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ballorawan740 · 3 years

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SCP Scenarios: When they get scared by the reader (REQUESTED)

Requested by: @_Milla_7849_

SCP 073 (Cain)

I feel like Cain normally wouldn't be scared

Like if you made him watch a horror movie, he might flinch slightly but wouldn't be terrified of it

So when you try to scare him like a prank sort of way, he would flinch a little more than usual but would recover seconds later

Like that one time when he was alone walking down the hallway looking zoned out since he was thinking of something

And you just crept up to him like the sneaky little child you are and jumped onto his back

He did get a load yelp but realised it was you

Luckily for you, Cain didn't give you a lecture like before and actually laughed with you

However, if you were kidnapped or taken hostage or used for an experiment, it would obviously frighten him and he wouldn't forgive himself

So to prevent this, he would keep you within his line of sight at all times

Anyways, as I've mentioned before, Cain would probably also give you a tight hug after your little stunt and unbeknownst to him, the researchers recorded it for a laugh

Cain did give you a lecture but forgave you since you were so young and he couldn't resist those eyes

And the researchers did give you some sweets

SCP 076-2 (Abel)

Now, a warrior like Abel wouldn't be so easily frightened

Especially if it was a child, even more so if it's you since he knows you too well and has personally trained you from the age of 5

Basically, Abel would notice your movement and body language well since you're both stuck together

So you have devices a plan with your scientist friends to try and scare him

And yes, it's working

Because Abel got extremely distracted by Iris

Iris basically got yahooted into this mess and was told to wear a lingerie

Yes, you did scare him by shoving him into Iris

I wouldn't say he got a scare, but more like a surprise

Poor girl she just wanted to sleep

SCP 999 (Tickle Monster) 999 would most likely be scared the easiest out of everyone on this list

Aside from Glass

He's like a close second

Back to 999, you both were just chilling and wandering around the facility aimlessly

Because yall are boring (TBF you're both trapped in this giant mf blop of a building)

Anyways, let's just say that it was Bright and Clef who introduced you to the world of pranks and you guys thought it would be funny to scare our 999 here

Basically, yall decided to play dead and then pretend to turn into zombies with some makeup

Yes, it did work since you've managed to scare the living daylights out of 999

And he was about to have a cardiac arrest (if he even has a biological heart)

And yes, it almost ended in another breach

And 999 did give you a lecture on how to not scare people like that

He does sound like a grandpa though XD

SCP 682 (Hard to Destroy Reptile)

I would say that scaring 682 would be difficult, but I won't since he's already terrified of that rabbit

You, along with the other researchers, thought it'll be fun to pull a prank on 682 in form of a magic trick

It's a classic rabbit in the hat trick and yes, you did pull SCP 524 out of the hat

But, little did your tiny brain know, that rabbit basically eats everything, including itself

So you just watched 524 approaches the already terrified 682 and nibble on his feet

And yes, you and the other researchers laughed hard since he crawled up the wall to get away from the rabbit (I'm now officially adopting 524 as my other pet)

Sadly, 524 didn't stay for long since another doctor needed him for a test with Josie (yes, the cat)

682 basically shouted at you for doing such a thing on him, your dad

But you ignored him anyways since you knew he never meant what he said and he wouldn't be mad at you for long

SCP 049 (Plague Doctor)

Our bird boy here is pretty much neutral when it comes to being scared

Like, he can be quite unfazed by many things, so it's no surprise if you or any other SCPs tried to jump on him

So as part of an experiment, you and your friends had decided that you would try to play dead and see if 049 would be terrified

Well, 049 was somewhat concerned and when you carried on playing dead, he became scared since you weren't so conscious, or so he thought

Since you played dead extremely well for such a young child, he tried to see if he could fix you

And before he could do anything, you jumped up at him like Bonnie from FNAF

Yes, he looked like he jumped out of his skin and was so stunned that he just sat in the corner with his head down for an hour

You all had to check up on him and he said he was 'fine'

He wasn't

049 gave you a lecture about playing dead like that unless there's a dangerous SCP

SCP 035 (Possessive Mask)

Now, since 035 is a mask and is very much a master manipulator and an award-winning actor/actress, you would most likely be able to take on those traits from him

When you were younger, you were eager to learn from 035, who you see as not only your best friend but also an idol, so he taught you everything he could

As you got older, you've gotten better at manipulation and acting, so much so that even 035 couldn't tell if you were just being you from time to time

So one day, you've decided to prank your dad because you were hella bored (like you always are :((( cuz yall never be productive and just sit on your flat bum all day and watch YouTube, Netflix or play games then sleep)

You basically produced a fake body of yourself and wrapped it in a black bag and sent it to 035's cell

Then, you've got one of your researcher buddies to write a note of your passing and that you do love him very much

035 did receive the message and made sure that there was a dead body in the package

He was pretty much convinced that it was you since you were able to disguise the fake body like bone and flesh

Which of course scared him to death because he was about to attack everyone on site

Luckily you got there on time to stop him which freaked him out and yes, you've gotten a lecture about being such a prankster (You got grounded for life but that didn't stop a rebellious child like you)

At least everyone at the facility has gotten a laugh about it for the next 3 months

SCP 105 (Iris)

Pranking Iris wouldn't be hard, but that doesn't mean she's fazed, but not in a sense like 049 who wouldn't get a good scare from some SCPs which could do him harm

Iris is very much a self-aware and open-minded individual who has common sense (unlike you, who don't even move out of your bed or even use your non-existent brain cells)

She's very much like every other person you'll meet on the streets who wouldn't just believe the first thing that she hears since she is very much a rational person

So, if you want to devise a plan to scare her, it'll have to blend in with everything or be quiet out there with realistic effects

You'll have to use your head to think of a good prank to scare her, which you did since you've inherited her intelligence (that's a lie because you don't have any intelligence left in you)

As her child, you have decided to prank her by making her a fake copy of her camera but instead of her being able to control objects within the photo, she would end up destroying it

You gave it to her as a gift and she accepted it with suspicion since you don't normally get her anything and encouraged her to try it (you're such an ungrateful child)

Cain, Dr Glass, Dr Kondraki and a couple of others wanted to see as well, so they stayed and watch

Much to everyone's horror, the illusion camera did exactly how you designed it to and Iris was furious and saddened

Later on, you told her about the prank since you feel bad and she was extremely mad

So instead of grounding or lecturing you, she decided to have revenge

SCP 106 (Old Man)

Now, scaring this old man would be rather interesting because he doesn't seem too fazed by the other, more dangerous and unpredictable, SCPs

But, you can still scare him to a certain degree

I mean, he is an old man after all, so scaring him would be fun

As long as you don't give him a heart attack then it's fine I guess (cuz yall be evil for scaring such an old man)

So, you have decided to scare 106 by giving off little bits of harmless pranks at first so 106 would let his guard down for a moment

Like, giving him a box full of spiders (he's quite disgusted by them just like how he sees your face every time) and popping an air-filled bag (Don't lie, you've all done it and it's hella fun)

Later on, you would gradually move to play with the more dangerous things, such as getting him to look at a picture of 096's face (Probs ugly like yo-)

As time moved on, 106 seemed to be relaxed and expected you to bring him random things and soon realised that there was something off

You didn't show up to him for almost a week and he was ready to get his dad mode on

Luckily, some of the guards caught you with Abel and got 106 involved since they were afraid of causing a massive breach

106 panicked and picked you up, giving you a lecture on how you shouldn't be with other SCPs like Abel

You managed to tell him that you've befriended Abel and he was stunned and gave him the dad glare (you know the one where dads would give to warn others to not hurt their kids right?)

And because it's Abel, he would even make sure to be with you whenever you were with him which made it difficult for you to play with Abel because he might steal you away (Yes I'm looking at you right now kiddo, don't play with Abel)

So in conclusion, if the prank involves you being in a dangerous position, he wouldn't necessarily be scared but would start to panic about your safety

SCP 096 (Shy Guy)

I think 096 would be similar to 106 in a sense but less logical and unfazed

It's more like he would be pretty panicky every time you weren't there with him and his anxiety would act up (like you every time you're preparing for your exams where you didn't even revise)

Like if you were with Safe class SCPs, he would be more relaxed than you being with a Euclid class, but it kinda depends on who it is

If it was Cain then it would be fine, but if you were to be with 173, he would be quite wary at first and would tell you to try and avoid being with that peanut

So if you wanted to scare him, it wouldn't be too hard

All you had to do was to be with another Keter class SCPs and play with them

He would be extremely cautious and terrified if you were with one and knowing this, you've decided that playing with 682 instead of playing with Walter the rabbit (SCP 524 | He's my other pet), you've decided to go up and pet 682

When 096 got a hold on the commission on you being with that lizard, he ran out of his cell, causing a huge containment breach on the way like he's bulletproof, and went yeehaw with 682

All you did was sit there in confusion as they entertained you with some pole dancing

Basically, if you scare 096, he would go from anxious to paranoid to berserk then to we're all going down to hell and back again

Dr Jack bright

This mf right here is unpredictable af

Like in his own body, he would remain unfazed and would even go as far as pranking you back

I mean he still would act all fun and games but since he can possess multiple bodies, the outcome of him being scared would vary which would surprise him too since he wouldn't know

Unless he decided to possess someone he knows well, but he knows better than to do that

Dr Bright would most notably be scared, like everybody else on the list, if you were to put yourself in immediate danger, but since you were just as crazy as your dad, he would most likely go along with it until you deliver your prank

Like, you could be juggling knives while standing on top of 682's head while singing 'Painted Smile' by Madam Macabre (If you haven't heard it, you should, it's amazing)

Also, he would sometimes find you having your back faced towards peanut and still be fine after having your neck being snapped (Yall be like surprise mf)

Anyways, one time Jack had made a promise to you to meet you at a certain place and he was late

So you stormed into his office (like the entitled little nugget you are) and went 'tick-tock mf' to your dad

Well it worked and you showed him your trick with the Keter classes

By causing a containment breach and somehow you managed to bribe the Keter classes to perform with you

Let's just say that just because you've inherited his craziness doesn't mean that you could go as far as doing this prank

Bright was about to drop dead from a heart attack and he banned you from doing such things in the future

Dr Simon Glass

With Simon Glass, you could give him a fright relatively easily

Just because he's a psychologist and can read people rather well, he still would be terrified and paranoid about whatever you were planning on doing

Even if he told you not to

Like that time when you were told to not make toast because you can't cook and you almost burnt the whole facility and Glass stood there and said "I told you so" (he did ask for toast, as in toasted bread, not toasted humans)

Anyways, being the child of Simon Glass meant that you would learn a lot about the human mind and behaviour

He would teach you everything you were curious about and would sometimes ask Diogenes, Light, Kondraki, Cain and Iris to help teach you the things he wouldn't have much knowledge on

And sometimes Clef and Bright would appear and spoil you (not that Glass doesn't, he's just busy and trying to be the best dad he could by being anxious about you being alone in the facility with so many dangerous SCPs)

So this often meant that you, Bright and Clef would pull pranks on each other, usually on Kondraki and Iris

Except for this time, you've decided to pull a prank on your dad, Dr Glass

You've handed him over a realistic model of SCP 058 and he freaked out and called the MTFs

They've checked the model and realised that it was all fake and poor Simon had a heart attack from you

Simon was about to yeet that spider looking thing but it was able to move so he planned to carry you and yeet you both out

He did give you a lecture on doing that stunt and you did shed a few crocodile tears

And yes, Glass gave in and comforted you

He then went to grab Clef and Bright's ears and lectured them about helping you make the prank

Dr Alto Clef

I feel like Clef would be similar to Bright but without the whole process of changing bodies because of some curse

Like Clef wouldn't be all that scared since he's dealt with SCPsbefore and dies an extremely good job at it

So for Clef to be scarred for life, it'll either be an extremely dangerous SCP, he's drunk and/or high, he must care about you a lot and you must've been out of your mind to do something seriously stupid or you're evil enough to piss off a Simon Glass (Or all of the above if you're evil enough)

You would most likely want to take the easier and quicker route out of all the ones mentioned on the list which is to put yourself in an immediate danger

So you had asked Dr Bright for some help and so he did

Moments later, midway through preparing your prank, Clef came to Bright asking if he saw you and he did

However, they heard a familiar scream from down the hallway and they both rushed to your aid and soon realised that it's you

You were about to get eaten by 939 and they had to signal for the MTFs to help (Because you mfs didn't ask me for permission when you wanted to pet 939 D:<)

Clef gave you a big lecture and comforted you after he cooled down

Bright on the other hand wasn't so lucky as Clef wanted to murder him (But in his defence, you didn't tell Bright how dangerous the prank was cuz yall are as stubborn as a rock)

Dr Benjamin Kondraki

Kondraki would be pretty much average when it comes to being scared but with a little more logical since he works with the Foundation

He's that type of dad who would let you go to sleepovers every now and again as long as they weren't of the opposite gender (Unless yall are Bi, Gay, Lesbian, Pan, Alien, Basketball etc then he's screwed)

We support BLM and LGBTQ+ in this community and anyone who says otherwise must leave now

Heck, even our friends here, especially Kondraki, Glass, Bright, 999, Cain, Iris and Josie (SCP 529, my new pet) supports them

Anyways, back to the main plot

Depending on what age you're at and whether you were planning to prank him with the Foundation staff or SCPs will lead to a different outcome

Like if you told him you were dating someone he would've died right there and then

No dating until you're 50

Anyhow, you've decided that it'll be funny to scare your dad with Clef and Bright by getting his Bootyflies to shapeshift into various Keter class SCPs and acting like it

And yes, you somehow managed to persuade the Bootiflies to do just that

And no, Kondraki didn't know about this even though he found it odd that his bootiflies didn't obey him that day

You got Kondraki to sit down in a room with Clef while you and Bright was setting up everything

The bootyflies shifted into the Scarlet King and boy sis Kondraki called the MTFs and was boutta shoot him

Everyone in the room had to get him to stop and that it was just a prank (And by everyone I mean just you, Bright and Clef)

Kondraki did manage to stop and was boutta drag you out for a big girl/boy lecture

Well, he did but not before kicked Bright and Clef in their privates first

Needless to say, nobody wanted to prank Kondraki again (Shush, no you don't, yes I'm looking at you from behind the screen and I know that you'll do it again)

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twsttheory · 3 years

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⚠️Chapter 5 spoilers⚠️ Chapter Recaps and Predictions for Future Dormitory Chapters.

Pardon me for being a little slow but I have just realized a trend? Aside from the fact that Twisted Wonderland seems to be a very “Screw society” game, the take-away of every Twisted Wonderland arc reflects the morals the of their respective Disney classic, except the villains are the ones experiencing it.

Heartslabyul:

Just like Alice in Wonderland, the first plot of the first Chapter centres around the idea that rules are not always meant to be followed. However, as I have mentioned in a previous post, many have theorized that the story of Alice in Wonderland is the journey of a child towards adulthood, during which they begin to realize their individual personalities. The Queen of Heart’s tyranny thus represents societal rules and expectations. In the first chapter, this is not illustrated by Riddle’s strictness. Instead, it is illustrated by the expectations and rules that Riddle’s mother has imposed on him. Riddle will then learn that not everything his mother said is correct, and will grow to have his own opinions. We even see him screwing up the mont-blanc. His mistake is very... um... him though.

Savanaclaw:

Following the Heartslabyul arc is the Savanaclaw arc. Again, the plot is similar to that of The Lion King. Both Leona and Scar are the second-born, and the fact that their brothers have a son makes it impossible for them to become kings. This has lead to Leona’s somewhat inferiority complex. The lazy lion proceeds to come up with a plan to overthrow the more powerful Malleus in the Magift competition, but fails because of the Heartslabyul gang. No matter what he does, not everything goes according to plan. This is where “Hakuna Matata” becomes important. In the Lion King, it is taught to Simba, the protagonist, but in Twisted Wonderland, it has become a lesson that Leona has learnt. Life is not fair, but instead of choosing to dwell on that concept and suffer, you could choose to be happy instead. Despite not being able to become King, Leona is still very intelligent and very much capable, earning the respect of his dorm members and many more people.

Octavinelle:

Fish arc covers the topic of bullying, which many of us have experienced. In this chapter, Azul strives to become more powerful as a result of bullying, and has thus grown to become a very talented mage. His collection of contracts is similar to both Ariel’s collection of human objects and Ursula’s collections of those who failed to pay their debt. All these collections are but material collections, and in Azul’s eyes, his collection is a measure of his worth, as seen from when he declares that he will be useless if Leona were to destroy the contracts. What both Ariel and Azul were missing was as a matter of fact not their material collection. Instead, it was love for Ariel, and friendship for Azul. Jade and Floyd gave him friendship, which he did not have as a victim of bullying, and I’m pretty sure that he realizes that both their presences are more valuable than mere material contracts. I am also certain that Jade and Floyd think so too, although they say otherwise.

Scarabia:

Scarabia arc’s overblot goes to Jamil, you poor boy. Because of his position as the Asim family’s servant, he believes that as long as he is in the presence of Kalim, he will never be able to be who he really is. Aladdin also thinks that he cannot be with Jasmine if he isn’t royalty. However, we all know that Jamil has more to offer as an individual. He is intelligent and powerful, and will remain intelligent and powerful despite his position as a servant. Aladdin is loved by Jasmine despite being a non-royal. Scarabia’s chapter centres around the idea that an individual’s potential and worth is not defined or limited by their status or position, as Jamil has surely proven to us.

Pomefiore:

The recent Pomefiore arc is also very relatable and nothing less than outstanding, highlighting the importance of “beauty” in more than one way. This chapter straight up tells us that ballet is not restricted to girls, and it has already earned my respect. What’s more outstanding is its emphasis of effort. Vil is shown to be frustrated because of being in Neige’s shadow. GIVE HIM THE LICENSE TO BE FRUSTRATED HE WORKED SO HARD! Despite his hard work, he is less popular than the cheery and pretty Neige. In the VDC, Neige’s cover of a children song grabbed more attention than the song he poured his sweat, blood and tears over. No one cares about the effort behind the scenes, and all the praise goes to the final product. In Snow White, the Evil Queen will never be the most beautiful, because she is ugly inside. This could apply to this chapter. Despite being more successful, Neige, unless stated otherwise, lacks the diligence and hard work that Vil has put into his craft.

