’Atalante is that I didn’t see it sooner. The final (and only feature-length) film from Jean Vigo before his untimely death at 29, this film is a technical marvel and a humanist miracle. Featuring spirited performances from Dita Parlo, Jean Dasté, and the great character actor Michel Simon, and intoxicating dreamlike imagery, as well as a relentlessly romantic score from Maurice Jaubert, this film looks and feels like no other film from its era. (L’Atalante is currently streaming on the Criterion Channel.)

05. Daisies (dir. Věra Chytilová, 1966; Czechoslovakia) Věra Chytilová's iconic masterpiece of anarchic cinema more than lives up to its reputation. Operating on its own chaotic wavelength, Daisies follows the exploits of Marie I (Jitka Cerhová) and Marie II (Ivana Karbanová) who seek to spoil themselves after realizing how spoiled the world is. They begin to live extravagantly and rip off older men and cause general mischief. Over less than 80 minutes, Daisies upends a whole slew of cultural norms. Beautiful, ambiguous, funny, cynical, and truly visionary. (Daisies is currently streaming on the Criterion Channel and HBO Max.)

06. The Hero (dir. Satyajit Ray, 1966; India) The Hero sort of feels like Satyajit Ray's answer to 8½ in its meditation of fame and regret. Uttam Kumar is fantastic as Arindam Mukherjee, a superstar actor who works through his career and his loss of values in an interview with a reporter played by Sharmila Tagore, who is also fantastic. Under Ray's sleek direction, gracefully opening up the world of the train, and with his intelligent and human script, the cast uniformly sinks their teeth into this film. Kumar is the MVP out of necessity -- without him, the whole film would fall apart -- but the whole ensemble is remarkable, peppering the background of the train scenes and in Arindam's flashbacks. This also has one of the all-time great nightmare sequences. Easily one of the master director’s best films. (The Hero is currently streaming on the Criterion Channel.)

07. Malcolm X (dir. Spike Lee, 1992; USA) Malcolm X is a truly massive film housing an even bigger performance from the great Denzel Washington. Tracing Malcolm X’s life and career while juggling numerous tones and visual styles and spanning across decades and continents, this is surely Spike Lee’s most ambitious film up to this point in his career. Washington is onscreen for virtually all of its long runtime, from the early exuberant days before his imprisonment all the way up to that fateful day in the Audubon Ballroom, and he is, of course, tremendous. All that classic Denzel charisma and magnetism is on full display, whether in his impassioned speeches or in his more intimate scenes. Lee’s direction is top notch, making this full story about a life with an incalculably profound impact feel richly and deeply intimate. This is one of the essential American epics. (Malcolm X is available to rent online.)

08. Beau Travail (dir. Claire Denis, 1999; France) Beau Travail’s place in the modern canon of world cinema is assured, and Denis is rightfully seen as a master, but it really can’t be overstated just how much of a gem this film is. Pepper with sparse dialogue (though always packed with meaning), the film lives in one of two modes: muscular, suntanned men doing slow, precise choreographed exercises in the heat of the day and those same muscular men dancing and gyrating with attractive young women in some ethereal nightclub. Between these poles lies Denis’ almost cosmic meditation on masculine ego, homoerotic obsession, and regret. A fascinating, enigmatic, devastating beauty. (Beau Travail is currently streaming on the Criterion Channel.)

09. Only Angels Have Wings (dir. Howard Hawks, 1939; USA) Only Angels Have Wings might be Howard Hawks' crowning directorial achievement. The aerial work, the rainy nights, the beautiful atmosphere of the bars, the palpable camaraderie of the characters, the tragic loss of life and yet the persistence to move forward. Cary Grant leads a terrific cast, including a quietly moving Richard Barthelmess and a rarely-more-likable Thomas Mitchell, and his chemistry with both Jean Arthur (the most charming) and Rita Hayworth is a joy to watch. This film seems to dabble in multiple genres at once, subverting the cliches of the Hollywood formula while still embracing the melodrama and the artifice within. In that way, the film feels very strange, but if the viewer lets themselves be carried along with Hawks' unique rhythm, the reward is one of the most fascinating and exciting films in Hollywood's fabled 1939 output. (Only Angels Have Wings is available to rent online or viewed at this link.)

10. Closely Watched Trains (dir. Jiří Menzel, 1966; Czechoslovakia) Between the precise composition of the shots and the young narrator-protagonist, Closely Watched Trains feels like a spiritual predecessor to Wes Anderson's work. This comparison extends to the thematic content of the film as well, as the story of a young man coming-of-age against the backdrop of the Nazi regime is definitely cut from the same cloth as The Grand Budapest Hotel. Lucky for me, I love Anderson's work, and Grand Budapest is my favorite of his, so Menzel's stylistic flourishes immediately endeared me to the film.Menzel maintains a skillful tonal balancing act throughout Closely Watched Trains. Even under the wry, almost self-deprecating humor, the film never loses track of preciousness of life and the horrific tragedy of war. Beautiful cinematography, strong performances across the board, a memorable score, and a clever script make this a gem of the Czech New Wave and a moving, delightful, and accessible coming-of-age tale. (Closely Watched Trains is currently streaming on the Criterion Channel.)

Honorable mentions (in alphabetical order): Ace in the Hole (Billy Wilder, 1951), The Band’s Visit (Eran Kolirin, 2007), But I’m a Cheerleader (Jamie Babbit, 1999), Carnival of Souls (Herk Harvey, 1962), A Cottage on Dartmoor (Anthony Asquith, 1929), Crossing Delancey (Joan Micklin Silver, 1988), Divorce Italian Style (Pietro Germi, 1961); Eat Drink Man Woman (Ang Lee, 1994), Fireworks (Kenneth Anger, 1947), The Freshman (Fred C. Newmeyer & Sam Taylor, 1925), The Hitch-Hiker (Ida Lupino, 1953), Kuroneko (Kaneto Shindo, 1968), Le Bonheur (Agnès Varda, 1965), Le Notti Bianche (Luchino Visconti, 1957), Like Father, Like Son (Hirokazu Kore-eda, 2013), Local Hero (Bill Forsyth, 1983), Love & Basketball (Gina Prince-Bythewood, 2000), Mad Max 2: The Road Warrior (George Miller, 1981), Monsoon Wedding (Mira Nair, 2001), One Sings, the Other Doesn’t (Agnès Varda, 1977), Pennies from Heaven (Herbert Ross, 1981), Pickup on South Street (Samuel Fuller, 1953), Rushmore (Wes Anderson, 1998), Seven Samurai (Akira Kurosawa, 1954), Sleepless in Seattle (Nora Ephron, 1993), Symbiopsychotaxiplasm: Take One (William Greaves, 1968), Tea and Sympathy (Vincente Minnelli, 1956), They Shoot Horses, Don’t They? (Sydney Pollack, 1969), Tomboy (Céline Sciamma, 2011), Wendy & Lucy (Kelly Reichardt, 2008), Within Our Gates (Oscar Micheaux, 1920), Whisper of the Heart (Yoshifumi Kondo, 1995), and Who Framed Roger Rabbit (Robert Zemeckis, 1988).