Ignihyde:

All right folks this is where the predictions starts. The recurring theme of this game is conflict against society. From this, I will predict that Idia and Hercules will share a common theme. People call them monsters. Hercules is called a monster because of his inhuman strength, while Idia’s case will most likely be because of Ortho. Idia is undoubtedly a genius engineer, and since Ortho is a cyborg, there are chances that he was once a human but died, and is turned into a cyborg by his brother. Idia creating him from scratch is not likely because he already mentioned a “previous Ortho”. Because of this, Idia is feared by many people as well. However, if this theory were to be correct, it would mean that the story will follow the moral in Hercules that underlines the importance of staying true to oneself and that people will love you for who you are. Hercules definitely stayed true to himself, and in the end, instead of being labelled a monster, he became loved by many. I’m sure that it will be the same way with Idia, although I am not sure about the situation that will help incite this.

From how he encouraged Riddle to break away from his mother’s rules in the first chapter,, it is highly possible that Ace would play a role in helping Idia express his mad scientist vibes. If Ace does not help Idia, he will probably still play a big role alongside Ortho, as they are both younger siblings. From ghost marriage, we can also see Ortho’s ability to call Ace out on his bullshit. Ace is a child full of lies, and his true personality may also not be what he displays every day. With Ortho’s advance “Your body sayin you lyin boy” technology, I think that we could finally see a change in our dumb ginger boy’s personality, as well as gain some juicy insight into the Trappola household. Epel is also a plausible factor, seeing that he has embraced his cute and wild side in Chapter 5. However, if the story were to follow the same pattern as in Chapter 3 with Jack and Octavinelle, Epel will most likely only help the main character, and Vil would help with the dorm leader in question. But we’ll see about that.

Diasomnia

Sleeping beauty is a story where love is a powerful force. In the dorm that is very family orientated, there is no doubt that love will be a common theme in this story arc. However, just like Pomefiore, the first year also has to play an important role in the story. Sebek, unlike waka sama, is probably mortal. Another theme in sleeping beauty is that growing up presents all sorts of existential crisis. I am pretty certain that Sebek’s existential crisis would come in the form of fey vs human. Power vs mortality. How will Malleus overblot then? Following the pattern, it would likely be because of a problem that contrasts to their first year. As Sebek gets to know the idiot combo, he will gain more friends, and Malleus might find his most loyal guard taken away from him, or it may come in the form of Sebek or Silver, or both, objecting him in some way. If both happen to be proven wrong, it is still likely that he will overblot because of something that involves his loneliness or lack of understanding of mortality. It could even be caused by seeing Sebek and Silver grow up, and suddenly be hit with the realization that they both may one day leave his side or pass away, and that the main character, who does not fear him at all, will also one day return to their world or die, leaving him behind once again.

The conflict will probably then be resolved by the understanding that despite all this, he has friends. Lilia, Sebek, Silver, the main character, and perhaps even Ace and Deuce, and Idia and Ortho for good measure, are people precious to him, and it is important for him to treasure the time that he has with them.

That’s all for today! These are probably not accurate, and I’m sure that Yana Toboso is at least 10 dimensions away from me when playing chess, but it is fun to compare the storyline with their respective classic film. Either ways, only time will tell how the story progresses. So I’ll keep an eye out for any previews! Thank you for reading!

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strangestcase · 2 years

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📃 and 💎 for the hyperfixations ask game

📃 what is the plot of your hyperfixation? and is it a movie, game, show, etc?

UM SO BASICALLY!!! it is a +130 year old science fiction horror short novel and it’s considered the first modern psychological thriller! But there are SO MANY MOVIES! AND GAMES AND COMICS AND SEQUELS AND ALL SORTS OF ADAPTATIONS!

very long story short it’s about Dr Jekyll who is a Highly Respected Wealthy Individual but he’s actually a bit of a bastard 💔 he’s secretly an UNETHICAL AS FUCK mad scientist who wants to separate good from evil (somehow) and destroy free will in favor of ultimate peace of mind (totally not because he’s incredibly emotionally constipated)

and this little asshole motherfucker (affectionate) called Mr Hyde who makes everyone uncomfortable and incurs in AMORAL BEHAVIOR (subtly implied to involve KISSING MEN! Gasp!!) and has been appointed as his sole heir to the surprise of everyone 🤨 but its actually because they’re the same person, like Jekyll straight up created Potion Of Make Me Worse and whenever he takes it he loses every semblance of self control and is just Terrible. he kills a guy.

and because all this is definitely Not Healthy eventually Jekyll has a very painful descent into madness, he starts transforming without the potion because his inner demons have grown stronger than him????? and his identity is shattered his true self blurred etc etc he has all manners of existential crises to the point Hyde starts to embody his Guilt and Self Hatred over, you know, Murder and stuff, begins self harming through him in very twisted ways (destroying his personal belongings mmostly) and after transforming for the last time he toasterbaths 😔 drinking rat poison

anyway all this is revealed post-plot twist and only makes up like 25% of the original book so I’m sorry I spoiled a +130 year old book everyone knows the end of anyways.

SO YEAH IT STARTS AS A REGULAR THRILLER THEN GETS INCREASINGLY TENSER AND MORE DISTURBING AND PHILOSOPHICAL AND FUCKED UP 💚 I ABSOLUTELY LOVE IT

💎 are there any fun facts or trivia that you would like to share?

ummmm okay so there are MANY jekyll and hyde movies but one of the considered “classic” ones is the 1931 mamoulian movie! its loosely based off the book and the plot is actually inspired by the 1920 silent movie with John Barrymore so technically it has very little things in common with the book but. okokok. It was a SUPER EXPENSIVE HOLLYWOOD SUPER PRODUCTION! and it was before the Hays Code so it was STEAMY and they invested so much money into it.

anyway they wanted Barrymore to be Jekyll again since it was his Iconic Role but sadly he didn’t want to, he was already playing Jekyll in the theatrical production. They got hollywood heart throb Frederic March as the main character and he fucking NAILED IT, he won an Oscar for his performance!!!! (He still had to share it with another guy tho… because horror movies were considered Low Brow or some shit?) it was the first horror movie that won an Oscar in fact.

it was also revered for the SFX, Mamoulian refused to use the ”stand still as we put the makeup on and we cut the camera” trick other movies at the time used for transformation scenes so he instead used very heavy multicolored makeup; as you changed the lighting on the set it would look like Fredric’s face was actually changing (it was filmed in black and white). They only cut away to apply prothesis (fake teeth, fake hair, wig). The makeup was very heavy and with each transformation it got uglier to represent Hyde’s descent into monsterhood so he’d go from creepy ape man to creepier ape man. The last stage was SO extreme Fredric got sick and was hospitalized for five weeks, and nearly permanently disfigured AND HIS COSTARS WERE SO FUCKING WORRIED ABOUT HIM BECAUSE THEY THOUGHT HE WOULDNT MAKE IT…

soooo thats the story of how very good SFX almost fucked up Fredric March’s career but fortunately they launched it instead (:

#doc talks #long post #jekyll and hyde #dr jekyll and mr hyde

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being-of-rain · 2 years

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Thoughts from my Classic Who watch, this time first half of season 4.

I’m not sure I have much to say on The Smugglers. But tbh I often like historical episodes that don’t interest me much, more than sci-fi episodes that don’t interest me much. Just personal preference. I like the outfits kdjlsf. Ben and Polly continued to be a standout pair- it was funny that they got locked up for not saying where they came from or how they got here when they barely knew themselves. Them pretending to perform witchcraft to get out of the cell was great too. And I laughed when they went looking for the oldest grave they could find and Ben got excited about one from 1592, only for Polly to remind him that they were currently in the early 1600s.

The Tenth Planet has sort of a strange premise, with a second Earth appearing and then blowing itself up but with a very narrow focus on an Antarctic base and a handful of astronauts, but overall it’s got lots of fun things about it. The original Cybermen were creepy as hell, the General dunking on the Doctor was funny, and the show’s prediction of an internationally-organised space program was sweet. My brother and I always laugh when Mondas turns up, looking exactly like Earth upside-down (and in space, of course, Earth doesn’t even have an upside-down) and most of the characters react by saying “there’s something awfully familiar about it, but I just can’t put my finger on it...” One of them outright denies that it looks like an upside-down Earth when people point it out. And either Malaysia is a lot more recognisable than I thought, or Polly is thinking of south-east Asia in general when her first reaction to seeing Mondas is “that bit looks just like Malaysia!” I think Big Finish et al are missing out by not doing Cybermen stories with the First Doctor. He goes into this story very much knowing about Mondas and its inhabitants, but as far as I can find, the closest thing to an explanation for that knowledge the EU has provided is a novel’s passing mention of a trip to the planet.

I remember seeing The Power of the Daleks in cinema while on holidays years ago, when it was newly animated. No strong thoughts about it. I’ve really enjoyed the second Doctor in his first few stories. He really is a little gremlin, desiring hats and ignoring people with his annoying little recorder and talking his way out of all sorts of situations. And wearing costumes too! He really is like a little Trickster fairy, bumbling his way through every plot, and I love that about him a lot.

It’s a shame they didn’t do many historicals with Two, or with classic who in general for a while I guess. Like I said, I just like the costumes, and knowing that it’s set in a time and place that actually happened. I guess I’m just a history nerd jskdlfj. In The Highlanders, Polly took a great deal of joy in blackmailing Ffinch and it was hilarious. The Doctor acting like a German medical man and pretending to examine people he was about to hoodwink was hilarious too. So basically, as usual, the regulars steal the show. And obviously seeing Trask made me want to reread Alien Bodies.

The Underwater Menace was one of the weirdest and wildest Doctor Who stories yet. Casually set in near-future Atlantis, which is totally just hiding beneath the sea near a volcanic island, filled with surgically-created fish people and a scientist who wanted to blow up the world. The plot often felt James Bond or adventures of Tintin. Strange. I read on tardis wiki that originally Zaroff had a tragic backstory about losing his wife and child that drove him mad, but I’m glad that in the final product he just wanted to blow up the world for the sake of it. Good for him.

#I feel like I'm having less to say about stories recently #but eh. They kind of feel a bit more serialised adventure that the main characters bumble their way through right now #I don't mind. I enjoy the tardis team just mucking about. Tricking folk and trying to survive #my thoughts #one #polly #ben #two #jamie #cybermen #daleks

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rareficsnstuff · 4 years

Text

Happy Halloween!! [Akaashi, Tendou, Bokuto]

AN: Okay, Anon, I hope the wait was worth it. I was suddenly inspired by the recent holiday so I combined your request with that element and I thought it made sense to place it in the Kuroo, Bokuto, Tendou post high-school roommates AU that I accidentally started here. Enjoy!!

Summary: Akaashi is invited to a costume party at Bokuto, Kuroo, and Tendou’s apartment, but everyone is less than pleased about his costume. And where’s Tendou?

Words: 3,878

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The doorbell’s tone mixed with the cacophony of chatter that buzzed endlessly throughout the apartment. It caught the attention of Kuroo, who had been conversing with some friends on the couch.

“Bo, that’s your turn!” he shouted over his shoulder to the kitchen.

“Yeah!” came Bokuto’s boisterous, garbled reply before he quickly threw the last bit of candy bar into his mouth and made his way over to the door. He swung the door open jarringly and it collided with the wall behind, leaving a nick in the paint.

“You shouldn’t slam doors. Be more careful, Bokuto,” the new guest scolded calmly.

“AKAASHIII! Hey, hey, hey!! You showed up ~.” Akaashi stood there looking bored, hands clasped behind his back, but as soon as the elder was finished with his verbal greeting, the younger found himself being pulled into a suffocating bear-like hug and lifted off the ground by his overjoyed friend.

“B-Bokuto… I can’t breathe… P-please put me down,” he choked out as he awkwardly hung in Bokuto’s grasp.

“Oh, sorry!” he all but dropped Akaashi on the ground, rubbing his neck and smiling sheepishly while Akaashi removed his coat and hung it with the rest of the guests’. “So… a ghost, yeah?” he asked.

“Yeah. It’s all I had. Sorry…” Akaashi’s ‘costume’ consisted of a white thermal top, a pair of old ripped jeans, sneakers of no particular sort, and the classic white triangle strapped to his head.

“No, no! I like it! It’s like… modern ghost,” Bokuto punctuated with a grand, theatrical wave of his hands. “You look cool!”

“You’re wearing the same costume you’ve worn every year since I met you. Why don’t you ever try something different?”

“Why would I try something different?! This is the perfect costume! Owls are so cool, Why wouldn’t I be one every year?!” Bokuto shouted proudly. Akaashi’s response was to simply stare blankly.

“Right, stupid question. Sorry…” he added dryly. Bokuto shrugged, throwing a hearty slap to Akaashi’s back, knocking the wind out of the younger and making him stumble forward.

“Okay, okay, come in, Akaashi!! You have to see what Tendou and Kuroo did with the decorations! They’re awesome!!” Bokuto cheered, closing the door and pushing Akaashi further inside by his shoulders. “Oh, and their costumes are cool, too! But I bet you can’t guess what Tendou is ~,” he sang in a challenging tone. Akaashi sighed.

At that moment, Kuroo looked over his shoulder at the commotion by the front door. “Heeey, Akaashi! Good ta see ya!” He stood, moving towards them to clap Akaashi on the shoulder. Akaashi’s jaw fell.

“What the-- “

“Whoa, wait a minute, where’s your costume?!” Kuroo fussed, pointing a disappointed finger at Akaashi’s chest. The shorter made a lame gesture of presenting himself with a lazy wave of his hand over his body before he let his hand fall back limply to his side.

“… That’s it…” less of a question, and more of a disappointed statement. Akaashi additionally pointed to the white triangle on his forehead. “Oh, yeah. That’s- that’s much better. Your costume’s pretty wimpy there, Akaashi…” Kuroo finished, dropping the sarcasm.

“It’s all I had,” Akaashi blandly repeated from his earlier conversation with Bokuto.

“Really…” Kuroo’s tone irritated Akaashi. Was he trying to pick a fight or something? The shorter’s eyes narrowed ever-so slightly, but Kuroo still picked up on it. Kuroo reached out, grabbing Akaashi’s headpiece and pulling it away only to let it snap back into place. Akaashi winced, lifting a hand to swat Kuroo’s away.

“Speaking of costumes, what the hell is yours supposed to be?!” Damn… provocation expert for a reason, huh? Akaashi didn’t care right now, though – he just felt like glaring at pain-in-the-ass Kuroo just at the moment. Kuroo smirked with a chuckle.

“What, you can’t tell?” he stopped, waiting for Akaashi to try and guess. Akaashi only continued scowling. “Mad scientist, dud! C’mon!” Sure enough, Kuroo was wearing a white lab coat spattered in fake blood and green faux chemicals over a worn out, grey t-shirt. He had an old pair of torn up corduroys that didn’t quite reach his ankles, long, neon green socks and some old brown loafers that were about a size-and-a-half too large. His hair though, was the real eye catcher: people who knew him would immediately be drawn to the fact that you could see both eyes!! Gone was his usual style of rooster-esque bedhead. He must have spent a lot of time and product to get all his unruly, wiry locks to stand strait up like that. The final details – Akaashi felt were a bit over the top – were a bit of dark eye makeup beneath his eyes – to make him look sleep-deprived, Akaashi supposed – and a pair of large and broken, circular-framed glasses hanging from his t-shirt collar.

“Not much different from how you usually look, is it?” Akaashi snarked. Kuroo’s haughty smirk fell.

“Someone’s in a bad mood tonight,” Bokuto interjected, looking awkwardly between the two.

“Hey, Akaashi, you seen Tendou tonight yet?” Kuroo asked. There was an odd, baiting tone to the question, but Akaashi couldn’t begin to guess where this was going.

“No. I just got here.”

“Well, unlike yours ~, his costume is superb! And I bet you can’t guess what it is?” Kuroo almost growled. There was no question that was a challenge. Now Akaashi just needed to decide if he cared.

Perplexed, Akaashi asked, “What are you getting at?” Kuroo only grinned, eyes glinting mischievously and Akaashi’s brows furrowed untrustingly in response.

“Oh hey, Bo, it’s almost 8 o’clock! I gotta get going!”

“Yeah, yeah, no worries, man! Say hi to Kenma for me, okay?” Bokuto replied sweetly.

“Sure thing!” One final swig from a cup of apple cider nearby, a clap on Bokuto’s back and an elbow nudge at Akaashi before a quick stop at the entryway closet to grab his coat and Kuroo was out the door.

“Kuroo tried to get Kenma to come, but I guess the shrimp wanted to stay in this year. So he’s gonna go spend the rest of the night over there and watch horror movies n’ stuff…” Bokuto explained.

Suddenly, from somewhere in the apartment, there was a shout followed by a string of giggles. Akaashi figured it was coming from one of the bedrooms, but he didn’t really care too much; probably some idiots on a sugar high from all the candy and sweets. He rolled his eyes, but Bokuto looked towards the commotion and chuckled.

“Hey, hey, Akaashi! Look at this!” Bokuto exclaimed, suddenly jumping to one side only to stand in front of a black light that was set up against a wall. He crouched into a kneel on one leg with is arms wrapped around him like a vampire, the feathered sleeves and horned (and beaked) hood of the owl onesie providing more cover to his face. Pausing there a moment – to build suspense? – he suddenly looked up dramatically whilst simultaneously throwing his arms open in a ‘menacing’ way, his face dramatized into a bold, sneering grin. The light from behind caught his form, lighting up the white in his costume and face, making him look like a gargoyle from a children’s television program. Though that probably wasn’t quite the affect Bokuto had been going for. Akaashi stared, trying to process what he was looking at and contain the urge to press his palm across his face.

“Very spooky, Bokuto…” he finally said, to which the ‘gargoyle’ stood to his full height, fists on his hips, and laughed triumphantly – obnoxiously, in Akaashi’s opinion. But he’d be lying if he said he didn’t miss this at all and he found one corner of his mouth lifting. Only a little.

“Didn’t my roomies do a great job on the decorations?!” Bokuto asked proudly. Akaashi looked around, fully observing the décor for the first time.

“Yeah, they really did. The place looks great,” he said truthfully. Again, there was a sudden burst of laughter from somewhere in the apartment. Two voices this time, one more desperate than the other. Akaashi’s head snapped in that direction for a second before glancing back at Bokuto who was, again, grinning in that direction before he turned to meet Akaashi’s eyes with another chuckle.

“Anyways, there’s lots of food and drinks n’ stuff in the kitchen, so help yourself. And you have to try the apple cider; that’s my grandma’s recipe! It’s awesome!” he finished, pumping a fist into the air as he turned and went to mingle with his other guests.

Akaashi stood there awkwardly for half a minute before he decided to fix himself a plate of food. The evening was pleasant enough; he caught up with several old friends and acquaintances and even met some great new people. These were all friends and teammates from Bokuto, Kuroo, and Tendou’s high school years. All pleasant people in their own ways and Akaashi was almost fully enjoying himself after the whole Kuroo dispute. He hadn’t seen much of Bokuto since he left him to his own devices but the elder seemed to be getting around. He was in his element after all – one of them anyways. Every so often, however, there were those random bouts of laughter coming from somewhere in the apartment. He was never in the same room when it happened though; anytime he moved to another room, whatever was going on had suddenly moved to the room he had just left. And he had yet to spot the elusive Tendou...

By about 11 o’clock, the majority of the guests had gone home and more were trickling out by the minute. He and Washio were the only two left in the living room, comfortably chatting on the couch. Even then, with all the rest of the non-residential people left in that apartment, laughter once again sounded through the apartment. Bokuto’s laughter. Loud and boisterous intermingled with (apparently) Tendou’s own laughter. Akaashi thought about asking Washio if he knew anything about this, but decided against it, and all too soon, Washio was excusing himself to go home, going to find the other two for a quick goodbye before he grabbed his coat and walked out the door. Akaashi found himself alone, slowly nursing the last of his eighth glass of apple cider.

“Yooo ~, Akaashi ~! Haven’t seen you all night!” Akaashi turned to see, finally, Tendou emerging from the darkened hallway. Akaashi froze. What the hell was he looking at?!

Bokuto trailed in behind him looking like he’d just run a ten minuet mile; panting and cheeks glowing red, a sheen of sweat coating his forehead.

“Yeah, I guess… I guess we just kept missing each other… I’ve been here since eight,” Akaashi stammered, almost in a daze as his expression became something like concerned confusion. He was so distracted by-- what in god’s name was Tendou wearing?!

“Alright! Hang on! Wait! Full stop! Is that your costume?!” Tendou accused pointing a disgusted finger at Akaashi as his face twisted into abhorred imploration. The younger had to close his eyes, taking a minute to inhale deeply through his nose and release it in a heavy, frustrated sigh.

“Yes. It’s all. I had,” Akaashi bit out.

“Whoa, whoa, no need to get huffy, Kaashi, just making an observation,” Tendou attempted to sooth.

“You were making a criticism…”

“And what the hell are you supposed to be, Tendou!” Akaashi shouted, suddenly jumping to his feet.

“Yeah, you’re right, I was- but you gotta admit… your costume’s shit-“

“Akaashiii ~,” Bokuto sang, finally speaking up. “You’re supposed to guess ~.” The two residents both smiled at their guest, Bokuto’s expression was affectionate and playful while Tendou’s was smug.

Fuzzy. Red. Neck to ankles. Like he had taken part of an Elmo costume from a thrift store. There was a pair of matching red yeti slippers to complete the coverage while his fingernails had been painted black and a pair of black horns peeking out amidst his mess of spiky, red hair. The finishing touch, a bright green, feather boa lei necklace.

“How the hell am I supposed to guess?! You look like you just grabbed the first handful of things you could find at a second hand store!”

“Well, at least we know I put in more effort than you,” Tendou sassed to which Akaashi huffed. There went his good mood. “Anyways, you seem a little grumpy today, don’t you ~?”

“Yeah he’s kinda been that way tonight,” Bokuto confirmed, much to Akaashi’s growing irritation.

“I wonder why…” Akaashi mumbled under his breath.

“So… You really can’t guess what I am, Kaashi?” Tendou purred, creeping towards their grumpy ‘ghost’ guest.

“No. I have no idea. Wha- what are you-- ”

“You really need to guess what he is, Akaashi. But don’t worry, we can help you out with that ~,”

“Guys… What’s going on? You’re kinda freaking me out- please stop inching towards me.”

“I’ll inch wherever I want,” Tendou snipped playfully, looming ever closer to Akaashi and his growing unease of the situation. The red-head had him so distracted – and, frankly, terrified – that he entirely forgot Bokuto had been creeping up behind him.

“AH! BOKUTO! Put me down!” His old Captain had grabbed him from behind, scooping him up by hooking his arms under his Kohai’s. Now Akaashi’s heels were lifted off the ground and he could just barely manage to stand on tip toe. His arms dangled out to the side as he waved them around uselessly and his white thermal rose up to reveal a sliver of skin at his stomach.

“Still no ideas ~?” Tendou’s voice was oozing with mischief, giving Akaashi one final chance.

“… Wanna feel how hard I can kick?” Akaashi bit, snidely, making Tendou chuckle. And that was the last straw.

“Grmph!” Akaashi choked on a grunt, eyes widening into saucers and lips pressing together into a tight line. Every muscle in his body locked up in panic, but when Tendou’s thumbs on his sides continued in those unbearable kneading circles, he could feel himself starting to twitch and his diaphragm beginning to flutter with oncoming laughter. The laughter itself started as exhaled huffs of air and sharp inhales through his nose as his eyes closed and lips curled up more and more as the maddening sensation built. When Tendou switched his touch to a claw-like kneading up and down his quivering sides, Akaashi couldn’t help the light chuckles that slipped from his throat as he turned his face into his shoulder and bit his lip to try and contain some of his more ridiculous reactions. Bokuto and Tendou grinned at each other.

“Oh, Kaashi… I think you can do better ~,” Tendou cooed, traveling his torturous claws upwards just to nibble at his lowest ribs. This had him spasming and trying to back away from the silly touch, but Bokuto easily prevented that sort of escape. The thing about Akaashi, though…, he didn’t hate his laugh, but… he had always been embarrassed to laugh fully in front of people. He didn’t even know why but, in this situation, he couldn’t really help it.

“Ppphht-hehe-- nooohohohahaaa!” Akaashi’s laughter picked up along with his struggling. He gave a few valiant attempts to pull his arms down, but ultimately realized that, with Bokuto being the one holding him in place, there was no chance of that… So, in a desperate attempt to protect himself, he reflexively brought his knees up as a flimsy barrier against Tendou’s searching hands.

“Oh, no, sorry, Akaashi. That isn’t gonna help you, bud,” Bokuto teased, feigning pity as he turned his hands to flutter his fingers at Akaashi’s ears, making him squeak and shake his head. Tendou cackled at this.

“You would know, wouldn’t you, Bo-Bo!” he said, grinning. Keeping one hand at Akaashi’s ribs, he moved the other to one of the now presented knees, making him kick out in reflex. Tendou must have been expecting this response, because he stepped aside just in time to not be kicked in the gut. All hilarity aside, he did not actually want to know how hard Akaashi could kick. “Easy there, Kaashi…”

“Naho! S-stohop thahaaaat!” Stupid Bokuto! Why did he have to be so strong?! With all Akaashi’s flailing, his former Captain wouldn’t budge!

“You’re sooo wiggly ~!” the red-head teased, moving to loop an arm around Akaashi’s kicking leg so he could hold it in place while he scribbled black painted nails at the inside of his knee through a hole in his jeans while still keeping one hand free to explore elsewhere. “Soooo? What am I, Kaashi ~? Any ideas yet?”

“Drohop dead!” Akaashi giggled, quite unthreateningly.

“Alright, now that wasn’t even an attempt at a guess… And it was kinda mean…” Bokuto said from behind, still occasionally ghosting against his ears just to get that squeak again.

“Yeeeah! It was kinda mean!” Tendou agreed, ominously. The tickling stopped and Tendou dropped Akaashi’s captive leg. The ‘ghost’ took this chance to catch his breath, finally letting his feet reunite with the ground and attempting to regain some composure – but with his pink face, glossy eyes, and twitching lips, there was little hope for that. It was a couple seconds later that Akaashi realized that it was quiet and the other two had yet to do anything. Bashfully, he looked up, meeting Tendou’s predatory gaze and impish smirk. The sight made Akaashi’s blood run cold.

“You’ve really done it now,” Tendou started, dangerously. “You’ve disrespected me. You’d better tell me who I am… Or I’ll never stop.” With that, at lightning speed, one hand latched itself to Akaashi’s hip while the other fused with his ribs, fingers kneading, digging, worming, and spidering any way they could, looking for the best reactions. Akaashi careened when Tendou vibrated his fingers into his hip, wheezing around his laughter. To be honest, Akaashi hadn’t even really been thinking about what Tendou’s horrendous costume could be; caught off guard by the sudden tickling and then being too busy laughing… he didn’t have the time or focus.

“Wait a minute, Tendou, hang on…” Bokuto said, sounding way too excited for Akaashi’s liking. To his horror, Akaashi suddenly felt Bokuto slipping his arms out from under his only to readjust his hold to have both his Kohai’s wrists held above his head in one hand. He couldn’t have resisted that if he tried.

“OOooo!” Tendou sang, fingers wiggling excitedly. “Thanks Bo-Bo!”

“Oh no, noho, no, no, no- guys, please! Pleahese dohahaaaahahaha!” With his torso fully vulnerable, Tendou dove right in once more, switching between scribbling, massaging, and vibrating. Akaashi was screeching. He seriously couldn’t remember giggling so hard in his life, with his wrists tugging desperately (but uselessly) at Bokuto’s restraining grip and his face getting redder by the minute-- god was he crying? “GAAA! B-Bokuhuhuhehee! Bohokutoho, DON’Ttthehehe!” And it was getting worse. Bokuto had started running his fingers along his spine, digging his finger into the backs of his ribs, and scratching at his shoulder blades and neck.

“Awww ~ Look at you all ticklish, Akaashi ~. I can’t believe I never knew about this ~,” Bokuto cooed, grinning at the way Akaashi arched away from his touch.

“Yeah, you’re really losing it here, Kaashi ~. Is it that bad ~? Is this just completely unbearable ~?” Tendou’s baby talk had him burying his face in his arm once again, stomping a foot on the wood floor – a vain attempt to alleviate the hilarious, buzzing sensations coursing through him. “Well, it’s gonna get worse, boyo. Who. Am. I?” The way Tendou’s voice shifted so quickly and drastically from baby talk to that ominously, teasing tone… If Akaashi wasn’t laughing so hard, he’d probably be cowering in fear right now.

“WHOAHAHA! HEHEY! NoaaAAA, NOHAAO!” Oops… there was a squeal in there… Yeah, he was never living this down. But Tendou had started running one hand from one of Akaashi’s underarms, down to his hip, while his other hand did the opposite: from his hip, up to his underarm. Akaashi’s brain couldn’t keep up. His knees buckled and he sank to the floor as much as Bokuto’s grip would allow.

“C’mon, Akaashi, you gotta have an idea by now, don’t you?” Bokuto asked, fingers nibbling at the base of his neck. The poor guy didn’t know which way to squirm. Akaashi nodded weakly, tears definitely falling now.

“Oh do you?! Aaand ~?” Tendou inquired, now concentrating solely on his victim’s hips. Akaashi stumbled forward, neck too weak to lift his head to protect against Bokuto’s ongoing attack and only allowing his head to hang down pathetically as he cackled like no one had ever heard him do before.

“AAAAHAha! PleaHA-- YOU-HA-- YOUHA’RE THE T-t-heehehehe! T-t-tTIHICKLE MOHONSTEHEHER! STAHA--! PLEAHEEESE- STAHAHAAAP!!” Wow… Now he had resorted to begging. They were never, ever going to let him live this down.

“Sorry, what was that, ghosty boy ~? I couldn’t quite catch it ~.” And of course Tendou was going to drag this out. He is the tickle monster after all…

Tendou went from massaging Akaashi’s poor hips to vibrating claws into them while Bokuto also switched to poke around under his arms.

“TIHICKLE MONSTER! YOHOU’RE THE T-TICKLE MOHONSTEHEHAHAAAA!”

“rrrRRRIGHT YOU ARE, BOYO!” And finally, the tickling stopped. For good this time and Bokuto released his wrists to gently lower him to the ground where he crumpled into a giggling lump as the other two grinned down at him fondly. “I gotta say, Kaashi, I’m pretty disappointed… It took you waaaay longer to figure it out than anyone else.

“Well, how was I supposed to know?” Akaashi panted lightly. “You look like you just grabbed a bunch of stuff from a second hand store and threw ‘em together into that disaster…” He opened one eye to glance playfully at Tendou.

“You want me to tickle you some more ~? Bo-Bo, get-- ”

“NO! No, okay, I’m sorry! I’m sorry!” The younger pleaded, making his two Sempai snicker.

“Well, actually, you’re not far off. That’s just about what I did do. I’d had the idea planned out for months, but I still needed the pieces, so I thought the easiest way to find them was second hand stores at stuff…” Tendou replied, a pondering expression on his face as he recalled the experience. Akaashi chuckled, throwing a palm over his eyes when Bokuto joined in heartily and Tendou followed soon after in his own string of wild giggles. When they had all calmed down, Tendou extended a hand to help Akaashi up who graciously accepted.

“Okay, be honest, Kaashi… is that really all you had ~?” the red-head prodded, cocking an eyebrow incredulously at the younger. Akaashi grinned.

“No. Heh… I just didn’t want to deal with it. I grabbed the first thing out of my closet and made the headpiece out of an old napkin!” he finished just before breaking out into giggles again and sending the other two over the edge as well.

“Hey, I still think it looks great!” Bokuto chirped, clapping Akaashi on the back.

“Thanks, Bokuto,” Akaashi said, grinning at his former Captain.

“Happy Halloween, everybody!!” Tendou exclaimed, throwing his arms in the air jubilantly, making the other two laugh again. Akaashi shook his head.

“Weirdest Halloween ever…”

#tickle fic #haikyuu!!#ask #anonymous #answered #Akaashi Keiji #Tendou Satori #Bokuto Koutarou

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shatterstar · 4 years

Note

Please tell me about shatterstar's Childhood

oh my god anon okay I’m assuming in context of what I’ve recently posted you want like... my version of events rather than what’s canon but just in case I hope you know that there’s basically zero canon material that actually describes his childhood/young adulthood beyond “I was a warrior born” or whatever the fuck. if you want to know about that idk go on the fucken... marvel wiki page or something

also--I hate that I have to put this out here and I doubt anyone would actually do this but just in case--I have spent like 1 million hours thinking about this because I have brain disorders and it is very close to my heart so please do not A) use this in fics, etc without letting me know/getting my permission in advance or B) reblog this post

anyways. this is a can of worms so I’m going to do a cheeky lil

first we have to get something out of the way: I hate the “shatterstar’s his own grandpa” paradox. I am sorry if this angers people but it makes me mad so I ignore it. the reason it bothers me is because it means alison blaire essentially married her grandson, which is A) weird and B) bad from a genetics perspective.

in my version of canon ‘star IS the biological child of longshot and dazzler but longshot wasn’t cloned using ‘star’s DNA because..... oh god... another whole separate post can be made about this but... in my head, on mojoworld the way genetic engineering works is not really the same as it is here. here genetic engineering generally means taking an existing genome and inserting or deleting genes. this is how they make, for example, animals that glow, or confer pesticide resistance to plants.

but on mojoworld I think the way they genetically engineer is more like... the way we mechanically engineer. like the entire organism is built from the ground up. there’s a master genetic blueprint which is essentially the “minimal genome” required for a functioning humanoid. this was created by study of Earth humans by arize and the other genetic engineers. they can then go in and customize by adding elements to the genome that code for the signals/building blocks that control things like height, strength, hair color, eye color, having hollow bones etc. so in my head longshot was sort of... designed with ‘star as the inspiration, but not directly cloned. that wouldn’t even make sense anyways because A) different hair color and B) LONGSHOT HAS 3 FINGERS ON EACH HAND and shatterstar has 4!! thats NOT HOW CLONES WOULD WORK!!!!