And some miscellaneous viewing stats:

First movie watched in 2020: A Fantastic Woman (Sebastián Lelio, 2017)

Final movie watched in 2020: Holiday (George Cukor, 1938)

Worst movie watched: The Notebook (Nick Cassavetes, 2004)

Oldest movie watched: Ten films by the Lumière Brothers (Louis Lumière, 1895)

Longest movie watched: Seven Samurai (Akira Kurosawa, 1954; 207 minutes)

Month with most amount of movies watched: December (58 movies, including shorts)

Month with least amount of movies watched: February (11 movies) (pre-COVID, naturally)

First movie from 2020 seen: Birds of Prey (Cathy Yan, 2020)

Total movies watched: 455

[thebusylilbee]

" La philosophe Manon Garcia s'en est récemment agacée dans un tweet. « C'est pénible les classements de la Bibliothèque nationale de France: je découvre que mon livre et mon recueil de philosophie féministe sont classés en féminisme et non en philosophie. Le Deuxième Sexe de Simone de Beauvoir est en littérature et en féminisme, pas en philo. La philosophie féministe n'est pas de la philosophie ? » L'anecdote illustre parfaitement ce que démontre le recueil Philosophie féministe (patriarcat, savoirs, justice), que l'autrice d'On ne naît pas soumise, on le devient (Flammarion, 2018) fait paraître chez Vrin. Alors que dans les pays anglo-saxons la philosophie féministe est valorisée comme un champ à part entière de la discipline, la France considère encore bien souvent que philosophie et féminisme ne peuvent aller de pair.

Les dix textes majeurs ici rassemblés et présentés par cette spécialiste de Simone de Beauvoir, professeure adjointe à l'université de Yale à partir de juillet, prouvent exactement le contraire. Michèle Le Doeuff, Nancy Bauer, Sandra Harding, Geneviève Fraisse ou Christine Delphy expliquent pourquoi les femmes ont été si rares dans la discipline, se demandent si la philosophie est une science sexiste et ce que peut apporter le féminisme à la pensée (et pas seulement aux femmes). Certains textes s'opposent aussi, lorsqu'il s'agit par exemple de savoir si « le multiculturalisme nuit aux femmes ». Preuve que la philosophie féministe n'est pas un courant de pensée monolithe.

On voit la philosophie comme une discipline objective et abstraite alors que le féminisme est du côté de l'engagement politique. Une philosophie féministe, est-ce que ça existe ? Comment la définir ?

Il n'y a pas de contradiction entre philosophie et féminisme. Comme l'ont montré entre autres les philosophes féministes, c'est une illusion que de croire que la philosophie telle qu'elle a été pratiquée pendant près de deux millénaires était apolitique et objective. La position sociale dans laquelle on se trouve se reflète dans les questions que l'on se pose et l'histoire de la philosophie reflète les préoccupations de ceux qui s'y attellent. Par exemple, de Sénèque à Machiavel, certains philosophes ont été conseillers politiques, il est évident que cette position sociale a un effet sur la façon dont ils pensent le pouvoir. Et qu'ils vont nécessairement le penser différemment qu'une femme qui n'a pas le droit de participer à la vie de la cité parce qu'elle est femme. On peut dire que la philosophie féministe est une branche de la philosophie qui est informée par des considérations féministes et qui contribue aux combats féministes. C'est une certaine façon d'interroger le monde - comment les rapports de genre structurent notre pensée, nos sociétés ? - qui conduit la philo à s'attaquer à de nouveaux objets ou à considérer ses objets traditionnels de façon nouvelle. Un exemple très simple : l'histoire de la philosophie a été marquée par une pensée binaire entre le soi et l'autre, mon corps et le monde extérieur. Une fois que l'on réfléchit à l'expérience de la grossesse, ces questions se posent différemment puisque mon corps peut alors inclure un corps étranger qui est à la fois moi et non-moi. Le fait que cette expérience ne soit pas entrée en ligne de compte dans la philosophie traditionnelle du corps invite à se demander que faire du principe de non-contradiction ou des catégories binaires dont je parlais, mais ça peut aussi conduire à des questionnements philosophiques sur la façon dont le savoir est produit.

Rousseau, Hegel ou Comte leurs écrits ne sont pas tendres avec les femmes (1). La philosophie est-elle sexiste ?

L'histoire de la philosophie est sexiste, oui, mais sans doute en grande partie parce qu'elle est fille de son temps. Dans l'ensemble, la culture, la pensée, l'art ont été sexistes - mais aussi racistes, classistes - jusque très récemment. Pour autant, cela ne veut pas dire qu'il ne faille pas lire ces philosophes ou que la philosophie soit bonne à jeter à la poubelle. En revanche, il me semble important d'une part de les recontextualiser, c'est-à-dire de se demander ce que cela voulait dire de tenir de tels propos à cette époque. Par exemple, quand on pense au fait que Comte est contemporain de Mill [dans De l'assujettissement des femmes (1869), John Stuart Mill défend le droit de vote des femmes, ndlr] son sexisme est plus difficile à comprendre que lorsqu'on lit Rousseau à l'aune des théories du XVIIIe siècle sur les femmes. D'autre part, il faut se demander quelle place joue le sexisme dans leur système de pensée. C'est ce que montre la philosophe américaine Nancy Bauer dans un texte reproduit dans le recueil (2) : le problème, c'est de savoir si le sexisme est nécessaire à la pensée du philosophe en question. Le sexisme d'Aristote, par exemple, paraît moins indissociable de sa pensée que celui de Schopenhauer ou de Nietzsche de la leur.

Pourtant des femmes philosophes ont existé : la penseuse cynique grecque Hipparchia (IVe siècle avant notre ère), la théologienne anglaise Mary Astell qui publie ses Réflexions sur le mariage en 1730. Pourquoi sont-elles si méconnues ?

D'abord, la réalité est que les femmes n'étaient généralement pas considérées comme des êtres humains à part entière et donc dans leur immense majorité elles n'avaient pas accès à l'éducation, elles devaient se consacrer au travail manuel et au travail domestique ou, chez les plus favorisées, à l'organisation de la vie sociale. En tout cas, il était hors de question qu'elles soient des penseuses. Il y a par conséquent fort peu de femmes philosophes. Et dans les rares cas où des femmes ont pu accéder à la pensée, cela a très souvent été, comme l'a montré Michèle Le Doeuff, dans le cadre d'une relation amoureuse ou au moins amicale avec un penseur : Hipparchia, Héloïse, Elisabeth de Bohème, Harriet Taylor et d'une certaine manière Beauvoir. Elles sont ainsi passées à la postérité comme des compagnes. Et puis, prosaïquement, ces femmes ont souffert de tous les clichés sur les savantes, leurs travaux ont été considérés comme mineurs si jamais ils portaient sur des sujets peu sérieux comme les femmes. C'est un cercle vicieux !

Quel est l'apport majeur de la philosophie féministe ?

Son premier apport est sans doute de rendre visible le fait que la philosophie n'avait jusque-là pas pensé la féminité - ni la masculinité d'ailleurs. Quand Beauvoir ouvre Le Deuxième Sexe avec la question «qu'est-ce qu'une femme ?», ce qui saute aux yeux, c'est que cette question n'avait jusque-là jamais été sérieusement posée par la philosophie. Ça veut tout de même dire qu'elle avait, avec son ambition universaliste, implicitement écarté la moitié de l'humanité de sa réflexion, ce n'est pas rien ! Plus généralement, on peut dire que la philosophie féministe est faite de trois grandes contributions : une critique du canon philosophique ; l'introduction de nouveaux objets pour l'analyse philosophique (le genre, mais aussi la vulnérabilité, les violences domestiques par exemple) ; le développement de nouvelles façons de penser des questions traditionnelles de la philosophie, comme je le montrais à partir de l'exemple de la grossesse qui renouvelle la façon de penser le corps.

Pourquoi le concept d'«oppression» est-il central dans la philosophie féministe ?

Le concept d'oppression n'a pas été inventé par les philosophes féministes mais elles l'ont transformé : alors que pendant longtemps, on ne parlait d'oppression que pour désigner les effets du pouvoir des tyrans, les Américaines Marilyn Frye et Iris Young ont montré qu'il y avait oppression dès lors que des phénomènes structurels et systématiques créent des groupes sociaux dont les membres de l'un ont du pouvoir sur les membres de l'autre par le simple fait d'appartenir à ce groupe. Par exemple, les hommes sur les femmes, les riches sur les pauvres, les blancs sur les nonblancs. Parler d'oppression c'est, sur le plan descriptif, montrer que la société est structurée par des contraintes institutionnelles injustes et inégales et, par conséquent, sur le plan normatif, mettre en évidence la nécessité d'un changement social vers une société plus juste.

En prenant pour objet la sphère domestique, la philosophie féministe a montré que le privé est politique puisque s'y joue une grande partie de la domination sur les femmes.

La sphère privée est un des sujets centraux de la philosophie féministe. Par exemple, quand on réfléchit au consentement sexuel, on ne fait rien d'autre que d'analyser la façon dont les rapports intimes sont traversés par des rapports de pouvoir. Montrer que le pouvoir ce n'est pas seulement celui d'un gouvernement sur les citoyens mais que la société est un tissu de rapports de pouvoir et de domination qui viennent se déployer y compris dans la famille ou dans le couple est un des apports décisifs de la philosophie féministe.

Si elle a émergé en France avec Beauvoir, la philosophie féministe s'est développée principalement dans les pays anglosaxons depuis les années 70. Où en est-elle aujourd'hui en France ?

Elle a continué, bien après Beauvoir, à se construire en France, avec Michèle Le Doeuff, Colette Guillaumin et Sarah Kofman, par exemple. Mais c'est vrai que ces philosophes féministes en France ont été en quelque sorte mises en retrait de la vie universitaire et ont eu du mal à faire des émules. Puis est venue une nouvelle génération, notamment avec Elsa Dorlin et Sandra Laugier, qui a fait revenir la philosophie féministe en France, tant et si bien qu'elle est un des champs les plus dynamiques en ce moment, avec beaucoup de chercheuses comme Camille Froidevaux-Metterie ou Vanina Mozziconacci, mais aussi beaucoup d'étudiants et de doctorants qui s'intéressent à ce champ et en développent les possibilités.

Depuis quelques années, des polémiques virulentes opposent les féministes «universalistes» et «intersectionnelles», ou «deuxième» et «troisième vague» Peut-on réconcilier ces deux camps ?

Certes, il y a des désaccords parfois très forts parmi les féministes mais ils sont surtout la marque de la vitalité de la pensée féministe. Plus vous avez de gens différents qui luttent ensemble, plus il est probable que ces gens se disputent au sujet de leurs luttes ! C'est salutaire et cela nous permet à toutes d'avancer.

L'intersectionnalité, en considérant la multiplicité des identités et des facteurs de domination, ne met-elle pas en péril le fait de penser «les femmes» ? Ne met-elle pas ainsi la philosophie féministe dans une impasse ?

Pourquoi on ne pourrait plus parler « des femmes » ? On peut tout à fait parler d'elles sans postuler qu'elles ont exactement la même expérience du fait d'être des femmes. Je crois qu'il est très important d'arrêter de laisser l'extrême droite dicter nos façons de penser les concepts de la recherche en sciences sociales. Le concept d'intersectionnalité est sérieux et, comme beaucoup de concepts de sciences sociales, tous les chercheurs et chercheuses ne s'accordent pas sur sa définition, sur son emploi. Mais il faut arrêter le fantasme qui consiste à en faire un cheval de bataille d'idéologies séparatistes et dangereuses, ce n'est tout simplement pas le cas ! Il faut lire les philosophes féministes qui travaillent sur ces sujets comme Uma Narayan, Serene Khader ou Soumaya Mestiri. Le discours consistant à dire que l'intersectionnalité interdirait de parler « des femmes » transforme une question réelle et importante - quel est le sujet du féminisme si on ne pense pas que toutes les femmes sont opprimées de la même manière ? - en une affirmation fausse, dont la fonction est simplement de faire peur aux gens en disant : « Regardez tous ces gens qui luttent contre de multiples oppressions, en fait ils veulent détruire la lutte des femmes ! » C'est du fantasme, et du fantasme raciste. "

(1) Hegel écrivait : «Les femmes peuvent avoir de la culture, des idées, du goût de la finesse, mais elles n'ont pas l'idéal» ; et Auguste Comte : «C'est afin de mieux développer sa supériorité morale que la femme doit accepter avec reconnaissance la juste domination pratique de l'homme » (2) La philosophie féministe est-elle un oxymore ? de Nancy Bauer (2003).

Philosophie féministe de Manon Garcia éd. Vrin, 458 pp., 15 €.

[bananaofswifts]

Your guide to the singer-songwriter’s surprise follow-up to Folklore.

By

CARL WILSON

When everything’s clicking for Taylor Swift, the risk is that she’s going to push it too far and overtax the public appetite. On “Mirrorball” from Folklore, she sings, with admirable self-knowledge, “I’ve never been a natural/ All I do is try, try, try.” So when I woke up yesterday to the news that at midnight she was going to repeat the trick she pulled off with Folklore in July—surprise-releasing an album of moody pop-folk songs remote-recorded in quarantine with Aaron Dessner of the National as well as her longtime producer Jack Antonoff—I was apprehensive. Would she trip back into the pattern of overexposure and backlash that happened between 1989 and Reputation?

Listening to the new Evermore, though, that doesn’t feel like such a threat. A better parallel might be to the “Side B” albums that Carly Rae Jepsen put out after both Emotion and Dedicated, springing simply out of the artist’s and her fans’ mutual enthusiasm. Or, closer to Swift’s own impulses here, publishing an author’s book of short stories soon after a successful novel. Lockdown has been a huge challenge for musicians in general, but it liberated Swift from the near-perpetual touring and publicity grind she’s been on since she was a teen, and from her sense of obligation to turn out music that revs up stadium crowds and radio programmers. Swift has always seemed most herself as the precociously talented songwriter; the pop-star side is where her try-hard, A-student awkwardness surfaces most. Quarantine came as a stretch of time to focus mainly on her maturing craft (she turns 31 on Sunday), to workshop and to woodshed. When Evermore was announced, she said that she and her collaborators—clearly mostly Dessner, who co-writes and/or co-produces all but one of these 15 songs—simply didn’t want to stop writing after Folklore.

This record further emphasizes her leap away from autobiography into songs that are either pure fictions or else lyrically symbolic in ways that don’t act as romans à clef. On Folklore, that came with the thrill of a breakthrough. Here, she fine-tunes the approach, with the result that Evermore feels like an anthology, with less of an integrated emotional throughline. But that it doesn’t feel as significant as Folklore is also its virtue. Lowered stakes offer permission to play around, to joke, to give fewer fucks—and this album definitely has the best swearing in Swift’s entire oeuvre.

Because it’s nearly all Dessner overseeing production and arrangements, there isn’t the stylistic variety that Antonoff’s greater presence brought to Folklore. However, Swift and Dessner seem to have realized that the maximalist-minimalism that dominated Folklore, with layers upon layers of restrained instrumental lines for the sake of atmosphere, was too much of a good thing. There are more breaks in the ambience on Evermore, the way there was with Folklore’s “Betty,” the countryish song that was among many listener’s favorites. But there are still moments that hazard misty lugubriousness, and perhaps with reduced reward.

Overall, people who loved Folklore will at least like Evermore too, and the minority of Swift appreciators who disapproved may even warm up to more of the sounds here. I considered doing a track-by-track comparison between the two albums, but that seemed a smidgen pathological. Instead, here is a blatantly premature Day 1 rundown of the new songs as I hear them.