(side note, the concept of a minimal functional genome is a real thing in biology! some scientists have taken a bacterium that already has a small genome and reduced it to the minimum size required for viability. here is a wikipedia article on it and here is the original paper (DOI: 10.1126/science.286.5447.2165) which I can explain in more detail because I took a class on synthetic biology which this technically falls under and I had to read this paper very closely).

fuck I’ve written 4 paragraphs and not even talked about his childhood yet. I am so sorry. anyways. so the way I think they raise the gladiators on mojoworld is they create them in batches of 5 to 10 identical copies of a certain “model”, place each copy in a different “class” with a set of 2-3 mentors/teachers, and train them to fight until they are 13 or 14. until this time the only names they have are the names that identify the “model”--like for shatterstar that would be gaveedra-seven where the model identifier is “gaveedra” and he is (in the lore that I have come up with) the 7th of 8 total.

the reason they create multiples and put them in different classes is each mentor is going to have a slightly different style of teaching which is going to work better for some and worse for others, so it allows them to have more mass production while increasing the chances of creating a truly great champion. it’s classic nature versus nurture--the genetic engineers create your nature, but you don’t end up exactly the same as others of your model. maybe you get an edge, maybe you don’t.

another thing that happens is different mentors believe in different ways of raising the kids in their care. shatterstar specifically was raised in a class where there was absolutely zero emotional development at all and no attachments allowed beyond fighting alliances. that’s not the case in all classes, and it also had the effect of making him somewhat of an outsider even within the other gladiators as he got older.

at 13 or 14--and yes I realize this is very fucked up but dude its fucking mojoworld idk what you expected--they start participating in fights. the first ones aren’t to the death and they’re as teams and they’re not usually televised they’re more like high school sports games that are attended by scouts (here, they’re “sponsors”--I think that’s a canonical term but I honestly can’t remember) and if you get sponsored you leave your class and join a new “team” that’s really just a bunch of people who all have the same sponsorship. this is where things can get interesting because they’ve all been raised with slightly different fighting styles but more importantly, slightly different degrees of Personhood.

also at this point I should mention that by this time, there are usually only 2, maybe 3 of each model left. either they died or were recognized as not having talent so they were sent to eventually fulfill other roles in the network. in ‘star’s case there was just him and gaveedra-five. once you get to the stage where you’re sponsored and you’re actually fighting to the death one of the first people you’ll fight is any remaining members of your model group.

by the time you’re the only one left of your group, you’re also eligible to earn a stage name. this usually happens if you have a particularly epic fight with a lot of viewers, you win and the commentators will typically say something like “Let’s give this crowd a real name to cheer!” and they’ll have a few candidate names and they’ll kind of just pick one. AUGH I actually have this scene written out in story form but its too long so I think I’ll save it.... :)

after you get a name you also get a cool outfit and usually some kind of mark or tattoo that serves as a brand. this brings me to another important point--shatterstar inherited the X-gene from alison and therefore he IS a mutant. his mutation is the swords vibration thing and the glowing eye. the star mark is a tattoo and teleportation is benjamin russell’s mutation (how he fits into all this is... for another post). basically after he got his name the costuming department guys were like “hey your eye glows, you look like the Legendary Warrior of Old, Longshot, we’re gonna pattern your look after him” so they gave him the star tattoo and the outfit that’s literally inverse colors of longshot’s.

also this brings me to another aside: you’re probably wondering “if he’s the biological kid of longshot and alison how are there 8 gaveedras?” when the genetic engineers got a hold on him as a baby they were like Sick! free baby! free genetic material! thats our job done for us! so they cloned him (in the traditional sense) and made 7 copies. this was also to kind of conceal his identity as technically being from outside mojoworld, which would make him stick out and thus be a target. they DID edit out the x-gene in the other gaveedra models though. this wasn’t a problem for ‘star because his mutation didn’t manifest until he was already sponsored.

I think that’s .... pretty much it for macroscopic lore on what it was like to be a kid gladiator on mojoworld. now let me give you some Tidbits of his life specifically:

like I said he was raised in a particularly cold and ruthless class. the mentors that raised him are like well-known by everyone to produce some of the best warriors but also there’s discourse on mojoworld because some people say perfectly emotionless killing machines aren’t as fun to watch. when he was sponsored there were 4-5 others in the same sponsorship and they were like Theres Something Wrong With You LOL

they speak earth languages on mojoworld because they’re imitating the broadcasts they (the spineless ones) used to hear from earth. however, most of the lower-class as well as almost all arena fighters and other television personalities speak cadre or other languages which are native to the planet. the stage names are all vaguely in english, but the gladiators don’t really understand them at first.

shatterstar got his name before he got the glowing eye, and when he learned what stars are, and saw his eye as a little star, he was like wow :) this is Me :) which is why that name is so important to him. it’s also one of the first things that wholly belonged to him.

(you can’t see stars on mojoworld because of light pollution and also because it’s a pocket dimension and there just aren’t that many stars to see)

I hate to bring up the s**ley miniseries but I do think it would be interesting to have him have a sort of ... mentor/first friend, similar to the concept of gringrave but they were NOT in a relationship. it was more like... another kid who was a year or so older than him got a soft spot for him and helped him not be so clueless. she didn’t make as much progress as xforce did, obviously. but they were.... something like friends.

unfortunately she was used by spiral to get shatterstar to murder the first rebel guy who tried to get him out of there. then she got switched sponsors (this can happen) and he had to kill her, and he was like well I will simply never develop any kind of attachment to anyone ever again.

he almost didn’t make it out of the first training session with his sponsorship group (this is semi-canon--there’s a reference when he’s teaching terry to swordfight to almost not surviving the first time he was in a gladiator class or whatever it was).

the closest he ever came to losing was the day he got the name. that’s why the crowds loved it so much.

the double-bladed sword was a gimmick weapon but when he got his mutation they realized it works way better if there’s resonance between two parallel blades so they redesigned it as an actual weapon.

(forgot this but I feel like I should include it) at 17 he escaped the arenas and joined the cadre alliance. two years later he came to earth and joined xforce.

I think that’s going to have to be it for now because it’s literally almost midnight and I have work tomorrow and I did NOT intend to stay up this late but I did. thank you for this opportunity anon :) feel free to ask me any other questions and also I realize a lot of this probably makes no fucking sense and that’s because I am not a writer or anything I’m just a biochemist with brain problems that cause me to obsess over stupid shit

#answered #shatterstar #GHKDJFDKHGRJ I KNOW THERES SOMETHING WRONG W/ ME THAT THIS FEELS LIKE EXPOSING MY SOUL....#Anonymous #long post #NSCU #<-thats my new tag since other people have asked about this #it stands for nadine shatterstar cinematic universe

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cinemavariety · 4 years

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Cinema Variety’s Top Favorite Films of 2019

To quote Principal Duvall from the 2004 teen comedy classic Mean Girls: “I just wanted to say that you’re all winners, and that I couldn’t be happier the year is ending” 2019 was both a super difficult year personally, but even more so, I feel as if it was one of the weakest years for cinema in recent memory. Thankfully the last few months of the year have made up for it with a surplus of absolutely incredible cinematic experiences, many of which are reflected in this year’s rankings. I present to you my favorite films of 2019. Check out my rankings from previous years by checking out the links below:

Top Picks of 2018 List Top Picks of 2017 List Top Picks of 2016 List Top Picks of 2015 List Top Picks of 2014 List Top Picks of 2013 List

Honorable Mentions: Midsommar Uncut Gems Parasite 3 From Hell The Death and Life of John F. Donavan **THIS LIST IS IN ORDER AND CONTAINS SOME MILD SPOILERS**

#16 - Ready or Not Directed by Matt Bettinelli-Olpin & Tyler Gillett

Ready or Not looked entertaining enough from the trailers, but it certainly wasn’t anything I was dying to go see. Especially in a movie theatre. However my brother convinced me to go with him and it ended up being one of the most consistently fun and entertaining theatrical experiences of 2019.

There were a lot of similar plot elements to the brilliant 2013 horror film - You’re Next (which by the way is one of my favorites). The plot is about a young girl, who grew up an orphan, marrying into an insanely wealthy family. The family has a tradition of playing a game on the wedding night, and she ends up choosing a game of hide and seek. Unbeknownst to the bride, the family is actually planning to hunt her down and murder her in order to perform some type of satanic ritual.

Horror comedies only work for me about half the time, but his film has enough graphic violence and intense situations to counterbalance all of the humor throughout. They complemented each other well and the result was a super funny and super bloody cat and mouse hunt of social classes.

#15 - Doctor Sleep Directed by Mike Flanagan

Helming the sequel to The Shining is no easy undertaking whatsoever. Kubrick’s arthouse horror masterpiece will forever remain not only one of my favorite of his films, but also as one of my favorite genre pieces in general. I was immediately relieved when I discovered that Mike Flanagan signed on to direct the adaptation of Stephen King’s sequel - Doctor Sleep.

I already knew beforehand that Doctor Sleep was more of a fantasy story than a direct horror, and also wasn’t one of the most popular of King’s works. The film ended up being a pretty epic fantasy thriller. Flanagan excels in creating his own universe while also honoring the source material, as well as paying homage to Kubrick’s film. However, it shines more when it does its own thing instead of trying to be nostalgia porn.

Most of the film worked for me, some of it didn’t. The recasting of Jack Torrance’s character left a slightly sour taste in my mouth. Ewan McGregor does a great job as the recovering Danny but it is really Rebecca Ferguson who steals the show with her villain character Rose the Hat.

Doctor Sleep proves that Flanagan has become one of the most consistent horror directors working in the industry. There’s always a pulse to be discovered in the foundations of his storytelling.

#14 - High Life Directed by Claire Denis

Claire Denis, one of the most polarizing French auteurs, debuted her first English language film in 2019 with High Life. I had the pleasure of seeing the film on a big screen, and even though I felt a little underwhelmed as an initial reaction to the finale, the film seemed to linger in my subconscious like a haunting unresolved dream. It held up even better on a re-watch, which you can view for free if you have Amazon Prime.

It’s definitely unlike any space film that I have ever seen. The premise surrounds a group of prisoners on death row who are sent to the farthest depths of space on a doomed voyage. All of the occupants are corralled by Juliette Binoche’s character, who plays some type of mad space scientist, is obsessed with collecting their semen in order to create new life in the abyss of the cosmos.

High Life is a slow burn, often minimalist film, which relies more heavily on atmosphere/score/visuals than it does on dialogue or forced plot elements. It’s bewilderingly nihilistic in how it depicts human behavior gone horribly awry. Robert Pattinson gives an understated performance and seems to provide the only glimmer of what seems to be hope by the end of the film.

#13 - Too Old to Die Young Directed by Nicolas Winding Refn

Too Old To Die Young finds the celebrated auteur, Nicolas Winding Refn, sharing his view of humanity and society at its most despicable. Hate seems to seep out of the cracks of every neon-soaked frame in the limited series. Amazon gave Refn free reigns in creating his phantasmagoria.

All of his usual motifs and creative decisions are employed in full force with Too Old To Die Young, sometimes to an almost unbearable degree unless you are a truth Refn aficionado. His long takes, infinitesimal silences between lines, neon lighting, synth score and characters belonging to a criminal underworld are all utilized to great affect within the series.

I won’t lie, I found it to be some of Refn’s most challenging work to date. There are so many aspects to be found within this series that went over my head, it is art that demands a re-watch. And while I believe that Refn’s sensibilities are best conveyed through a film medium, the limited series allows Refn to explore what he wants to convey like an artist adding layer upon layer of colors onto a blank palette.

#12 - Age Out Directed by A.J. Edwards

A.J. Edwards returned in 2019 with his sophomore directorial effort - Age Out (originally titled Friday’s Child). Edwards has served as one of many creatives who worked on the editing team of Terrence Malick’s films in the last decade. Malick’s influence on the director is quite noticeable. Edwards directed his first film in 2014, The Better Angels, which was a decent debut. Whereas The Better Angels oftentimes felt too close of a mimicry of Malick’s style, Age Out utilizes certain aspects of the style while also allowing Edwards to have his own authorial voice.

The film centers around a young man named Richie as he is about to “age out” of the foster care facility in which he was raised - a frightening reality for countless youth in America and around the world. Richie is left to navigate the difficulties of the adult world at a mere eighteen years old, without any family or parental figures to help him along the way. He makes friends with a seedy townie who revels in delinquency and causing ruckus. Also, there is a romantic subplot between Richie and a girl named Joan, portrayed tenderly by Imogen Poots. This relationship seems to be the only saving grace in Richie’s life. However, a turn of events soon reveal that Richie’s traumatic past has gotten the better of him and threatens to doom his entire future.

Edwards shoots the film in a boxed style with a 1.33 : 1 aspect ratio. This aids with the sense of claustrophobia and paranoia that invades Richie’s life. As aforementioned, many of Malick’s motifs are used here: a floating steadicam guiding the audience along, hushed dialogue, montages with classical music, and even some voice overs. However, this aesthetic isn’t heavy handed in any way. In fact, it’s a joy to see directors whose work can almost go into the Malick canon as the auteur has had such an influence on a lot of young, upcoming directors. Age Out is both a coming of age story and a cry of warning for unhealed trauma.

#11 - An Elephant Sitting Still Directed by Hu Bo

An Elephant Sitting Still now holds the spot as the longest running film that I have ever seen. It sits in at just under four hours, and it completely delivers without ever feeling like it drags on unnecessarily. The film technically premiered in 2018 and is considered a 2018 film among critic circles. However, the epic didn’t get a widespread distribution in the U.S. until this year, so I am overlooking this discrepancy. The film was marked with somewhat of a controversy after the director Hu Bo took his own life right after post production was completed. Hu Bo is an author turned director and An Elephant Sitting Still marks his first foray into cinema. It’s one of the best directorial debuts I have ever seen.

The film centers around four different characters during the span of a single day. All of these characters are marked with some sort of tragedy, and many of their stories intertwine in a synchronistic fashion. It reminded me of other masterpieces such an Inarittu’s Amores Perros or Paul Thomas Anderson’s Magnolia. The film takes place in the industrial regions of Northern China, and the barren landscapes reflect an inner emptiness that emanates from all the characters.

There is a hollowness to these people as they navigate through life. An Elephant Sitting Still is nothing short of nihilistic. It’s an angry, desperate and hauntingly beautiful cry of pain from a director who was most certainly haunted by his own inner demons. It manages to be both an odyssey of human cruelty and a swan song from a young man who didn’t see a light at the end of the tunnel.

#10 - Joker Directed by Todd Phillips

“It’s getting crazier out there, isn’t it?” These are some of the first lines to be uttered in Todd Philip’s pitch-black satire on society. These lines are what best exemplify the themes that Philip’s was pushing: our society is profoundly sick, everything seems to be getting worse, we have no saviors in sight and hope isn’t always on the horizon. Just from these first utterances, it is clear that Philips is taking all of the political and socioeconomic turmoil of the last four years and has created a problem child that is Joker.

Joaquin Phoenix turns in one of his most disturbed and flawless performances yet - which is no surprise. However, I have yet to see him embody a character so genuinely as he did in The Master. But this isn’t Paul Thomas Anderson, this is Todd Phillips. And the fact that the comedy director even created this piece of art is something that still has me scratching my head. Subtlety is never at play in the film, and there are quite a few plot points that are a little too on-the-nose, even for me. However, all of the other elements redeem it and make this one of the best films of the year. The cinematography is pleasing for the eyes, and the menacing cello scores echoes an existential loneliness that I felt permeate my very being.

The last thirty minutes are exactly what I was hoping from this film. It’s a breath of fresh air to see Hollywood actually stick to creating a nihilistic film that doesn’t once try to water itself down.

#9 - Luce Directed by Julius Onah

Director Julius Onah decided to really step up his game with his latest film Luce. After the dumpster fire that was The Cloverfield Paradox (seriously, thanks for completely ruining what was becoming a dope anthology franchise), Onah has proven that he can be a master of his craft with the proper source material. In regards to the story being told, every element of the film works to its advantage: editing, performances, direction, and most importantly - the screenplay. It’s one of most well written screenplays I have come across in 2019. I immediately could tell from the dialogue that this movie must have been adapted from a stage play, and sure enough upon searching, I found out it was. Not all stage adaptations work, in fact I’d say more than half don’t end up being too effective, but this one stuck its landing and then more.

The story revolves around an overly concerned teacher who contacts Luce’s parents after he writes a paper that comes off as threatening. The paper in question seemed to hold a sentiment in which violence was called for in order to overcome colonialism. It’s important to note that Luce was a child soldier in his native country before being adopted by his parents - played by Naomi Watts and Tim Roth who both gave stunning performances. The rest of the story is an investigation into who their son actually is, which eventually results in moral debates regarding race and identity.

Luce is also a film that effectively helps the audience empathize with the main character, while at the same time questioning whether his intentions are genuine, or a coy to hide something much darker. The truth isn’t always black and white, and this was my biggest takeaway from the movie.

#8 - Monos Directed by Alejandro Landes

Monos felt like a hybrid of elements inspired from great works such as Lord of the Flies, Aguirre: The Wrath of God and Apocalypse Now. This is only the third film to be directed by Alejandro Landes, however it looks and feels as if it was created by a seasoned veteran of the industry.

A group of children guerilla soldiers hold base on a mountaintop where they keep a hostage, watch over a prized cow, and act as a defensive force against an unbeknownst group of enemies. There is little to no exposition in the film. Landes drops the audience off right in the middle of the chaos.

We aren’t exactly sure what these children are risking their lives to fight for, or why they are doing it, but it goes to show the conditions in which they were raised for them to find normalcy in the violent lifestyle of a guerilla soldier. The landscapes are absolutely gorgeous, and there are even a few scenes where I questioned how they accomplished such shots/stunts with a low budget.

#7 - The Beach Bum Directed by Harmony Korine

The Beach Bum might not be the best film that Harmony Korine has directed (it’s certainly no Spring Breakers), but it is easily the most fun. It’s been almost seven long years since Korine’s last project, and I had been waiting in eager anticipation to see what he would do next. He was originally going to do a gangster crime drama called The Trap, which is what I was really hoping from Korine, but that fell through and he ended up making one of the best stoner comedies I have ever had the pleasure of watching.

The Beach Bum is probably Korine’s most accessible and audience-friendly film he’s ever done. I say that lightly though, because it still remains just as highly divisive as his other work. The plot is loose. It follows the misadventures and antics of Moondog, a washed up poet and complete burnout. He is soon sent to rehab for all of his illegal activities, in which he breaks out with the help of Zac Efron’s character, who might have just been my favorite character of the film. Korine seems to have a consistently solid knack to create dirty, seedy and absolutely enthralling characters.

I am really happy that he decided to keep a very similar visual aesthetic to his previous masterpiece, Spring Breakers. Benoit Debie, who is the king of neon lighting and discombobulating camerawork, does a masterful job at creating the textured and visual world of The Beach Bum. Hell, it’s probably one of the main reasons why I decided to see it twice on the big screen.