A pleasant yet forgettable starting place, “Willow” has mild “tropical house” accents that recall Ed Sheeran songs of yesteryear, as well as the prolix mixed metaphors Swift can be prone to when she’s not telling a linear story. But not too severely. I like the invitation to a prospective lover to “wreck my plans.” I’m less sure why “I come back stronger than a ’90s trend” belongs in this particular song, though it’s witty. “Willow” is more fun as a video (a direct sequel to Folklore’s “Cardigan” video) than as a lead track, but I’m not mad at it here either.

Written with “William Bowery”—the pseudonym of Swift’s boyfriend Joe Alwyn, as she’s recently confirmed—this is the first of the full story songs on Evermore, in this case a woman describing having walked away from her partner on the night he planned to propose. The music is a little floaty and non-propulsive, but the tale is well painted, with Swift’s protagonist willingly taking the blame for her beau’s heartbreak and shrugging off the fury of his family and friends—“she would have made such a lovely bride/ too bad she’s fucked in the head.” Swift sticks to her most habitual vocal cadences, but not much here goes to waste. Except, that is, for the title phrase, which doesn’t feel like it adds anything substantial. (Unless the protagonist was drunk?) I do love the little throwaway piano filigree Dessner plays as a tag on the end.

This is the sole track Antonoff co-wrote and produced, and it’s where a subdued take on the spirit of 1989-style pop resurges with necessary energy. Swift is singing about having a crush on someone who’s too attractive, too in-demand, and relishing the fantasy but also enjoying passing it up. It includes some prime Swiftian details, like, “With my Eagles t-shirt hanging from your door,” or, “At dinner parties I call you out on your contrarian shit.” The line about this thirst trap’s “hair falling into place like dominos” I find much harder to picture.

This is where I really snapped to attention. After a few earlier attempts, Swift has finally written her great Christmas song, one to stand alongside “New Year’s Day” in her holiday canon. And it’s especially a great one for 2020, full of things none of us ought to do this year—go home to visit our parents, hook up with an ex, spend the weekend in their bedroom and their truck, then break their hearts again when we leave. But it’s done with sincere yuletide affection to “the only soul who can tell which smiles I’m faking,” and “the warmest bed I’ve ever known.” All the better, we get to revisit these characters later on the album.

On first listen, I found this one of the draggiest Dressner compositions on the record. Swift locates a specific emotional state recognizably and poignantly in this song about a woman trapped (or, she wonders, maybe not trapped?) in a relationship with an emotionally withholding, unappreciative man. But the static keyboard chord patterns and the wandering melody that might be meant to evoke a sense of disappointment and numbness risk yielding numbing and disappointing music. Still, it’s growing on me.

Featuring two members of Haim—and featuring a character named after one of them, Este—“No Body, No Crime” is a straight-up contemporary country song, specifically a twist on and tribute to the wronged-woman vengeance songs that were so popular more than a decade ago, and even more specifically “Before He Cheats,” the 2006 smash by Carrie Underwood, of which it’s a near musical clone, just downshifted a few gears. Swift’s intricate variation on the model is that the singer of the song isn’t wreaking revenge on her own husband, but on her best friend’s husband, and framing the husband’s mistress for the murder. It’s delicious, except that Swift commits the capital offence of underusing the Haim sisters purely as background singers, aside from one spoken interjection from Danielle.

This one has some of the same issues as “Tolerate It,” in that it lags too much for too long, but I did find more to focus on musically here. Lyrically and vocally, it gets the mixed emotions of a relatively amicable divorce awfully damned right, if I may speak from painfully direct experience.

This is the song sung from the POV of the small-town lover that the ambitious L.A. actress from “Tis the Damn Season”—Dorothea, it turns out—has left behind in, it turns out, Tupelo. Probably some years past that Xmas tryst, when the old flame finally has made it. “A tiny screen’s the only place I see you now,” he sings, but adds that she’s welcome back anytime: “If you’re ever tired of being known/ For who you know/ You know that you’ll always know me.” It’s produced and arranged with a welcome lack of fuss. Swift hauls out her old high-school-romance-songs vocal tone to reminisce about “skipping the prom/ just to piss off your mom,” very much in the vein of Folklore’s teen-love-triangle trilogy.

A duet with Dessner’s baritone-voiced bandmate in the National, Matt Berninger, “Coney Island” suffers from the most convoluted lyrics on Evermore (which, I wonder unkindly, might be what brought Berninger to mind?). The refrain “I’m on a beach on Coney Island, wondering where did my baby go” is a terrific tribute to classic pop, but then Swift rhymes it with “the bright lights, the merry go,” as if that’s a serviceable shorthand for merry-go-round, and says “sorry for not making you my centerfold,” as if that’s somehow a desirable relationship outcome. The comparison of the bygone affair to “the mall before the internet/ It was the one place to be” is clever but not exactly moving, and Berninger’s lines are worse. Dessner’s droning arrangement does not come to the rescue.

This song is also overrun with metaphors but mostly in an enticing, thematically fitting way, full of good Swiftian dark-fairytale grist. It’s fun to puzzle out gradually the secret that all the images are concealing—an engaged woman being drawn into a clandestine affair. And there are several very good “goddamns.”

The lyrical conceit here is great, about two gold-digging con artists whose lives of scamming are undone by their falling in love. It reminded me of the 1931 pre-Code rom-com Blonde Crazy, in which James Cagney and Joan Blondell act out a very similar storyline. And I mostly like the song, but I can’t help thinking it would come alive more if the music sounded anything like what these self-declared “cowboys” and “villains” might sing. It’s massively melancholy for the story, and Swift needs a far more winningly roguish duet partner than the snoozy Marcus Mumford. It does draw a charge from a couple of fine guitar solos, which I think are played by Justin Vernon (aka Bon Iver, who will return shortly).

The drum machine comes as a refreshing novelty at this point. And while this song is mostly standard Taylor Swift torrents of romantic-conflict wordplay (full of golden gates and pedestals and dropping her swords and breaking her high heel, etc.), the pleasure comes in hearing her look back at all that and shrugging, “Long story short, it was a bad ti-i-ime,” “long story short, it was the wrong guy-uy-uy,” and finally, “long story short, I survived.” She passes along some counsel I’m sure she wishes she’d had back in the days of Reputation: “I wanna tell you not to get lost in these petty things/ Your nemeses will defeat themselves.” It’s a fairly slight song but an earned valedictory address.

Swift fan lore has it that she always sequences the real emotional bombshell as Track 5, but here it is at 13, her lucky number. It’s sung to her grandmother, Marjorie Finlay, who died when Swift was in her early teens, and it manages to be utterly personal—down to the sample of Marjorie singing opera on the outro—and simultaneously utterly evocative to anyone who’s been through such grief. The bridge, full of vivid memories and fierce regrets, is the clincher.

This electroacoustic kiss-off song, loaded up with at least a fistful of gecs if not a full 100 by Dessner and co-producers BJ Burton and James McAlister, seems to be, lyrically, one of Swift’s somewhat tedious public airings of some music-industry grudge (on which, in case you don’t get it, she does not want “closure”), but, sonically, it’s a real ear-cleaner at this point on Evermore. Why she seems to shift into a quasi-British accent for fragments of it is anyone’s guess. But I’m tickled by the line, “I’m fine with my spite and my tears and my beers and my candles.”

I’m torn about the vague imagery and vague music of the first few verses of the album’s final, title track. But when Vernon, in full multitracked upper-register Bon Iver mode, kicks in for the duet in the middle, there’s a jolt of urgency that lands the redemptive ending—whether it’s about a crisis in love or the collective crisis of the pandemic or perhaps a bit of both—and satisfyingly rounds off the album.