I’m not the biggest fan of comedies, mostly because I have a very bizarre sense of humor and find most of them to be completely hollow. But Korine’s darkly nihilistic sense of humor suits my sensibilities perfectly and I found myself laughing out loud at various points throughout The Beach Bum. It’s a fun, and even slightly endearing film at certain points thanks to the presence of Isla Fisher’s character as the wife. I look forward to whatever Korine decides to do next. At this point, who knows where he will decide to go with his career. I just hope I don’t have to wait another five plus years to see more of his work.

#6 - A Hidden Life Directed by Terrence Malick

Malick isn’t “back” - he never left. A Hidden Life isn’t a “return to form”. His form has always been there, it’s been evolving since The Tree of Life. In fact, the structure and flow of this film is extremely reminiscent of his past three films.

How far are you willing to walk the path of righteousness, even when the path is marred with pain and unanswered sufferings? How long are you able to cling to your faith when it feels like all hope is lost? How do you fight for what is good, when everyone around you is telling you to submit to forces of absolute evil? These are some of just many questions explored in Terrence Malick’s newest tour de force. As with many of Malick’s recent work, these aren’t questions that are necessarily outright answered during the film. They are instead questions of morality meant to be repeated throughout the story, almost like a mantra or an ode to pure faith.

A Hidden Life is Malick’s first return to chronological and narrative-driven filmmaking since The New World. It has garnered praise almost universally among critics, and is regarded as his best film in ten years since The Tree of Life. While I am in the few who don’t exactly agree that this is Malick’s best film in a decade, I might even dare say that it is among my least favorites of Malick’s recent output, I am still not denying the sublime mastery instilled in every single shot of this film.

A Hidden Life tells the noble true story of Franz Jagerstatter, an Austrian conscientious objector, who refuses to fight for the Nazis in World War II due to his religious beliefs and is eventually executed for it. He is decades later deemed a martyr by the Church - all the more telling as to why Malick decided to tackle this story. The heart of this story is told through letters that Franz and his wife Fani exchange throughout his period spent as a political prisoner. Fani seems to be one of the only people in Franz’s life who sticks by his side. No matter how soul crushing Franz’s decision is for Fani, she understands him well enough to know that death is a better option than spoiling your soul and humanity. “Better to suffer injustices than to do it,” as one character painfully states in the film. And while I wasn’t as emotionally wrecked as I thought I would be by this film, I instead feel inspired by Franz’s commitment to his innate goodness. The back and forth perspectives of Franz and Fani are well executed - we as an audience get reprieves from the dreary confines of a prison cell to the majestic grandeur of the Austrian mountainside. The mountains and surrounding nature are characters within themselves. Near the finale, as Franz is face to face with his mortality, his mind wanders back to riding his motorcycle through the village on a sunny day as the mountains loom in the background. These are the final desires of a doomed man, something as simple as having the freedom to go outside and feel the grass beneath his feet - to experience the wonders of nature that most people don’t think twice about.

As mentioned earlier, it is far from my favorite of Malick’s oeuvre, and is not without its slight misgivings. It was stated that this was Malick’s return to “narratively focused” filmmaking. But he still utilized his signature elliptical style, and for me these moods oftentimes clashed and kept me at a distance emotionally. I rarely say this with a Malick film, but more of a reliance on dialogue would have worked wonders for me. There are quite a few sequences in which Malick opted for montage instead of a more fleshed out scene, which I believe would have further added to the power of the story.

These are all slight issues, and I myself might be a harsher critic than most simply because I hold Malick to such a high standard. Once you can give yourself to the film, A Hidden Life becomes a true zen experience. It managed to instill a sense of serene presence within myself. I felt very grateful for the most basic and common details of my life and this world. Malick’s work can be such a sensorial rush, and making even mundane objects and rooms look absolutely gorgeous, that it’s as if “everything is shining” in my own life after seeing the film. I look forward to returning to The Church of Malick very soon.

#5 - Ad Astra Directed by James Gray

Ad Astra got a lot of unwarranted hate this year in my opinion. It truly is a shame because I believe that James Gray has struck gold once again. While I don’t adore it to the same degree as I did Gray’s previous feature, The Lost City of Z, Ad Astra succeeds in being one of the most understated space films made in the 21st century.

It’s not exactly a wholly original story, or a plot that is something that we haven’t seen before. It’s the way Gray goes about telling this story and exploring these themes that makes it so very special. It’s not forcing any overreaching philosophical or ethical message onto the viewer, it’s not overly complicated or overly long, and rather than trying to present completely senseless physical explanations to the audience, it just accepts the fiction aspect as “science fiction”.

Hoyte Van Hoytema is a brilliant Director of Photography and he crafts some of the most breathtaking space shots in recent memory. He really captures the breathtaking enormity of the cosmis abyss. The scenes that take place near Nepture during the finale are jaw dropping. We see two characters wrestling each other while suspended midair and the camera pulls out to reveal their absolutely terrifying ordeal while splashes of Neptune’s purple color emanates behind them. What I enjoyed most about the film is this sort of serene, zen atmosphere that Gray creates through the visuals, the score and Brad Pitt’s heartfelt but quietly somber voiceover.

Pitt portrays a lonely, broken and existentially conflicted astronaut. He finds the quiet infinitude of space to be a reprieve from the chaos of conflict happening down on Earth. He feels more at home among the stars than he does on the planet in which he was born. His perspective reminds me of the blue God from Watchmen, Doctor Manhattan, when he’s dwelling peacefully on Mars and laments his feelings toward Earth and all the people on it: “I am tired of Earth. These People. I am tired of being caught in the tangle of their lives.”

James Gray’s Ad Astra, much like his previous two films before this, detail the pains and tribulations of undaunted pioneers as they explore foreign territories. The final monologue of Pitt’s washed over me like a gentle breeze: “I will rely on those closest to me, and I will share their burders, as they share mine. I will live and love.”

#4 - Anima Directed by Paul Thomas Anderson

Interprative dance, experimental film, and visual albums are three of my absolutely favorite art forms. The real MVP of modern cinema, Paul Thomas Anderson, has collaborated with one of the real MVP’s of modern music, Thom Yorke, to create a fifteen minute long music video on the power of human connection.

Thom Yorke plays a sleepy commuter, a passive bystander, a human sheep, a functioning cog in some great machinery. He makes brief eye contact with a pretty woman on the train, and notices that she leaves behind a briefcase. The rest of the short details his efforts as he dodges through obstacle after obstacle trying to find the woman and return the briefcase to her. I couldn’t believe my eyes as Anderson concocts the innermost desires of being seen, understood, and loved. The results are strokes of flashing light projections on concrete walls, bodies undulating as they separate and conjoin simultaneously, giddy humans running through fog, and lovers meeting in the union of hearts.

The final section, Dawn Chorus, is one of the most gentle and blissful experiences I have ever witnessed, let alone one in a film distributed by Netflix. Paul Thomas Anderson and Thom Yorke’s project had me understanding why I fell in love with this medium in the first place.

#3 - 1917 Directed by Sam Mendes

1917 takes the spot as my favorite war film of the decade. Personally, I found it to be one of the best war films ever made in general. What director Sam Mendes and DOP Roger Deakins have created is nothing short of a miracle. It’s the first “single take” war film to ever be made, mainly because this is a feat that is far from easy to pull off. Mendes and Deakins shot the movie in extreme long takes, and spliced them all together to make the whole movie come off as a seamless single take. These tracking shots never leave the side of the characters, we are in their footsteps on the journey the entire time.

1917 has a pretty simple premise: two young British soldiers are given a near impossible mission to cross enemy territory and deliver a message that will stop a deadly attack on over 1,500 soldiers - one of them being the brother of one of the two soldiers sent on the mission. The familial aspect contributes added emotional gravitas to the plot overall.

1917 is more of an experiential war film than it is a action or battle focused war film. It’s best to be seen in an IMAX because the sound design and the invasive tracking shots make you feel as if you are walking along these two soldiers as they face grave perils on their quest to deliver the message. I very much so enjoyed that they kept the plot small and intimate, without resorting to constant firepower to keep the audience engaged. That isn’t too say that the movie doesn’t have more than enough of its fair share of nail biting action sequences, and also plenty of gruesome shots depicting the carnage that World War I brought. These soldiers have to army crawl over rotting corpses, while rats and crows are seen pecking and chewing through the remains. The filmmaker doesn’t turn a blind eye to the horrors that war produced. To me, this is one of many reasons why I believe 1917 is superior to other popular recent war films such as Dunkirk. I don’t want my war films to be sanitized. War needs to be portrayed as it truly is - acts of complete inhumanity.

Dare I say that 1917 is Come and See for the 21st century. While Come and See is most definitely the superior film, there were echoes of the classic Soviet Union masterpiece that ring throughout 1917. Maybe it’s the expertly crafted tracking shots, maybe it’s the maddening use of sound design/editing, or maybe it’s the shell shocked expression that is engraved on one of the main characters faces near the finale.

1917 does an amazing job of being very loud, but also utilizing silence in certain scenes to great affect. The juxtaposition is most expertly crafted during one scene that involved flares popping off in the sky, lighting up the ruins of a city, as one the characters runs away from enemy fire. It’s an absolutely exhilarating scene. I ended up bawling by the end of the movie, mostly just because of all the pent up anxiety and distress I felt throughout. You don’t see many films that take place during World War I anymore. But 1917 shows it is not a time period to be forgotten about.

#2 - The Lighthouse Directed by Robert Eggers

I had been eagerly anticipating Robert Eggers’s follow-up film after he released The VVitch back in 2016. At first it was reported that he was going to be doing an adaptation of Nosferatu, which I still think would be a great story for Egger’s to adapt, especially after witnessing what he instead decided to make - The Lighthouse.

Shot gorgeously in black & white on gritty 16mm celluloid, the film looks like it comes from a completely different era (the dialogue as well). There were many shots that had a similar look to some of Bergman’s early work on the Faroe islands.

The Lighthouse has a fairly simple plot. Robert Pattinson plays Winslow who goes to work for a seasoned lighthouse keeper named Thomas who is played by Willem Dafoe. Winslow is new to being a wickie and Thomas takes him under his wing to show him the ropes. Thomas orders him about incessantly in a brute and abusive manner.

There is a minimalism to the plot, however all of the other elements are done so perfectly that the daily grueling routines of these wickies becomes nothing short of hypnotizing. The sound design and score ratchets up the harsh conditions of the island. Wind sounds like its constantly shrieking outside - a reminder of the unease that seems to be building to an overflow. The dialogue, diction, and accents are all completely authentic to the time period and setting that the story is taking place in. Eggers commitment is second to none when it come to detail and authenticity with aspects such as the character’s accents and inflections. A real case of cabin fever befalls the two men who both seem to become obsessed with the mystical light that emanates at the top of the light house.

While I really enjoyed The VVItch, I absolutely adored The Lighthouse and find it to be a much stronger work from Eggers. I think what I vibed with most about it is that the movie doesn’t feel the need to be confined to one particular genre. Whereas The VVitch was literally about a witch bringing misery to a Puritan family, it was constricted to be somewhat of a horror film. However, The Lighthouse manages to be many different tones: a fever dream surrealist film, an arthouse horror, a slapstick comedy, and a nautical retelling of many ancient sea myths. And all of these different tones worked together and bounced off each other in perfect harmony.

I found myself both laughing and completely repulsed by the images I was seeing - especially within the last act of the film which succeeded in shaking me up and making me feel both bewildered and slightly nauseated. It ends up being a gritty, dirty, and uncompromising journey into total psychosis. By the conclusion of the film, the audience comes to the same realization as the two characters - there really was enchantment in the light after all.

#1 - Waves Directed by Trey Edward Shults

Waves is an operatic cry for people to be better to one another. It is by far my favorite film of the year, and I truly believe it to be one of the finest films ever made. It earned itself a well deserved spot in my Top 25 Favorite Films of the Decade.

Trey Edward Shults started out his cinematic career on a strong note with Krisha. He delivered once again with his sophomore debut - It Comes at Night (even if I do find it to be easily the weakest of out the three he has directed). But for me, Waves is where Shults really experiments with his style to such a fine tuned degree that we find the director not calming down his vision or becoming more “grounded”, instead he expands upon his prowess with one of the most powerful family dramas I’ve ever seen.

Shults is another director who made my list this year who is somewhat of a protege of Terrence Malick. Shults worked as an intern for Malick on both The Tree of Life and Voyage of Time. It is quite clear the influence that Malick has on Shult’s vision. But Shults, even more-so than Edwards who also made my list this year, has taken Malick’s inspiration and created something wholly his own.

Shults has created an experiential rollercoaster of actions, consequences and the toxic fallout than can come from such actions. Waves is essentially two films in one. The first half is the energetic, chaotic and traumatic first half in its depiction of toxic masculinity taken too far, to the eventual accident that changes all of the characters lives. The camera is constantly floating in this portion, or shall I even say flying through the air and around the characters. The camera has no limits in what it can do and that along with the editing, and most noticeably the insanely perfect soundtrack/score, this portion ends up feeling like one prolonged anxiety attack.

The second half of the film switches character POVs masterfully. There’s a psychedelic shift of perspective from the brother’s eyes covered in flashing lights from the back of a police car to his little sister’s eyes in the back of their parent’s car (you have to have seen the film to completely understand what I am referring to of course). This second half of the film is where the camera slows down a little. This portion is more character focused and less interested in being flashy through its aesthetic. We get more dialogue, more character details, and a lot more tears in this half. It’s like a long cathartic release after experiencing an hour of trauma and abuse. It succeeds in tearing you apart, to only slowly piece you back together.

As mentioned previously, Shults’s soundtrack decisions were the cherry on top for me. Tame Impala, Animal Collective & Tyler the Creator are three of my favorite artists and their music is utilized perfectly within the story. What made this film so special to me, other than the fact it all takes place in the state in which I grew up in, was that no other film has better reminded me of my own humanity in years. This film makes me want to be a better brother, a better friend, a better son, and a better person in general. You never know when a single moment can shatter your entire world. In the end, it left me with a strong message that struck me to my core: appreciate what you have in life, and tread carefully.