[feuilly-cakes]

Twilight: Life and Death - 3* review

I want to start off on a good note, so I'll say this: I enjoyed this book. It was interesting to read and see all the changes, and there are some parts I actually love that are unique to this book. It's written differently than Twilight, with clunkier storytelling due to the POV and a few instances of Stephenie Meyer stating the obvious by showing and then immediately telling us what we've just seen like we collectively share one braincell between us all, but overall it was a fun read. Beau is his own character separate from the original character of Bella, Edythe is her own character separate from Edward, and from this point on I'll be referring to things in canon Twilight as 'Bella's twilight'. This all being said, there were some issues I found with this book too, and I'll discuss them at the end. Spoilers beyond this point Let's get into it! Beau Swan is bitter and sarcastic, has blue eyes, and self esteem so low it's digging holes. He chose to move to Forks but is also not happy about it. He's uncomfortable and confused that Charlie takes care of him by putting snow tires on his jeep, to the point he is still baffled by it when he nearly gets hit by a van. He's also observant, noticing pretty much everything about Edythe saving him, from her stopping the van with her bare hands to him being dragged out of the way, and the way she lifted the van didn't escape him either. After everything goes down as it did in Bella's twilight, Beau is convinced Edythe is playing a huge joke on him by talking to him at all. This is his character. Edythe is softer than her counterpart. She smiles more, is more relaxed, and swears apparently. We see her through Beau's eyes so we get to see her smaller than him and cuddling into his chest while at the same time having the strength to kill him with one slap. He thinks of her as Royal's little sister at one point. It's both adorable and amusing, and I genuinely want to read more stories where the mysterious vampire is a girl because of this. I'm all for genderswaps being pretty much exactly the same person no matter the gender, but this was such an interesting dynamic. To see how each character is different because they were socialised differently and have slightly altered life experiences was fascinating. There were a few things that changed that I have big opinions on: - Lady wolves. My opinion is Yes and also Wow. - The Port Angeles scene has Beau almost getting shot by people who thinks he's a police officer. In my opinion this scene didn't need to change like that, as we know being followed by creepy men is less common an experience for men but it still happens. Edythe rescues him and is fully intending on going after them until Beau convinces her not to. It's a huge difference; where Bella was seen as incapable of looking after herself for even a short time by Edward, Edythe intends on leaving Beau to his own devices while she goes on a rampage. - The whole plot with Taylor is different and hilarious. Instead of allowing her to continue to spread rumours about him taking her to prom, Beau publically and loudly 'breaks up' with her and tells her to stop using him to make Logan jealous. It's a wicked thing to do and I just about peed myself laughing. I do annotate my books and that page has QUALITY ENTERTAINMENT all down the margins. - The Queens executing Aro and Caius and becoming better rulers than them made my day. More things I didn't know I needed. - Beau's reasoning for leaving Charlie and fleeing to Arizona was honestly so much better than in Bella's twilight. He actually gives a reason for his leaving and isn't needlessly cruel. The reasoning itself is heartbreaking. The thought of these characters actually having the conversation he said they had made my heart hurt because it could never have happened, Edythe can't have plans to settle down and get married and have kids for obvious reasons, and that is when I realised I shipped it more than I shipped Bella and Edward. In this, Edythe takes over Rosalie's story to an extent, but without the bitterness. - On a happier note, Archie explains to Beau in the Phoenix hotel room that he's already seen them as best friends and some of the things they will do together, and then there's this interaction: '"We're friends?" I asked, my voice full of wonder. "Best friends," he told me. "Someday. It was nice of my favorite sister, don't you think, to fall in love with my best friend? I guess I owe her one."' If heart eyes emoji was an emotion, I am that emotion when reading this back. This didn't happen in Bella's twilight, at least, not at this point. I love a genuine friendship. - The whole ending is changed too. I liked it. It was a bit infodumpy but I didn't mind it, and the sadness Beau felt at leaving his family was not nice but nice to read. It felt more real and the stakes were higher than Bella's twilight. And now onto the negative stuff Most of the offensiveness was not fixed from Twilight, so we get creepy insinuations about children and that joke about suicide, plus the comment about "superstitious natives". Also, if anyone was wondering, the 'watching your love interest sleep' thing is not less creepy when it's a girl doing it. You're welcome for this knowledge. Unfortunately, Stephenie Meyer took all her offensive remarks from Twilight and added to them. Using OCD to mean perfectionism is not appropriate. Cleaning the house isn't OCD. Tidying the cupboards when they're messy isn't OCD. This is a personal rage of mine that I carry with me, but for anyone who doesn't know this: being neat and tidy is not in fact a serious mental disorder that causes intrusive thoughts, panic attacks and often unintentional self harm. Do not conflate the two. Also in the same vein, it is not an OK thing for your character who is psychic and explaining how that works to say "It's hard to explain without sounding slightly schizophrenic..." This book came out in 2015 so there is no excuse for this. All this is to say that Stephenie Meyer has not changed one bit, you can enjoy problematic things as long as you acknowledge the problematic elements, and stop using mental disorders flippantly and as the butt of jokes. Thanks for coming to my TedTalk.

[rachelkaser]

Stay Golden Sunday: The Engagement

In my continuing efforts to find time to write about things outside of the bounds of my job, I’ve been thinking about some old friends. If I’m going to write about anything in the wreckage of 2020, I want it to be something very close to me, something I know that others remember with as much fondness as I do.

So yeah: Let’s talk about The Golden Girls.

Thank You For Being a Friend

Given everything that’s happened this year, both to the world and me, I’ve not really been so interested in watching new shows as re-watching some old favorites. And out of those, the closest to my heart is The Golden Girls. It’s the show I watched the most with my late mother -- she and I bonded from my pre-adolescence to my late twenties on this show.

I was at the perfect age to absorb this show’s lessons, even if some of the raunchier humor went over my head when I was a kid. This is the show that taught me about strong friendships, how to love well, tolerance, acceptance, grief, humility, integrity and good humor. There are so many parts of myself I can trace, in some way, to Dorothy, Sophia, Blanche, and Rose -- and through them, my mother.

And I’m far from the only one. According to a report from The New York Times, the show became incredibly popular with 18-to-34 year-olds after it began airing on Lifetime -- the article charmingly refers to us as “The Grandchildren of the Golden Girls.” As you might expect, that’s not the projected demographic for a show starring four women over the age of 50 (yes, Blanche, you really are old enough to have a 16-year-old grandson).

If I had to pick a reason, it’d be a combination of the motherly warmth of the four main characters and the novelty (and reassurance) of a show that tells you life does in fact go on when you’re no longer in the bloom of youth. The NYT article features an interview with a Lifetime exec who theorizes that it’s because the women act in a way we typically associate with youth: “They all dated, they all talked about sex, they didn't care about what people thought about them. Those are all values that younger people share.”

I agree with that sentiment, though I will add an addendum: They act the way younger people want to act. Younger people want to be carefree and fun-loving in the way that the Girls are. More often than not, young people are -- and I say this with all the fondness and self-effacement of someone about to exit their twenties -- comparative basketcases. It’s like Mark Twain said: “Life should begin with age and its privileges and accumulations, and end with youth and its capacity to splendidly enjoy such advantages.”

Of course, there’s an alternate explanation: Golden Girls is really goddamned funny.

So every Sunday, I’ll recap and review an episode from The Golden Girls. Barring extraordinary circumstances, I’ll review every episode in order. Then I’ll give some commentary on the story, highlight any of those devilish inconsistencies, and pick a favorite line. I hope some of my fellow Grandchildren of the Golden Girls enjoy some of my thoughts on the episodes.

Picture it...

With all that being said (and I promise no long intros after this point unless it’s very called for), let’s get started with the pilot episode, “The Engagement,” which originally aired in September 1985.

The show proper opens with Dorothy Zbornak and Rose Nylund asking roommate Blanche Hollingsworth about the man she’s been seeing. Blanche tells them the gallant beau in question, Harry, has proposed -- in spite of the fact that, as Rose points out, they’ve only known each other a week. And Harry wants an answer tonight.

Meanwhile, the doorbell rings, and Dorothy answers to see her mother Sophia Petrillo, who says that her nursing home burned down. As Blanche has to explain to Rose, Sophia’s cutting words are the result of her stroke destroying her inhibitions. Sophia does indeed have the subtlety and diplomacy of a Sherman tank, but she at least thinks gay cook Coco is alright.

Harry arrives and schmoozes all of the ladies, though Sophia is not impressed. After he leaves, Rose has a soliloquy about how glad she was to move in with the other ladies, as otherwise she’d be alone, with her children grown up and her husband dead, and she’s not sure what to do now with herself. Sophia’s suggestion? “Get a poodle.”

Rose and Dorothy are divided on whether or not Blanche will accept Harry’s proposal, with Rose adamant that Blanche can’t be without male attention. Blanche returns, and reveals -- after a brief argument about the movement speed of oysters -- she accepted Harry’s proposal and they’ll be married in a week. When Rose asks where she and Dorothy will live once Blanche, who owns the house, is married, Blanche responds that they can stay for as long as they like.

A week later, Blanche is preparing for her wedding. Rose pulls Dorothy aside and says there’s something about Harry that makes her suspicious, but she’s not sure what. She tries to tell Blanche to call off the wedding, but Dorothy resorts to physical restraint to stop her from ruining Blanche’s happy moment, up to and including throwing Rose into Blanche’s closet.

Harry is late to the wedding, much to the frustration of the minister -- “This is Miami. I’ve got funerals backed up.” When the doorbell rings, however, it’s a police officer (played by a pre-Designing Women Meshach Taylor), who tells Blanche that Harry has been arrested for bigamy. Harry leaves Blanche a note telling her she was special to him.

Three weeks later, Blanche is still upset and refusing to leave her room. Rose and Dorothy discuss what to do, and Sophia’s only input is to ask to be left on the curb next to the trash cans when she goes. Blanche arrives, smiling, and says the girls helped her pull through her grief. The girls all go out to celebrate with dinner, but Sophia declines as she and Coco are going to the dog track.

BLANCHE: Your mother bets?

DOROTHY: No, she rides. She’s a dog jockey.

“It’s Miami in June. Only cats are wearing fur.”

For a pilot, this episode establishes the characters, their biographies, and their dynamics with incredible economy. What you see here is what you’re going to see for the next seven seasons, at least with regards to the four women.

For example, we know the moment she opens her mouth that Dorothy is a teacher -- that teacher, specifically. She’s smart and tough enough to tell her rebellious students to leave. She also complains that “all the single men under 80 are cocaine smugglers,” establishing pretty much all you need to know about the women’s dating lives. We also known from the moment we see Rose that she’s bright, cheerful, and a grief counselor -- she probably couldn’t say a stern or unkind word if her life depended on it.

Blanche, on the other hand, has to bear the first heartbreak of the series -- meaning she’s the first who gets her negative character traits examined as well as her positives. She’s refined, graceful, and sexy on the positive side. Unfortunately, she’s also desperate for romantic affection, so much so that she accepts the proposal of a man she’s only known a week and suffers for it. I don’t think there’s an actress in the world who could have sold this as well as Rue McClanahan did.

That said, I think it’s Sophia that binds the whole episode together. Without her sass, I don’t know if the three women would have held together as well as they do. While the opening moments of the show do have some crackle to them, it’s only when Estelle Getty walks on screen that the show really comes to life. Not only does her sharp tongue pair well with Dorothy’s own witty banter, she’s a great counterpoint to Rose’s bubbleheaded buoyancy and Blanche’s genteel manners.

As is usual for pilots, not everything about this episode stayed for the rest of the show’s run. The biggest example of this is Coco, the gay cook who appears only in this episode, but there are others. For starters, Blanche’s room is in a completely different part of the house, and she’s referred to by the name “Blanche Hollingsworth.” Sophia’s smart mouth is blamed on her stroke, rather than being who she is. The entire house’s furniture, decorations, and color palette would eventually change.

Coco’s a bit of an unusual example, because it feels like even the people who made the show didn’t know what to do with him. He’s given next to nothing to do. He has no stand-out personality traits like the ladies. Even most of the shots are framed in such as way as to exclude him: For example, he’s “on-stage” for the whole kitchen scene at the beginning of the episode, but look how these shots are angled so as not to show him:

That’s bizarre because, according to Golden Girls Forever by Jim Colucci, the “gay houseboy” character was apparently pretty important in the early script treatments. All of the writers apparently wanted to see more gay characters on TV and they thought he would add variety to the cast. But even one of the people who auditioned for the role said he thought the character was cheap and drew attention away from the women. The character was eventually dropped because it didn’t make sense for the women to be living together out of financial necessity and have a live-in domestic.

I didn’t think I was going to see inconsistencies in the very first episode either, but there is at least one: Blanche tells Harry about Sophia’s home burning down, even though Blanche wasn’t in the room when Sophia told Dorothy that. These little continuity errors have become a kind of trivia for Golden Girls fans, as fondly remembered as anything in accepted canon.

Overall, I can see why this script attracted three well-known TV actresses, and why everyone at NBC fell in love with it. I’ll work out a grading system for episodes later, but for now I’ll just say I’m so, so, so pleased for myself and the world in general that they managed to capture this kind of lightning in a bottle.

Favorite part of the episode:

ROSE: I can’t eat anything that moves. DOROTHY: Like what, Rose? Horses? ROSE: Like oysters. COCO: Oysters don’t move. DOROTHY: Coco, they could dance! Who cares?!

[angrypaperboys]

puppy love [r.h x reader]

reader x racetrack higgins

Author’s Note: Randomly thought about this prompt while watching the Mean Girl’s cast play with Taylor Louderman’s new puppy, Charlie, on Instagram.

Enjoy :)

Trigger Warnings: none

Word Count: 1.6k

Era: Canon / Modern

Genre: Fluff

masterlist

---

“Race… Racetrack.” It was 7 A.M , when Race felt you shake his arm gently. The boy softly groaned and tightened his hold on your waist, resting his chin on your shoulder. You giggled quietly. “Race, wake up. We have to go or we’ll be late.”You cooed while brushing his hair.

His morning voice was deep and raspy when he replied “Have to go where? Y/N, I’m too tired. Let’s just sleep in.”

You shook you head and sat up in bed. “Don’t you remember? I told my Aunt Cathy that we’d help volunteer at her animal shelter.” Race mumbled curses underneath his breath. “You know how I feel about animals Y/N. They hate me, we don’t get along very well.”

You pouted and pinched his cheeks. “I promised her Racer. Please, just go. For me? It’ll be fun.” You gave him a grin. Rubbing his eyes and giving you a skeptical look, Race finally gave in and got out of bed.

You arrived at your Aunt’s animal shelter around noon.

“Aunt Cathy , we’re here!” you called out , stepping into the doorway of the cute little animal shelter. The middle-age lady peeked out behind the curtains and smiled. She was covered in soap and water, a slight sheen of sweat on her forehead. Cathy sighed in relief. “Just in time! It’s bath time at the zoo.” She joked. You laughed along with her , waiting for Race to laugh too, but when you looked over at your boyfriend, he was having a stare down with a cat sitting on the ledge of the front desk. The brown tabby cat hissed at him, causing him to gasp a little and step back quickly. “Oh god Race…”you groaned to yourself.