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posarmeklen · 5 years

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Birth of the Antichrist

Hahahahahahahahaha. Hahahaha haha. Ohh ha ha ha ha. Sooooo, anyone want a list of some things that would most likely probably happen during/before/after/surrounding Jacknife's tender and special moment? No? Ok, here it is: - It would totally take place in the Doctor's de facto "hospital room" of sorts seen in the episode "Mayhem Donor". I was planning on going for that other hospital-like area in the prison from "Special Needs", but I figured this was a slightly less suitable place for the delicate process of labor, thus making it MORE appealing. - And offering up his space was the LAST of the Doctor's involvement with the pregnancy. He more or less took care of Jacknife while he rode out the end of his pregnancy at Superjail - mad scientist, obstetrician, same thing. However, the Doctor got SO fed up with Jacknife's terrible behavior during their appointments, such as Jacknife kicking him in the throat while on the exam table in hopes of snatching some rubbing alcohol up high on a shelf, that he relinquished every duty dealing with that son of a bitch and his demon spawn. So that left only Jailbot to attend the delivery for ““““moral support””””... and Jared, who the Warden ordered to tag along. It's not like Warden would be game to do that dirty work himself. Jared's already a basket case, never mind that he seems to be terrified of Jacknife, so suffice it to say he wasn't excited out of his mind for the new arrival. - The offspring actually reared his ugly head a month too early mainly because of Jacknife's poor lifestyle choices becoming disappointing prenatal habits. And it JUST SO HAPPENED that Jailbot couldn't help tending to a duty outside the confines of Superjail a day before the momentous surprise. Really... it was a terrible, terrible coincidence that no one likes to see happen. Therefore, with Jailbot MIA, that left Jared alone to "bond with" Jacknife for a good half of the experience. - The morning before the birth, Jacknife experienced one last big gust of chaotic energy. A not-so-calm before the storm, if you will. Feeling totally himself (the strange and ominous pains from last night were somehow gone for the moment!), his personality really sparkled through: sat around a table with a gaggle of the main inmates (this was part of a parental education plan set in motion by the Warden, to which every step had magnificently backfired; in this particular case, the objective was to teach Jacknife the general social skills he sorely lacks and might have needed to be a loving and agreeable parent), he cheated at poker, somehow got into an altercation with Lord Stingray, and physically drooled over an X-rated magazine that he snatched out of someone's hands as the guys half-jokingly gave him the sage advice of getting all his titty goodness in now before he came face-to-face with his bundle of joy. (Barely anyone REALLY thought he would ACTUALLY take on the responsibility of parenthood. They set the bar low after they saw what happened with "that Ultraprison broad".) Alas, Jacknife later leapt straight onto the table to reach for something in a way a pregnant person should not, and there reverberated a mighty splash! An already straining large-sized prison uniform was now drenched, and everyone knew the magic was surely moments away. - During the first moments in the "birthing center", Jared feared for his life as Jacknife, the cause for his terror, prepared to bring new life into the world. Soon enough, though, the ambiance took a turn. Jacknife got that dad sold my toys for booze look on his face. Water works were impending. Jacknife sniveled grossly as Jared reassurred him that he was sure he could do this, because he had already been through SO MUCH WORSE. I mean c'mon! "What's 7 or 8 pounds squeezing through a too-small hole?!" That was Jared's method of uncomfortably consoling someone whom he feels like HE needs consoling when in the presence of. He was freaked out. (Joke's on them. The abomination would slide comfortably over the 10-lb mark.) "Arrggggghrrrrr!!" Jacknife replied. (Their heartfelt moment was cut short from him tensing and sitting up at the discovery of another contraction.) - At long last, a rushed Jailbot burst into the room, demolishing the door as he zoomed into his rightful spot. Not before Jared sped up to him and began speaking inconspicuously through clenched teeth though. "Jailbot! Thank goodness you're here! He's...crazy...!" - As depicted above, Jared verbalized the strangeness of the situation while speaking words of encouragement to the convict. Meanwhile, Jailbot whipped out a metal tentacle arm with an accordion fan attachment from his limitless internal arsenal to fan the shit out of the very overheated Jacknife. - See that scowl on his screen? Take a good look. That's a >:[ of concern. Jailbot was at first absolutely ecstatic about getting to watch Jacknife experience childbirth - since it's of course world-renowned as the worst pain of one's life and putting Jacknife through pain is that sadistic machine's specialty. However, as the orifice that Jacknife would soon birth his child out of gradually opened up, so did Jailbot's heart............ <3 and he began to feel twinges of worry and well wishes for Jacknife and soon-to-be baby. Aaaaawww. - Jacknife flipped Jailbot off because classy and he can't say "You did this to me". - Jacknife also screamed bloody murder. In other words, it sounded like a typical Superjail intro. - Later on, things got super srs. Of his own accord, Jacknife changed position a bunch of times while displaying an uncharacteristic expression of focus because even absolutely feral career criminals "listen to their bodies" and "just know" during labor. Apparently. - Jailbot was the one to receive the dignified honor of Catching The Baby, after which he magically brandished a large pair of scissors and cut the cord too. At once, Jacknife flopped down flat on his back and let out an exasperated sort of groan out of sheer relief and exhaustion. But, in an instant, Jared made eye contact with him from behind Jailbot and tried to be a good sport: "Well, you're not pregnant anymore!" To which Jacknife responded by sitting up like a shot and grinning maniacally ear-to-ear at his newfound freedom. - Ever since it was revealed that Jailbot was the culprit of the knocking up of Jacknife through means such as accidental scientific intervention (of course before an encounter with Jailbot's vibrate mode under the stars), it was a total mystery to everyone as to what on God's green earth the product could actually be. Boy or girl? And aside from the traditional sex-guessing, (sub-)human, robot, or sinful in-between? So when a little mistake with nothing but the best of both worlds VIEW HERE came to say hello, Jacknife groaned in shock at the appearance of his new son, but it was all Jailbot could do not to be overjoyed at nature's wondrous meld of himself and his favorite felon. He was a bit concerned beforehand about the aftermath of a scandalous union between prison staff and inmate resembling him, but not when it *felt so right like this*. Now, all they had to do was remove the infant from jail premises asap. - The rest of the staff (well, the Warden and Alice) entered after the initial festivities. They all (the staff) got misty. Even Alice. It's because their Jailbot was officially a new parent now. They grow up so fast. - Meanwhile, Jacknife sat up in bed grudgingly and carelessly holding his spawn. With everyone totally enveloped in the feel-good event of the century, the four staff members simultaneously turned their heads toward him and smiled down at him encouragingly. Jacknife reciprocated the gesture by growling at them in resentment. - So it was then that Jailbot had an idea to diffuse the tension: He slid open an internal compartment and classically passed out cigars to the attendees of the room. After presenting the Warden, Jared, and Alice with theirs, he paused meaningfully when he got to Jacknife and reflected on the few times over the past couple months where he had to pry cigarettes and other non-pregnancy-friendly substances from his grubby hands. Now that the fetus was out, he felt more than happy to make a crook's day with a tobacco product. Jacknife was over the moon when he saw a metal claw outstretched to him grasping something to smoke, beaming as his jaw went slack and tongue lolled right out. And in order to free his hands to grab the cigar, he made a sacrifice as we sometimes must and tossed the infant off the side of the bed. Poor Jared happened to be standing there and BARELY caught the fortunate robot child totally improptu as he frowned in a panic with his teeth chattering away. Activate Jailbot emoticon for pissed. - And speaking of Jared, he addressed Jailbot and Jacknife and asked what the hell they were gonna do. Good question. :/ The violent mute duo were somehow legitimately excused from SJ for only a couple days so they could hang at Jacknife's place and do their equivalent of discussing their options. (They JUST came to the conclusion that they should not, could not, and ultimately would not actually parent their offspring together. Imagine that!) Jailbot came up with a modified means of transport for the journey away from Superjail (oooooooohh! That lucky robot's about to soak up the wrong side of the tracks!) since there was currently a third passenger in the equation, and who would trust Jacknife to hold a baby with two hands while sitting on a chair, never mind with one as he flew through the sky? That's my question. It turned out Jailbot conveniently morphed into a boxy vehicle with a seat and metal safety bar in front, like something out of an amusement park, and Jacknife sat inside with the kid. What do you know, the little shit got airsick because it was his first time and he graced Jacknife's flesh with some fresh bile. Gross man: "Eeeeeeeewww!" - During the precious family moments, Jacknife's lack of grace as a parent was spelt out clear as day, as Jailbot temporarily assumed the brave role of single robotic father, more or less (although the "microscopic quotient of selfless love" Jacknife's been rumored to possess came out to play once in a blue moon in such manners as Jacknife scaring the ever-loving shit out of his offspring by pulling wacky faces at him from an already unsightly mug). Now, someone also had to nourish the fruit of their loins from the warmth of their own bosom, all the while said someone wished he could be the spectator instead of the participant and the participant could be someone with bazookas big enough to fill a bra. But alas! You can't always get what you want. Oh yeah and I'm not sure what becomes of the baby afterward yet. But let me tell you. He's goin' places.

#110% Canon genuine superjail lore #i'm so happy for those kids 😔#mpreg fanart #mpreg #my art #drawing

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paigenotblank · 5 years

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Accidentally Ours (7/7)

Pairing: Tenth Doctor x Rose Tyler

Rating: Teen

Written for a prompt for Ten x Rose kid fic/family fic where they adopt kids left orphans that they meet on their travels / and also a prompt for Ten x Rose with a mix of adopted and biological kids (@tinyconfusion). Tagging @doctorroseprompts and @timepetalscollective which I think both had those prompts. This chapter also has a little surprise for fans of the Classic Doctors.

Trope: Accidental Baby Acquisition

Warnings: Kid Fic/ Baby Fic/ Pregnancy Fic

Chapter 1 / Chapter 2 / Chapter 3 / Chapter 4 / Chapter 5 / Chapter 6 / Chapter 7

AO3 / TS

Rose held tightly to her daughters’ hands and glanced around the medical tent. She straightened her shoulders and with a sharp look around quickly sized up where she was needed most. It had been only two weeks since losing baby Melody, and though her body was completely healed due to the magic of the TARDIS medbay, emotionally she was still recovering. She felt her anger building at the time ship. You an’ I are gonna be having words later about bringin’ the girls into a war zone.

She led her daughters over to a woman who was trying to wrangle a small gaggle of children and two crying babies. She told Melody and Clara to play quietly with some of the younger kids, while she sat down next to the frazzled woman.

“Hello, I’m Rose.” She reached out her hand to the other woman, who smiled gratefully at Rose.

“Selphina.”

“Can I help?”

“Vord, yes. Thank you.” She handed Rose a bottle and the smaller of the two babies.

Selphina picked up the other infant and began feeding her.

Rose tried not to examine the child in her arms too closely and instead directed her attention to Selphina. “Are these all orphans from the war?”

“Yeah. New one arrives every day.” Selphina nodded at the baby in Rose’s arms. “Just got him in this morning. That little mite’s parents weren’t killed in the fighting though.”

“Oh?” Rose’s gaze dropped in surprise and her heart melted at the little pucker that had formed between his brows as he sucked heartily on the teet.

“Yeah. Sad story, not that they all don’t have sad stories.”

Rose nodded and waited quietly for a moment until her curiosity couldn’t take it anymore. “What happened to his parents? You said they weren’t killed by fighting.”

“Oh! Well, his father was a great scientist. Did so much for so many. He developed a lot of new vaccines and serums. Found ways to prevent crop decay. He is single handedly responsible for saving hundreds of thousands of our people. The only thing is...he was from another planet. I mean he looked enough like us, but still...off worlder.” She shrugged. “It doesn’t bother most people, but there are some that still look down on that sort of thing. No matter how much good he’d done for us.”

Rose touched the center of his palm with her finger and smiled as he grasped it firmly. She glanced up Selphina. “Did...were his parents killed for being outsiders?”

“No. His father was already an old man when he arrived here. But last year he met and fell in love with a young woman in the next town over. And she with him. Her parents were not agreeable to the marriage. Thought it was an embarrassment that their daughter would marry him, no matter how renowned he was. They disowned her. Not that the newlyweds cared. They were both so happy when she found out she was pregnant.” Selphina smiled and was lost to her memories. “I used to see them at the bakery my grandmother owned.” She shook her head. “To find a love like theirs...”

“So what happened?”

“Well, as I said Adric, that was the name of the baby’s father, Adric Traken… He was elderly. Died of natural causes due to his age. The one thing there’s no cure for. Never even got to meet his son.”

“Oh.” Rose covered her mouth. “Oh, that’s awful.”

Selphina nodded. “Yes, and the baby’s mother, Markeena, died in childbirth, just last night. Her family didn’t want anything to do with him and so they dropped him here, knowing we take in orphans.”

Rose lifted the boy to her shoulder and rubbed his back. “How could they not want him?” She closed her eyes and breathed in the powdery scent of the newborn. A bubbling desire to help this child began to build in her and she suddenly knew exactly why the TARDIS would land them 400 years away from their intended target and straight in the middle of another civil war.

Rose opened her eyes and looked Selphina straight in the eye. “I need to discuss it with my husband first, but I want to adopt him.”

The other woman gasped. “But...but you have your own children. You’d take on another? A stranger’s?”

Rose’s eyes narrowed on the other woman. “Of course. My youngest daughter is adopted.”

“And his mixed blood?”

“My husband and I aren’t the same species. We don’t care about things like that.”

Selphina’s eyes widened. “It’s best you don’t share that with anyone else here. Just in case.”

Rose gave a curt nod. She cradled the now sleeping infant in her arms and pressed a soft kiss to his crown. Her mind flashed back to doing the same thing with baby Melody shortly after her birth and a gush of overwhelming emotion threatened to drown her.

Rose focused on the gentle rise and fall of the baby’s chest to calm her own breathing. One thought that floated through her mind was how much she needed this - needed him - in their lives.

“Rose!” The Doctor looked around with a wild glint in his eye, until he found her.

“Doctor...”

He kneeled at her side and ran his hands along her spine. “You okay? I could feel-”

“Yeah.” Tears pooled in her eyes. “I’m fine.”

“You don’t sound fine.”

She sniffed back the tears and laughed. “No, I am. Really. I know why the TARDIS brought us here.”

“What d’you mean?”

“Him.”

The Doctor glanced down at the tiny bundle in her arms. “What?”

“We’re here for him.”

Brow furrowed, the Doctor glanced from his wife to the baby and back. “I don’t-”

“We need to help him. He’s all alone. Both his parents died. An’ was abandoned by his grandparents ‘cos they didn’t like that their daughter married an alien.” Rose’s eyes roamed the room until she caught sight of Melody. Also the product of the love of two different species, though with a very different outcome. A grin tugged at her lips. “I want to adopt him.” She met the startled eyes of her husband. “Please? Can we?”

“Are you sure?”

“Yeah. I’m so grateful about Melody, but...I was looking forward to having a baby again. And in the short time I’ve spent with him, my heart’s already started to heal.”

The Doctor hugged Rose closer and pressed his lips to her forehead. “Then there’s nothing to discuss.”

“Really?”

“Really.”

“I love you.”

“Quite right, too.”

Rose smiled through her tears. “Girls, come meet your new brother.”

The Doctor held the door open between their room and the nursery. Rose tossed a flirty grin over her shoulder as she passed through the doorway. The Doctor’s hearts expanded to see her smiling again.

At her gasp, he shook off his thoughts and rushed into the room. “What’s wrong?”

Rose turned in a slow circle, taking in all the changes the TARDIS had made. “The nursery’s completely different.”

The Doctor frowned in confusion as he looked around the room. “This is Nyssa’s old room.”

The bright white walls with the depressed roundels and the fern in the corner was unmistakable. And although the bed had been replaced with a cot, and the place where once was a table used for experiments now held a changing table, it was definitely Nyssa’s old room.

Rose placed the baby onto his back in the cot. “Nyssa? Who’s that?”

“What? Oh, hmm...she was a companion, once upon a time. Nyssa of Traken.” He smiled at the memories of the brave and intelligent young woman.

Rose paused. “Traken? Did you say Traken?”

The Doctor turned to face her. “Yeah. That was the name of her home planet.”

“But his father’s last name was Traken. Erm, Ad… Adr-”

The blood drained from the Doctor’s face. “Adric Traken?”

“Yes! That’s it. Adric Traken. How did-”

“Adric Traken was Nyssa’s son. I met him once, many years after Nyssa stopped traveling with me.”

“Oh, but don’t you see? I knew we were meant to find him. This just proves it.”

The Doctor couldn’t get words past the lump in his throat, so he simply nodded.

“And he still needs a name. Should we name him ‘Adric’ after his father?”

He closed his eyes. “That...yeah.”

“Doctor? What is it? What’s wrong? This is good, yeah?”

“Sorry. Yeah.” The Doctor took a deep breath. “It's just that Nyssa named her son after a boy that travelled with me...us. Died while in my care. He tried to save the Earth and I couldn’t save him.”

“Oh, Doctor, I'm so sorry. If it's too painful-”

“No. No, it's a fine name. A testament to Nyssa’s fondness for Adric and a worthy tribute for a very special young man.”

“So Adric Tyler?”

The Doctor walked up behind Rose and rested his chin on her shoulder as they looked at their newest child. “I think... Adric Tremas Tyler.”

“Tremas?”

“Nyssa’s father and a good friend.”

Rose spun and wrapped her arms around the Doctor's waist. “I love it. He’ll always have that part of his past with him.”

“And Tyler because he’s ours.”

Rose kissed her husband before turning and leaning against his chest while they both watched their son sleep.

The shrieks of children playing and a dog barking carried on the wind to where Rose and Jackie were seated. Rose rocked the pram where her 3-month old daughter, Sarah, lay sleeping, while Jackie kept her eyes on the rest of her grandchildren.

“Mum, relax. The Doctor’s got ‘em in hand.”

Jackie snorted. “He’s the one I’m worried will get in the most trouble.”

Rose’s lips twitched as she tried not to laugh. “No hope there.”

“Now that Jenny of yours, on the other hand, has a good head on her shoulders.”

Jenny. Rose hadn’t expected to have a progenerated teenage daughter join her family, especially while 6-months pregnant, but that was the sort of life mad life she lived. And she wouldn’t change it for the world.

“She does, doesn’t she?” A small grin pulled at the corners of Rose’s lips. “Though all the girls do.”

Jackie snorted. “That’s ‘cos they all take after you.”

Her eyes roamed the park until they landed on the first daughter to come into her life - tall, thin, too smart for her own good - Melody. At twelve, she grew more and more like her father every day.

Rose groaned and Jackie snapped her gaze at her. “Wha’s wrong?”

“Was just thinkin,’ ‘m about to have two teenage daughters. Blimey, nothing like your kid’s birthday to make you feel old.”

Jackie rolled her eyes. “Please, you’re not even 34, wait til you’re about to have two teenage grandchildren.”

“Stop it. Nobody’d ever guess you were fif-”

“Forty-seven.”

The Doctor plopped down on the bench between Jackie and Rose with Adric in his lap and gave his wife a peck on the cheek. “Forty-seven what?”

Jackie crossed her arms. “My age.”

The Doctor barked out a laugh before catching an elbow in the side from Rose, who glared at him and hissed, “Rude.”

“What? Why’s that rude? She’s fifty-three.”

“She’s tellin’ people she’s forty-seven.”

“I’m 915 and you don’t see me lying about it.”

“Yeah, but you look like your 35, don’t need to lie about your age. Do ya?”

“Vanity, thy name is Jac-”

“But you’re not 915, Daddy.” Adric played with this father’s tie.

Both women turned in surprise to the 4-year old.

The Doctor squeaked, “What?”

Jackie opened her arms to her grandson. “C’mere, Ricky.”

“It’s ‘Adric,’ Jackie.”

“I know that, but we’re out in public. I’m gonna call him something normal sounding. Now-”

“Mum…”

“Nana always calls me ‘Ricky’ ’cos I told her I liked it.”

“You did?”

“Yup.”

Jackie cuddled Adric closer and peppered kisses on his face until he giggled. “You’re my favorite grandson. Did you know that?

He rolled his eyes, but smiled brightly. “I'm your only grandson.”

“Still... Now what were you saying about your daddy’s age, sweetheart?”

“Melody said the TARDIS told her that Daddy is really 1468, but he didn’t want to scare Mummy off so he picked a round number under a thousand.”

The Doctor’s jaw fell open and the tips of his ears turned red. Jackie cackled and stood up. “Vanity, thy name is ‘Doctor.’ Come on, sweetheart, let’s go play on the swings.”

“Okay, Nan!” Adric took his grandmother’s hand and they walked off.

Rose cuddled into the Doctor’s side.

“Rose, I...”

She looked up at him through her lashes. “Is it true?”

He ran his hand across the back of his neck. “The truth? I haven’t a clue how old I am.” He sighed. “But if the Old Girl says 1468, it’s probably pretty close.”

Rose started giggling.

“What?”

She grinned at him with a hint of tongue peeking out the side of her smile. “It’s a Hell of an age gap.”

He wrapped his arm around her waist and chuckled. “You’re mum’s never gonna let me live this down is she?”

Rose shook her head before laying it on his shoulder. “Nope.”

The Doctor looked out at the park. Jenny, their surprise daughter, was sitting on the lip of a fountain. Kicking her feet back and forth while she flirted with a poor boy who didn’t know what hit him. Takes after her mother, that one. Clara and their Barcelonian (the city not the planet) galgo chased a laughing Melody around a tree, even though the younger girl had no chance of catching her older sister, who’d inherited the Doctor’s propensity for running. Jackie chatted with a young mum whose daughter was swinging in time next to Adric. He glanced over at the final piece to the puzzle that made up their family - the sleeping infant in the pram at their side.

He kissed Rose’s crown. “I wouldn’t have it any other way.”