“Okay, Y/N I’ll need you to help me finish giving the dogs a bath, Race there’s a broom and a mop in the closet over there, would you mind cleaning up this front area?” You were about to object, not wanting to leave Race alone, but he nodded and said that he was going to be just fine.

You followed your Aunt behind the curtains, but not without giving Race a small peck on the lips first. As your figure disappeared into the back rooms, he walked over to the closet and opened the door.

A small, rainbow colored parakeet flew out, startling him. He sighed and grabbed the broom.

“Lets get to work.” He said to himself.

Two hours had passed by, you and Cathy had finished bathing the big and medium dogs and were now on to the small puppies. Unlike some of the older pups, the little ones wouldn’t stop moving and squirming around.

You were cleansing the soap off of a mini golden doodle named Beau. He had been turned into the animal shelter because his last family didn’t have time to take care of a puppy anymore. While rinsing him, he had splashed water on you and jumped out of the tub, running straight out the door.

“Wha-HEY! Beau, get back here!” You yelled and chased him down the hall. The pup made his way through the maroon curtains and into the main part of the shelter. Groaning, you followed after him.

“Beau, I swear-“ you were cut off and the sight you saw in front of you.

“Oh- hey, bud where did you come from?” Race looked down at the puppy in front of him. Beau ran around Race in a small circle. He placed himself at Race’s feet panting, and looked up at him. Race crouched down and glanced at the little guy. He couldn’t help but smile, which brought a smile to your face as well. You noticed how similar the two were, their light golden curls shining as the sun hit them, the look of curiosity both of their eyes held, how playful the two were.

Race clicked his tongue and Beau’s head. “Awh, buddy. I just cleaned the floor… guess I’ll have to mop again.” He chuckled. Beau tilted his head to the side at the boy. Then, he shook all the water off of him, droplets flying everywhere. Race laughed for the first time that day and reached for a towel. He gently dried Beau off. That’s when he noticed you walking in.

“Hey.”

“Hey babygirl. You done washing the dogs back there?” he asked arms snaking around you. You nodded, resting your head on his chest for a moment. “Yeah, I’m exhausted.” Glancing around you beamed at Race. “You cleaned this place up nice. I’m proud of you.”  Race leaned in his lips almost brushing yours when you both felt a tap at your feet.

Beau had pushed a ball towards the two of you, looking as happy as a clam. You laughed at him, leaning down and ruffling his fur.

“Looks like he wants to play catch. What do you say? You up for it?”

Race bounced the ball up and down , chuckling as Beau’s small head followed it. “How could I say no when he’s giving me that look?” Pointing at Beau, you saw that she stared at the two of you with big puppy dog eyes. Taking Race’s hand, the two of you walked to the playroom.

Cathy skipped over to the door and flipped the sign from ‘open’ to ‘close’. She dusted her hands off. “ This day felt like it was going on forever. How ya holding up pumpkin?” She asked you while checking some files at the front desk. “Aunt Cathy , I don’t know how you do this every single day.”

Holding her hand out, the little rainbow parakeet flew to her and perched itself on her arm. Feeding it a cracker she said “It’s not easy, but every human being and animal deserves unconditional love. Yeah, working here can be a pain sometimes, but just knowing that I’m helping these animals find good homes where their new owners will love them helps me wake up in the morning.” Her tone was genuine.

“How’s Race doing? Didn’t you say he wasn’t very good with animals?” You actually hadn’t seen Race in a while , your eyes searched for him but they couldn’t locate him. You then heard barks coming from down the hall. You and your aunt went towards the direction of the sound. The two of you looked through the window of the playroom. Race was on the ground while Beau tackled him.

“Beau! Stop that will you! Hey- that’s my shoe!” Race’s joyous laughed bounced off the walls and so did the squeaks of the puppy.

You knocked on the door slowly making your way in. “ Babe, its time to go.” The look on Race’s face slowly fell , making your eyebrows furrow. You had never seen him look that disappointed before. It kind of broke your heart. He starred at you for a minute. You glanced and Beau and noticed he was giving you a clueless stare. It was as if he sensed something was wrong as well.

Seeing the scene in front of you, it was like taking a bone away from two puppies.

Race got up and Beau followed. He led him out of the playroom and back into his cage. The two of you heard Beau whimper. Race squatted and reached his hand out. Beau immediately nestled his face close to his hand. “ It’s okay buddy, I’ll see you next time okay?”You and your boyfriend said your goodbyes to all the animals and went on to say goodbye to your aunt.

But before you could leave , your aunt pulled you aside. “Racer, my aunt needs me to stay a little while longer to clean up some things. You can go on ahead. “

“But Y/N-“

“I’ll just take a cab home okay?” You gave him a kiss goodbye.

“I love you.”

“Y/N…baby, stop that…”Race muttered. He felt you nudge his shoulder. The moment Race got home, he crashed from a long day of volunteering. Another nudge came and soon after, a lick. “Y/N… babygirl, now isn’t the time for that…” Racetrack felt a lick on his face. “Y/N, can’t you see I’m- JESUS!” Opening his eyes, Race was greeted to Beau’s furry tail in his face.

The hyperactive puppy ran all over Race in his bed. He jumped on top of Race , licking him in excitement. “How did- when did you get here?” You stifled a snicker and met your boyfriend’s shocked expression.

“ Did you…?”

“You two just looked so sad to part ways, and I’ve never seen you get along with an animal that well. I thought if I didn’t adopt him it would never happen again. Race, Beau makes you so happy and I just want you to be happy.”

Race was smiling from ear to ear, Beau sat on his lap with his cute little tongue out.

“Look, I know it’s gonna take some work and a dog is a lot of responsibility but, we’ve got each other in this. ”

Race placed Beau to the side. He hugged you, the two of you falling on top of each other , your giggles filled the room.

He caught your lips in a soft and loving kiss, your lips moving perfectly in sync. Race kissed you long and well, until the two of you had to take moment and breathe.

“I love you so damn much, you know that?”

His eyes were clear as day and his voice, breathless. Caressing his cheek you nodded. “I love you even more.”

It was about 2 A.M when the three of you fell asleep. You, Race, and Beau. Your new little family had snuggled up against each other on your bed and the three of you couldn’t be any happier.

---

A/N: I love dogs, just as much as I love Racetrack Higgins.

Let me know how the story was! Till next time!

-xoxo alyssa

[fortiis]

{josephine langford, cis female, twilight} look who is spotted around ha'ina it's edythe cullen. a twenty-one year old vampire. they spend their time around ha'ina as a college student. the last thing they remember is beau being turned into a vampire after the cullens defeated joss. and people describe them as charming, compassionate, & impulsive.