#ten x rose #kid fic #accidental baby acquisition #doctorroseprompts #jackie tyler #jenny #family fluff #baby fic #pregnancy mention #timepetalscollective #my fic

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mst3kproject · 6 years

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Kronos

This movie has lots to offer, including but not limited to Jeff Morrow from This Island Earth, John Emery from Rocketship XM, Morris Ankrum from Beginning of the End, and a stupid cartoon robot. These star in a movie with a complex plot and a lot to say, and nothing like the talent required to say it. There’s also George O’Hanlon, who was best-known as the voice of George Jetson, although you don’t really notice it in the character he plays here.

After the opening credits play over Ominous Fifties March Music that I’m sure I’ve heard in some other movie before, we begin with some guy getting zapped by a flying saucer at the side of the road. Rather than being abducted and probed, however, he is instead taken over by alien control and drives to a government lab, where he passes the alien influence on to director Dr. Eliot and then immediately drops dead.

Not far away, a couple of nerds named Les and Arnie are playing with their building-spanning supercomputer SUSIE (Synchro Unifying Sinometric Integrating Equitensor – and why, no, that doesn’t make sense) when they notice what they think is an asteroid on its way to collide with the Earth! The government launches some stock-footage nukes to destroy it, but they only make it mad. It lands in the ocean off the coast of Mexico, and Les and Arnie, with Les’ girlfriend Vera, rush to investigate. There they find a giant robot stomping out of the sea, devouring energy and growing bigger and bigger!

There’s all sorts of riffable stuff in Kronos. The first actual shot in the movie after the credits is a blinking cartoon flying saucer zipping across a starfield, to the accompaniment of theremin music. There’s the fact that none of the scientists seem to notice that their ‘asteroid’ is oddly UFO-shaped and has blinking lights on it. The Mexican couple the scientists are staying with on the beach don’t seem to speak any English and I find myself imagining that they have no idea who these white guys are or why they’re in their house. The actors in the helicopter that is definitely flying in the air and not sitting on a soundstage somewhere.

And the robot. Dear lord, the robot. It looks like a five-year-old’s destroy-bot built out of old-fashioned wooden blocks. There’s an inaccurate drawing in a newspaper that’s much more impressive than the robot itself… I think it was probably concept art that never quite made it to the screen. It walks by raising two legs at a time straight up and then putting them straight down again, which looks astoundingly stupid even as a cartoon and makes an amusing squeaky-dog-toy sound.

At the same time, a couple of the things they do with the robot are kind of neat. I do like that it’s not humanoid. If you really squint you can see it as having a head and a body, but even if that’s the case the form has been stripped down to the barest, most symbolic essentials. It makes the thing seem more alien, and I like the way it pulls its ‘head’ and ‘legs’ in like a turtle to brace for attack. There’s also some shots, when the characters are supposedly flying around it in a helicopter, that actually do make it look huge – but it still looks small, as if it’s a tiny toy blown up to building size, like something out of Ant-Man or Honey I Shrunk the Kids. Since it’s a device that transforms energy into its own mass, maybe it was originally very small.

There are several things that go on at once in Kronos. Most of the time we’re watching Les, Arnie, and Vera in Mexico, wandering around watching with somber expressions as the robot destroys stuff. Every so often, though, we cut back to Dr. Eliot, who is in a hospital with the alien influence still controlling him. Episodes of electroshock therapy intermittently bring him back to himself, allowing him to try to warn the world, but soon the alien takes over again. As well as controlling Dr. Eliot, it is controlling Kronos, directing it to power plants and nuclear stockpiles. During a moment of lucidity, Eliot explains to Les that the robot was built by a civilization that is almost out of power, and has therefore sent these things across the cosmos to collect more.

Now, to an astrophysicist this really wouldn’t make sense – the most powerful objects in the universe are things like black holes. Harness even a small one of those, and you’d never need to worry about running out of energy again. But this movie isn’t about practicalities, it’s about energy use. The beings who created Kronos are suffering from an energy crisis that may lead to their own extinction, and Dr. Eliot warns Les that humanity may someday end up the same way.

The movie isn’t subtle about this moral: it’s spoken blatantly by the character best placed to understand it. It would have been nice to see the movie go into it a little more, discussing some of the ways in which our own civilization wastes energy. Instead, the characters spent much of their time roughing it in a shack on the beach in Mexico. Another way to make the point would be to give the possessed Dr. Eliot a fixation on conserving energy, or conversely, by consuming it, for example by having all the lights on even when he’s sleeping. This is not done, either.

Slightly more gentle is the point about what humans do with the energy we produce: we destroy stuff, primarily by building atom bombs. In the world of the movie, this has two undesirable side effects. First of all, it makes us easy prey for Kronos: the possessed Dr. Eliot recommends to the government that they nuke the robot, but it just turns that energy back into mass and heads north for the nuclear stockpile at Hueneme. Second, it means that we may also destroy ourselves by too much energy instead of by too little.

This point is rather undercut by the ending, in which the scientists manage to ‘reverse the polarity’ in the robot so that all the mass it has built up turns back into energy… right in the middle of Los Angeles. By now Kronos has devoured half the power plants in Mexico and a literal nuclear explosion, so shouldn’t that have burned California to a crisp? Maybe they only had one stock footage nuclear explosion and didn’t want to use it twice.

The vital clue to defeating Kronos comes from Dr. Eliot, temporarily de-possessed by an electric shock. I spent most of this movie honestly confused what the nameless alien needs with Dr. Eliot. It gets a list of power plants from him, but since it evidently found out who and where he was without needing any Earthlings to tell it, I’m not sure why that was essential. It also gets him to recommend nuking Kronos, but somebody would have done that sooner or later, too. Nor am I sure why electrocution puts it to sleep and lets Dr. Eliot reassert control for a while. If this is a creature that feeds on electrical energy, as Eliot himself says, shouldn’t zapping it make it stronger?

The scene in which the alien leaves Dr. Eliot’s body is also rather strange. He falls on the floor, and a liquid seems to run out of his head to the wall where the computer is installed, where it sparks and sizzles. Does this mean the alien is dead? But we close on one of those ominous moments where the characters are worrying that more robots may come. So did it just return to the flying saucer? What happened to that flying saucer anyway? Is it still on the seafloor? Still in space? Did it transform into Kronos?

The alien in Dr. Eliot is never really justified, and is therefore a transparent plot device. Two more things that are transparently unnecessary are Arnie and Vera. The former is comic relief who talks about how his computer is his girlfriend, and the latter is a love interest who’s there to sigh whenever Les chooses work over spending time with her. Neither of them really do anything but orbit around Les. He needs people to interact with, obviously, but the script doesn’t allow either of them to contribute anything. This is meant to establish that Les is a genius, but it makes it seem like he lets these people hang around out of mere indulgence. Even the giant computer, while it does a few bits of calculating, doesn’t have nearly a big enough role to justify giving it a name.

I get the impression that the people who made Kronos had some big ideas but rushed them into production without working them through. Much more could have been done with the themes of energy and consumption, and the characters could have been treated far better. The robot doesn’t appear until the movie is half-over, which leaves the early scenes feeling dull and bloated. Even so, it seems like everybody’s hearts were in it. Fifties sci-fi movies come a lot worse than Kronos, and it would have made for a classic episode of MST3K.

I should warn you, if you want to watch this movie (and there is a version on YouTube), Dr. Eliot and his psychiatrist do discuss the idea of suicide. This made me expect Dr. Eliot to try to kill himself in a lucid moment in order to get rid of the alien, but that never happens, so the topic was entirely gratuitous.

#mst3k #reviews #kronos #episodes that never were #tw: suicide #50s

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thetygre · 6 years

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30 Day Monster Challenge 2 - Day #14: Favorite Invisible Monster

Some of the monsters on this list are so good at being invisible that I couldn’t even find a good picture of them.

1. Killer Brain (Fiend Without A Face)

The charm of any invisible monster is proportionate to how bizarre it is when it is inevitably revealed, and there are few monster that can compete with the killer brains from Fiend Without a Face. Even their explanation is unique; killer telekinetic thoughts that possess human brains and feed off nuclear radiation. These things are simultaneously adorable and grotesque; they’re slimy and have the eye tendrils of a slug, and even the way they move is creepy. They use their spinal cord tails to move around and strangle people, making more of their kind. These guys made it into Pathfinder where, frankly, I wish they had replaced Intellect Devourers in terms of being the game’s designated brain monsters (since the Mind Flayer is copyrighted). The killer brains just nail that perfect kind of creeping horror where I don’t want to touch one but I also kind of want to keep it in a tank as a pet. They do not disappoint once you finally get a look at them.

2. Monsters from the Id (Forbidden Planet)

The artist Francisco de Goya once stated, “The sleep of reason produces monsters.” The Monster from the Id from Forbidden Planet is the living embodiment of that phrase. On the alien planet of Altair IV, advanced aliens used incredible technology to make their very thoughts manifest into beings. But in a single night, the entire race was driven to extinction when their own subconscious thoughts manifested and killed them. Years later, a scientist by the name Dr. Morbius finds the aliens’ technology and uses it for his own, and the cycle begins to repeat itself. The monster is only briefly seen, and even then it’s only by the light of laser-blasts and electricity in what is frankly a perfect embodiment of raygun gothic.

Design wise, the monster isn’t particularly innovative, but I really think that’s to its credit. The id is the primal, brutish part of our minds; it would make sense for a monster based on the id’s subconscious desires to be a bulky, angry brute. And of course there’s also the classical element to the Monster as well; Forbidden Planet can be interpreted as a retelling of Shakespeare’s The Tempest, with Morbius as Prospero. If Robby the Robot, as a product of high intellectual science, is the spirit Ariel, then the Monster is Caliban. Caliban of course represented the elements of water and earth in Prospero’s miniature cosmos, and just as Caliban represented the primitive state of the world, the Monster from the Id is representative of the primitive state of the mind. Both monsters play to humanity’s earlier states. The Monster from the Id is, put frankly, a spectacular monster. Its invisibility reminds us that no matter how much we try to suppress our darker feelings and desires, there is always a monstrous part of us just underneath the surface.

3. Ghost Wolf (Fables)

Realistically speaking, all air elementals should be invisible, but so far Ghost from Fables is the only one to step up to bat. Ghost is of course the lost seventh son(?) of Bigby and Snow. He’s essentially an air elemental by virtue of Bigby’s father being the North Wind; it’s complicated. At first nobody even knows Ghost is around until he starts asphyxiating people to death. As an air elemental, air is his food, and the air in the inner city is polluted while the air in certain peoples’ lungs is nice and clean, which I think is a neat urban fantasy detail. After his mom sends him off so he doesn’t get killed, he joins up with his dad for some guerilla terrorism. It’s fine, trust me. I like Ghost first and foremost because we just don’t get a lot of air elemental characters, and when we do they tend to stick to the stock elemental character archetypes. But Ghost is an innocent kid, just a child trying to navigate around the mother of all handicaps. He doesn’t mean to be a monster, he’s just trying to survive. All Ghost wants his to be with his family; like all invisible monsters, Ghost’s is confronted with an issue of presence and acknowledgment. Ghost can’t be seen, but he can be felt, and his character makes us question how much that is worth is terms of bonding.

4. Griffin (The Invisible Man)

There have been a lot of invisible men through the years, but Griffin is still my favorite for his blend of insanity and sadism with a bit of underlying tragedy. Griffin achieved invisibility by use of a special chemical that also drives him insane with its prolonged usage. With that said, it’s hard to know whether Griffin is cruel because of the drug, or if that was always some part of him; both prospects ultimately play in Griffin’s invisibility.

First, while Griffin’s insanity is attributed to the chemicals he uses, it really derives more from his lack of recognition from other people. As an invisible being, people don’t attribute to Griffin all the dozens of minor cues a person receives every day that reassures them that they exist; glancing at them, saying hello, moving out of the way, etc. An invisible man would have to cope with the fact that outside of their own ability to sense the world around them, they don’t really exist. They are a total non-person, dehumanized in the most profound way possible.

This leads to the second point; a person treated inhumanly will begin to act inhuman. A lack of recognition is also a lack of responsibility, a state where you don’t have to be held accountable for your actions. That kind of freedom gives a person the chance to show who they really are. That is the tragedy of the invisible man; Griffin already felt inadequate before he was invisible, and was a complete non-entity with his power, so he used that power to hurt people and lash out, further alienating himself from humanity.

5. Prisoners (Silent Hill 2)

There’s a prison cell in Silent Hill 2. It’s not unusual to go to prison in Silent Hill; at this point it’s practically standard. And it’s also not unusual for the cells in that prison to have horrible monsters waiting inside. What is unusual is when you can’t actually see the monsters, and they don’t really do anything. They’re just… there. Existing. If you listen closely they seem to be chanting the word ‘ritual’, or maybe ‘are you sure’ backwards; it’s unclear. Like most monsters in Silent Hill, especially 2, all sorts of meanings and symbolism can be attributed to the prisoners. But more than anything, they’re there just to be creepy and add ambiance, and they’re disturbingly effective at it.

6. The Dunwich Horror (H.P. Lovecraft)

We don’t get enough abominable half monsters anymore. Not enough deformed masses of flesh that were simply never meant to be. The Dunwich Horror is where you can really see Lovecraft drawing from The Great God Pan in terms of influence. Growing up in rural country, I was always fascinated by the concept of the family monster in the cellar or the barn. The Dunwich Horror is too great, too terrible to be in our world. Its invisibility stems from the fact that it simply isn’t meant for our meager reality. Like Lovecraft says, it has more of its father than its mother in it. The Dunwich Horror reminds me of a storm or some other kind of natural disaster, the kind of thing the ancients would say a god was behind. But it also brings to mind the original definition of monster; ‘monstrum’ were omens in the form of deformities in childbirth, given by the gods. The unnamed Whateley brother is just such an omen; a portent of forces beyond mankind.

7. The Blair Witch (The Blair Witch Project)

Frankly, the Blair Witch could have gone on the witch list, and probably would have if I was doing a solely pop culture list. But I don’t think that should discredit the Blair Witch as an invisible monster, and there are angles to her absence that would be lost if she suddenly just showed up at the end of a movie. Most obviously, of course, is that the witch is supposed to be an ambiguous entity. Her existence could be entirely fictitious, and she might be nothing more than insanity. The Witch being invisible makes her manifest as a kind of madness, an insanity that appears solely through environmental cues. I would suggest that the Witch is invisible because she is a historic figure; specifically, she is a historic evil. She is something terrible that happened in the past, and even if that evil isn’t seen anymore, it’s still there, a part of the landscape. It’s a very basic horror reading, but I still think it applies to the Blair Witch as a monster.

8. Stealth Sneak (Kingdom Hearts)

I have a lot of good memories of beating up this guy in the Olympus Colosseum. I mean it’s utterly pointless for it to be invisible; the monster’s so huge you can even jump on top of it. But I just love this chameleon monster design! Chameleons don’t get enough play as monsters; they’re always getting upstaged by komodo dragons and iguanas. And obviously the superior color palette is green. I know that shouldn’t matter for a monster that can change color at will, but a line has to be drawn somewhere.

9. Death Sword (The Legend of Zelda: Twilight Princess)

This guy almost looks like he belongs on the evil weapons list until you actually get to see him. Then when you finally get a look at him, he’s one of the coolest designs in the game! Just look at this horrible thing. What was he? Why is he locked up in this musty old desert tomb? And what did he do that he had to be bound with all these amulets? There’s a lot of mysteries for this mini-boss, and we’re probably better off not knowing. Just appreciate his design and respect the cleaver.

10. Intangir (Final Fantasy VI)

This is just sheer nostalgia. When I was a kid, my cousin let me play her copy of Final Fantasy VI briefly, and I kept running into an invisible monster. Whenever I would attack it enough, it would appear and reveal this giant cat-dragon thing. For years, it became my default to assume that any invisible monster was a buff cat-dragon-man. Blair Witch? Cat-man. Cattle mutilators? Cat-man. Forbidden planet monster? Cat-man. This is Schrodinger’s Cat-Man, where every invisible monster is potentially a cat-man until proven otherwise. Years later, I can see now that this thing is a Behemoth palette-swap, but I like to think of it is a lesser subspecies.

#30 Day Monster Challenge #30 Day Monster Challenge 2 #the invisible man #silent hill #kingdom hearts #final fantasy #h.p. lovecraft #the legend of zelda #long post

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serendipitouscontaminant · 6 years

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@intearsaboutrobots asked oh g o s h, how bout forgetting to eat and ray (he's very busy ! doing science !)

This is for Bad Things Happen Bingo. This is my card.

Bingo square: Forgetting to eat

Content notes for grief and canon character death. Strangely enough, this is 70% comedy.

____

Guess We’ll Never Know

Ray is doing science.

Normal.

Ray is doing science in silence, literally locked in the lab.

Less normal? That's debatable, apparently.

Nate is convinced there’s something fishy going on here. Sara agrees. Zari and Mick both say to just leave Ray to do his thing. He’s a scientist, of course he’s going to lock himself in the lab sometimes, it’s not that weird. Nate and Sara counter that, yeah, that might be a stereotypical scientist thing, but it’s not a Ray thing. Ray loves spending time with other people, and he’s gung ho about living healthy, and when he gets really, possibly unhealthily, into something science-related, he usually at least tries to talk someone’s ear off about it.

He’s not the kind of guy who locks himself in his lab for nearly a week when there’s absolutely nothing even vaguely life-threatening going on, other than the Legends all living on the same ship, which might count.

Zari says that they’re being overbearing and they should just let Ray do what he does best, he can take care of himself and she could swear that she’s seen him in the halls a few times, probably going to get food or something.

This leads to the whole team trading Ray sightings and arguing as to whether they’re actually just making things up, right until Nate points out that they’re acting like Ray’s Bigfoot or something, and once you can switch out a conversation about your teammate with a conversation about a cryptid just by changing a single detail, in this case said teammate’s name, there’s a good reason to worry. He has a point, Constantine, who has no dog in this fight and has been playing both sides for a lark, says.