"don't you ever again think that i don't want you. i will always want you. i don't deserve you, but i will always love you." ~ edythe to beau

basic facts:

full name: edythe anna masen cullen

nickname: edy

birthday: june 20th

sexuality: pansexual

abilities: vampire abilities, telepathy, & self-control

occupation: college student

canon up to: beau being turned into a vampire after the cullens defeated joss

+ traits: charming, compassionate, talented, & protective

- traits: impulsive, broody, stubborn, & insecure

intro:

edythe cullen was born in chicago in 1901. in 1918 her and her parents all fell ill with the spanish influenza.

her parents died of the flu, but carine, a nurse at the hospital took edythe away and turned her into a vampire. the two had a very close bond and over time more and more vampires were added to their family after carine turned them.

in 1927, edythe went through a rebellious phase where she left carine and earnest and went off on her own. she used her mind-reading abilities to find the worst people in society and feed on them, killing them. she saw it as doing justice for the world.

but a few years later she returned home and went back to the animal blood diet.

by the 2000s everyone in her family had found their mate, except for edythe. that was until her family moved back to forks and she met beau swan, a new boy at school.

beau was the only person who edythe couldn’t read her memories, something that frustrated her. not only that, but she felt an instant connection to her. edythe did everything she could to avoid beau, not only because of the connection, but because of the attraction to his blood.

but no matter what she tried, beau kept trying to get to know her.

she saves him from being crushed by taylor’s van and it’s not long till edythe realizes that beau knows that she is a vampire.

the two of them then start a deep relationship with one another now that beau knows what she really is.

one day while the cullens were playing baseball with beau, joss, lauren, & victor show up. they do their best to hide that beau is a human and protect him. but edythe knows that beau is in danger. so they try to get him somewhere safe.

joss is able to lead beau to him and edythe and the cullens go to save him, but the time they get there, joss had already infected beau with her vemon.

edythe is told that either she can try to suck the venom out and most likely kill him in the process or let the transformation happen. edythe asked beau what he wants, and he tells her that he wants to be turned, so edythe lets it happen.

once joss is dead, the cullens help beau fake his death and leave forks.

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Détails Sortie: Jul 24, 2020 Durée: 134 minutes Genre: Comédie, Romance Etoiles: Joey King, Jacob Elordi, Joel Courtney, Molly Ringwald, Taylor Zakhar Perez, Maisie Richardson-Sellers Crew: Linda Cohen (Music Supervisor), Anastas N. Michos (Director of Photography), Michele Weisler (Producer), Joey King (Executive Producer), Patrick Kirst (Music), Jay Arnold (Screenplay)

SYNOPSIS ET DÉTAILS: The Kissing Booth 2 (2020) - Comédie Films 134 minutes. El Stand de los Besos 2, Mi primer beso 2, Kyss meg igjen, Delidolu 2. Elle jongle avec une relation à distance avec son petit ami de rêve Noah, des candidatures à l'université et une nouvelle amitié avec un beau camarade de classe qui pourrait tout changer.

Elle jongle avec sa relation longue distance avec son petit ami parfait, les inscriptions à l’université avec son meilleur ami, et sa nouvelle amitié avec un camarade de classe canon qui pourrait tout changer.

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Il y a aussi le terme figurants qui sont utilisés comme personnages de soutien avec peu de rôles dans le film. C’est différent des principaux acteurs qui ont des rôles de plus en plus nombreux. Être acteur et actrice doit être exigé pour avoir un bon talent d’acteur, ce qui est conforme au thème du film dans lequel il joue. Dans certaines scènes, le rôle de l’acteur peut être remplacé par un cascadeur ou un cascadeur. L’existence d’un cascadeur est importante pour remplacer les acteurs réalisant des scènes difficiles et extrêmes, que l’on retrouve généralement dans les films d’action et d’action. Les films peuvent également être utilisés pour transmettre certains messages du cinéaste. Certaines industries utilisent également le film pour transmettre et représenter leurs symboles et leur culture. Le cinéma est aussi une forme d’expression, de pensées, d’idées, de concepts, de sentiments et d’humeurs d’un être humain visualisé dans un film. Le film lui-même est principalement une fiction, bien que certains soient basés sur des faits réels ou sur une histoire vraie. Il y a aussi des documentaires avec des images originales et réelles, ou des films biographiques qui racontent l’histoire d’un personnage. Il existe de nombreux autres films de genre populaires, allant des films d’action, films d’horreur, films d’humour, films romantiques, films fantastiques, films à suspense, films dramatiques, films de science-fiction, films policiers, documentaires et autres. C’est un peu d’informations sur la définition d’un film ou d’un film. Les informations ont été citées à partir de diverses sources et références. J’espère que cela peut être utile. ❍❍❍ Formats et genres ❍❍❍ Voir aussi: Liste des genres § Formats et genres cinématographiques et télévisuels Les é The Kissing Booth 2ions de télévision sont plus variées que la plupart des autres formes de médias en raison de la grande variété de formats et de genres qui peuvent être présentés. Une éThe Kissing Booth 2ion peut être fictive (comme dans les comédies et les drames) ou non fictive (comme dans les documentaires, les actualités et la télé-réalité). Il peut être d’actualité (comme dans le cas d’un journal local et de certains films destinés à la télévision), ou historique (comme dans le cas de nombreux documentaires et films de fiction). Ils pourraient être principalement pédagogiques ou éducatifs, ou divertissants comme c’est le cas dans les comédies de situation et les jeux télévisés. [Citation nécessaire] Un programme dramatique présente généralement un ensemble d’acteurs jouant des personnages dans un cadre historique ou contemporain. Le programme suit leurs vies et leurs aventures. Avant les années 1983, les éThe Kissing Booth 2ions (à l’exception des feuilletons de type feuilleton) restaient généralement statiques sans arcs narratifs, et les personnages principaux et la préThe Kissing Booth 2e changeaient peu. [Citation nécessaire] Si certains changements arrivaient dans la vie des personnages pendant l’épisode, c’était généralement défait à la fin. Pour cette raison, les épisodes peuvent être diffusés dans n’importe quel ordre. [Citation nécessaire] Depuis les années 1983, de nombreux FILMS présentent des changements progressifs dans l’intrigue, les personnages ou les The Kissing Booth 2. Par exemple, Hill Street Blues et St. Elsewhere étaient The Kissing Booth 2 des premiers films américains de télévision dramatique aux heures de grande écoute à avoir ce type de structure dramatique [4] [une meilleure source était nécessaire] tandis que le film ultérieur Babylon 5 illustre davantage cette structure en ce sens qu’il avait une histoire prédéterminée sur sa course de cinq saisons prévue. [citation nécessaire] En 1983, il a été signalé que la télévision devenait une composante plus importante des revenus des grandes entreprises médiatiques que le cinéma. [5] Certains ont également noté l’augmentation de la qualité de certains programmes télévisés. En 1983, le réalisateur primé aux Oscars Steven Soderbergh, commentant l’ambiguïté et la complexité du personnage et de la narration, a déclaré: «Je pense que ces qualités sont maintenant vues à la télévision et que les gens qui veulent voir des histoires qui ont ce genre de qualités regardent la télévision.

[9w1ft]

Hi I just want to point out this line from Death by a Thousand Cuts, "Our country, guess it was a lawless land" In the song, she was talking to her lover right? That's why she said "our country" bc karlie and her are both miss americana, and 🇺🇸 is THEIR country. My point is, someone in the equation is obviously don't share the same country with Taylor aka J** so yeah 😹 any thoughts abt this?

two words for you:

my wine

yup!! the person she’s singing about has gotta be an american

and it gets thorny indeed because, she loves a london boy enough for it to not be able to be about neither joe nor tom nor calvin nor harry 🤷🏻‍♀️ does this mean swifties are getting mad at Jake Gyllenhaal again for no reason? John Mayer?

let’s look at the ages of her american beaus back when she dated each:

Joe Jonas — both him and taylor were 18

Taylor Lautner — he was 17 she was 19

Lucas Till — he was 19 she was 20

John Mayer — he was 32 she was 20

Jake Gyllenhaal — he was 30 she was 20

Connor Kennedy — he was 18 she was 22

i dunno about you but if i’m underaged i’m not gonna be calling my parents’ wine “my wine” 😂

and also connor kennedy? he was barely 18 when they bearded and i doubt taylor would want to retroactively call out a kennedy for underaged drinking 😬 plus, their time spent in the public eye (three months) doesn’t seem long enough to merit this lyric

which means you’re stuck with it being about cory montieth, zac efron, or eddie redmayne 😭 and i’m not sure swifties even consider those canon