Mick says that this is all stupid, and walks away. Classic Mick.

However, in spite of Mick’s unceremonious exit, it can comfortably be said that at this point all opinions have been swayed towards ‘we should be worried.’

Well, not Constantine’s, because he cannot emphasize enough how he has no dog in this fight. He saves dogs for people he really cares about, and none of the Legends are there yet other than Sara. He quite likes Sara.

In spite of this doglessness, Constantine is the one to check on Ray, mostly because everyone else is debating on how to best check on Ray even though they could always just ask Gideon how he’s doing or go down there with no fanfare, two options that they have helpfully forgotten—much like how they have forgotten to be reasonable or efficient over what should quite frankly be low-stress decisions for a prolonged length of time—in the name of the continuation of the narrative.

Besides, they’re stir crazy without any actual missions. They’ll argue about anything at this point, and since Ray hasn’t been around (a pressing issue), there’s nobody to, say, arrange a catastrophic game night, which would at least get out everyone’s pent up energy.

…This is mostly because, while Constantine is a surprisingly affable and competent board gamer, he wins every game, and Mick is a terrible loser, Sara is a terrible loser, Zari is easily frustrated and also a terrible loser, Ray has the rules to literally every board game in existence memorized word-for-word and will not budge on them, and Nate, for all his ability to remember every single major fire in the United States since its inception, secretly still doesn’t really know how to play Monopoly, and is not above knocking the entire board to the floor to keep anyone from finding out his dark secret, even though fessing up would possibly spare everyone from having to play Monopoly, which would quite frankly be one of those acts of everyday heroism the Huffington Post is always on about.

(Mick knows about Nate’s Monopoly problem, though. How? Unclear. Mick just knows a lot of things. Why does Mick not tell? A mystery.)

Anyway, Constantine goes to see how Dr. Palmer’s getting on, mostly because he, like everyone else on the game nightless ship, is very bored and has nothing better to do. He is also a bit curious. He also feels a vague sense of doom about the whole situation, though that may just be the vague sense of doom he feels roughly one hundred percent of the time.

When he steps into the lab, he finds papers tossed everywhere, three whiteboards (well, ‘whiteboards’ is a little generous for what are more large plexiglass rectangles covered in scribbles, but that is not an issue at the front of John’s mind), and no less than thirteen empty cans of a drink called ‘Monster’.

He takes a step inside the lab (a can of Monster crunching underfoot), meaning to make his presence known to Ray, who currently has his back to him and is writing some equation on a fourth and comically large high fashion not whiteboard. (Too long, John has better things to do than think all those words over something so stupid.)

John is not sure when exactly this whiteboard was created or whether it did in fact exist before Ray went into this fit, because it really is excessively enormous, given that Ray is standing on a stool to scrawl mumbo jumbo on it, and Ray is six foot three.

“Hello, Dr. Palmer,” John says genially, only not fazed by this situation due to the fact that he consistently deals with different, more life-and-limb-threatening situations that border on the absurd, or catapult over the border and into the wide field of ‘what in the bloody fucking world is even happening, look like you know what you’re doing, John, you fear nothing’. He gauges that to be genuinely fazed, the cans of Monster would have to become actual small monsters.

Ray jumps and yet somehow doesn’t fall from his perch, even when he twists around to look at John, though he does sway dangerously, and John steps forward experimentally, wondering exactly how squished he will get if he tries to catch Dr. Palmer once the man inevitably loses his battle with gravity.

Ray’s hair is mussed and unwashed, his fetching chin is covered in stubble, his clothes are several days old, he’s shaking, and his eyes are full of the pure manic energy of a man who does not consistently drink large amounts of caffeine, and yet has made the unfortunate and currently inexplicable decision to replace half his blood with energy drinks.

“Constantine!” he says, voice both welcoming and edgy. His smile is so wide that John can see just about all of his teeth. The smile, paired with the general mad scientist vibe he’s emitting, makes him look like a serial killer, the kind that dresses his victims in fun outfits and then poses them in a whimsical manner while leading the police on a wild goose chase. He will never be brought to justice. “How’s it going?”

“You’ve been here for nearly a week,” John says. “Your friends are both worried and being utterly inconvenient about it.”

“A week,” Ray says, vibrating. “Wow!”

These are the last words he says before his eyes roll into the back of his head, and he falls to the floor.

John is briefly on high alert, given that eyes rolling into the back of the head is not a good sign in his line of work, but he quickly realizes that the good doctor is lying quite still and is happily unpossessed.

Wow indeed.

John wanders over to him to see if he’s just out cold or dead. He is thankfully just out cold, because even John would feel bad if Ray were dead. His gluten free cupcakes really aren’t so bad, and he very much enjoys winning all the games. He never wins against Gary.

Ray’s pulse is impressively fast. “Gideon, dear,” John says, “I think the others may want to see this.”

“Way ahead of you, Mr. Constantine,” Gideon says.

Of course.

It takes a matter of minutes—more than one, but less than five—for the others to rush in. Well, Mick doesn’t rush in so much as amble, brow furrowed in what might be annoyance and might be concern. (It’s both.)

Ray wakes up in under five minutes, which is good. He’s bleary-eyed and rubbing his head, and he’s discombobulated enough that he doesn’t really protest when Nate and Mick bodily drag him out of the lab, though he does give his enormous whiteboard a sad look, as if saying goodbye and promising to come back soon.

John stays behind, surveying the lab. He suspects that whatever happens in the medbay will involve feelings he’s not particularly interested in, so his work here is done.

In the medbay, Ray has finally found his voice again, and his voice isn’t happy about the saline drip he’s getting. He and his miraculously nonexistent concussion would rather take some laps around the ship.

“Actually, Dr. Palmer, I would suggest you eat,” Gideon says.

“Pish posh!” an actual human being named Ray Palmer says with zero irony. “You keep telling me that!”

“Because it keeps being true,” Gideon replies, dry as the toast that Ray could at least have tried to force down the past several mornings.

It turns out that, much like Bigfoot sightings, the Ray sightings were the product of wishful thinking. He really had not existed outside of the lab for all that time except to go to the bathroom. He even had Gideon make him seven six packs of Monster before going in.

And yet no food or water.

When Nate points out that astonishing oversight after hearing that Ray did prepare himself for his science fit, sort of, Ray shrugs sheepishly. “I forgot.”

“You, Mr. Three Square Meals a Day, just straight up forgot?”

“Yeah. There’s...I don’t have another answer, I really did.”

“Okay, so why did you go full absent-minded professor?”

Ray doesn’t answer the question, though a troubled look does flit across his face for about five point two seconds.

Instead, he decides to go back to the food thing.

“I’m not hungry anymore,” Ray says, clearly in a vaguely dreamlike and yet incredibly awake state. “I’ve transcended it.”

There is a beat as the others process the non sequitur and general insanity of that statement, and then chaos as everyone starts talking over each other about how stupid that very thought is, right up until Zari’s voice manages to break through.

“You’ve transcended hunger?” Zari parrots for about the third time. “Ray, take it from someone who knows—you’re just starving.”

“I feel kind of sick, actually,” Ray says in a polite rebuttal. “So there’s that.”

“Raymond, of course you feel sick, you’ve been overworking yourself and living off caffeine,” Nate says, all long-suffering hypocrisy.

“Oh, as if you don’t do the exact same thing, Mr. Do As I Say Not As I Do.”

“Yeah, I’m vetoing that nickname. And seriously, this isn’t really like you.”

“Actually, I was totally like this. I mean, I’ve been totally like this before. I missed work because I was so focused on work.”

“Yeah, but you’ve kind of...grown out of that. Or at least you weren’t like this about it other than when you were all imposter syndrome about your suit. I mean, buddy, I get being obsessed with your work, but you fainted. You’ve been mainlining energy drinks. It’s been six days. Even when you get weird and obsessed, you usually at least interact with...anyone. And energy drinks are like...caffeine and sugar. You somehow think both of those things are bad for you. Also, it’s been six days. This isn’t Ray behavior.”

“Oh, like you really know me,” Ray snaps.

His outburst causes only vague confusion. “...I do really know you, Ray. We all do. We’re on the same ship and the same team. We have literally met you as a child.”

Ray flounders. “Okay, you might have a point. But I’m just...this is important! I’m brushing up on nuclear physics! I mean, not that I’m not good at nuclear physics, I’m possibly amazing—it’s healthy to recognize your own talents—but I’ve really been leaning on the engineering side lately, not so much the theoretical, and now without...” he trails off and swallows hard. “Without Marty, I’m catching up. There are some questions I never got to ask him and now...” his voice breaks, and he runs a shaking hand through his greasy hair, “I have to figure them out myself.”

Silence settles over the room like a shroud, and Sara, without even thinking, looks over at the corner of the room where no one is, half expecting to see a familiar form sighing in a put upon way and pacing back and forth like a ruffled chicken.

Maybe Stein could’ve talked some sense into Ray.

Sara clears her throat and Nate looks down at the floor and Zari looks up at the ceiling in the way people do when they’re trying not to cry and Mick just stares at nothing because he’s staring at memories instead—he and the professor made a weird amount of memories in this medbay—and Ray swipes at his eyes. “If he was still alive, I could just use the temporal communicator to ask him, but he’s not, and I never got to ask him, and I don’t know if I’ll ever figure it all out.”

“He had more...time, Ray,” Sara says, and the words sound so ridiculous (he didn’t get enough time, he didn’t) she wants to laugh until she cries and then probably never stop crying, for Martin and Rip and Leonard and Laurel and even Jax, so far away and with half of him dead and gone. She doesn’t do any of that. She soldiers on. “He had more time to get it all figured out, and when you have...more time, so will you.”

And eventually, she absolutely does not say because no one says it, you’ll have even more time than he did, if everything turns out right.

Ray laughs a little. “That implies that I’ll ever be as good at theoretical nuclear physics as Marty.”

“Maybe you won’t be,” Zari chimes in. “But that doesn’t mean you’re not a genius and it doesn’t mean you’ll, what? Let us all down because you’re not him? You’re not him. You’re you.”

“He’s never coming back,” Mick offers in a grumbling undertone from where he’s leaning against the far wall. “You can’t replace dead people, and you suck at trying.”

He meets Ray’s eyes, and Ray remembers that time that they tried. He manages a smile. “I know.”

He sighs heavily and says, “I really went off the rails for a second there, didn’t I?”

Sara shrugs. “Happens to all of us.”

“I should eat,” Ray admits. “I can’t believe I forgot. I mean, I can, but that’s why I have alarms.”

“What happened to those?” Nate asks.

“I think I spilled Monster on my phone.”

“That checks out.” Nate heaves out a sigh. “Okay. Let’s go to the kitchen, big guy. You can go back to bothering us about three square meals again. And water intake.”

Ray agrees, because hydration is very important, no matter what the Ray who’d forgotten that Marty wasn’t actually just a call away seemed to think, and he only sways a little on his feet when he stands up after getting the saline drip out.

Constantine is in the kitchen when the rest of the team traipses in, sprawled on a chair and reading some kind of velvet-bound tome with his feet propped up on one of the other chairs. He looks up at the other Legends and says, “Ah, you’re back, then?”

Ray attempts one of his usual smiles, but it takes more work than usual. “I’m back.”

He wanders to the middle of the kitchen and just kind of stands there while the others wait for him to have a cardiac event or maybe pass out again.

Instead:

“What should I eat?” Ray asks the world at large, waffling. He really is not hungry, and he really does feel kind of sick to his stomach, like one might after drinking eighteen cans of a brand of energy drink he remembered seeing on a billboard in Star City.

“Waffles?” Nate suggests. “It’s breakfast.”

“Really?”

“Yeah, bro. Six days after last time you ate breakfast.”

Ray sighs and murmurs, probably to himself, “I just haven’t been able to figure it out without him.”

Nate and Sara share a look. It’s not a happy look. Trace amounts of the absences on the ship have traveled into every part of it, including the oxygen, and sometimes it hurts just to breathe.

“Grapefruit,” Ray says decisively, distracting everyone from their separate waves of grief for just a moment. “I want grapefruit.”

Very suddenly, everyone realizes that they also kind of want grapefruit, even though none of them can remember the last time they had it. Still, all of them—other than Constantine, who’s feeling a bit odd about the whole vibe in the kitchen right now, from Mick’s surprisingly glossy eyes to the way that Gideon’s already prepared a giant bowl of that infernal fruit even before Zari comes around to ask for it—know exactly where the craving is coming from.

(It’s an attempt to at least calm that empty ache in their stomachs that isn’t hunger, the one for Martin, because grief makes everything revolve around what—who—just isn’t anymore and somehow still is everything, like all of them have become planets orbiting a black hole, only surviving getting sucked in and pulled to pieces by a miracle of metaphorical pseudoscience, or maybe just each other.)

Zari plops the huge bowl of grapefruit halves down on the table, and Ray’s the first to take one. He digs his spoon into the fruit and sighs in pleasure when he takes a bite, clearly coming to the realization that his miraculous lack of hunger paired with queasiness is indeed actually the feeling one gets when starving. He gets through two grapefruits before he slows down at all.

All of them realize, while eating their breakfast, that, objectively, they don’t like grapefruit.

It’s still somehow delicious—though, Mick says critically, his is a little tart.

(They would all be horrified if they knew that somewhere on their Earth lives a woman—one they know and love, even!—who eats her grapefruit with salt, but there’s no one here who can share that particular little anecdote, and so the story goes untold.)

https://archiveofourown.org/works/14898194

#legends of tomorrow #legends of tomorrow fic #ray palmer #fic tag #badthingshappenbingo #team legends #prompt: forgetting to eat #long post #long post on mobile

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sallylikesmovies · 6 years

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Film Review: Frankenstein (1931)

“IT’S ALIVE! IT’S ALIVE!”

All I knew about this film before viewing was that it follows a scientist who creates a monster out of human corpses, and of course the iconic line “IT’S ALIVE! IT’S ALIVE! I had no pre-existing opinions or thoughts on the film, since I feel like this is one of the few classic films that don’t have a modern cult following (that I know of) and so I rarely see it mentioned in reviews or hear people talking about it. This might also be due to the fact that I’ve been avoiding the horror genre, just because I’m not a fan of the modern jump-scary movies.

As I normally have some sort of pre-existing notion of a film, not having one for this one was refreshing, as I could not conform to anybody else’s opinions of the film, forcing me to make my own.

My firsts thoughts were: I’m kinda of disappointed. The acting and screenplay were both underwhelming, starting from the very first line of dialogue we hear between Dr. Henry Frankenstein (Colin Clive) and his assistant Fritz (Dwight Frye). The line is: “Down, down, you fool!”, which is said by Frankenstein to Fritz when trying to catch a glimpse of the funeral that they want to steal a corpse from. The way Clive delivers the line is so awkward since his actions don’t correspond with what the dialogue wants him to do. He slowly pushes Fritz down where he cannot be seen by anyone, and then he continues to not shrink down with Fritz, but decides to stay there for another two seconds before slowly lowering himself. I know that this is director James Whale’s way of introducing the characters of Frankenstein and Fritz and to show who has the upper hand in their relationship, but the way that it’s executed by Clive just makes the scene slightly comical because of how awkward the scene feels. Even if it was intentionally made to be funny, I don’t see why it needs to be because Frankenstein ultimately is a more serious character and so to introduce him with comedy would be illogical.

Another problem with the acting I have is between Mae Clark who plays the Elizabeth, the fiancee of Frankenstein and Frankenstein himself. All of their scenes together feel forced and unnatural, especially in the scene where they are alone together on their wedding day, and she expresses her unexplained anxiety that something bad is going to happen. Clive shows no emotion whatsoever when he tells her he loves her, as if he is purposely lying to her, but he shouldn’t be, as his character isn’t having an affair of any sort and they also don’t have any major relationship problems. Also the screenplay does not relieve awkwardness from this scene, but feeds fuel to the fire by making the Frankenstein say “sure, how beautiful you look” after Elizabeth asks him if he’s sure that he’ll always be with her. Again, the dialogue makes us feel that Frankenstein is hiding something from Elizabeth, because it sounds like a lie, but there is no evidence to support this thought from the movie…So why write such a line?

However there is one performance I really enjoyed from this movie, and that’s from the actor of Frankenstein’s monster, Boris Karloff. He gives an incredible and convincing performance under all the prosthetic makeup he was under. From the little movement that the prosthetics allowed him, he expresses just the right amount of emotion at the right times through his eyes, the sounds he makes, as well as body language. He brings out the childlike persona of the monster, and perfectly embodies his innocence, his fearfulness, and his rage. His performance truly overshadows the rest of the cast, and is to continue to go down in history as spectacle to watch.

One more fault I caught in this film was the pacing. This isn’t a long movie, but a mere 71 minutes. But James Whale chose to spend 5 minutes of it to show men running around in the mountains, looking for Frankenstein’s monster and then Frankenstein himself (because the others lost him!). I know that doesn’t sound very long but making Frankenstein become separated from the others makes the search feel like it drags on for ages because that’s just another separate task to complete before they can find the actual monster. By loosing Frankenstein, the townspeople also seem much more incompetent and silly. The audience should want to root for the townspeople, as the monster is ultimately portrayed as the antagonist, but by making them seem less serious and capable of doing something so simple—as opposed to the beginning of the search where they seemed like they knew exactly what they were doing—we don’t empathize and relate to them as much.

Let us move on from the problems I have with this film and toward the more positive aspects of this film. I really liked the scene where the father of the dead girl walks through the town with the limp body of his daughter in his arms, and the partying people all begin to quite down as one by one they see the dead girl. This reminds me of a similar scene from the 2006 Alfonso Cuarón film, Children of Men, in which the first baby in 18 years is born and when (in the middle of a war), people see the baby and immediately stop whatever they were doing and quiet down because they are in complete and utter awe of the baby. Although in Children of Men, the causation of the response is life and in Frankenstein, is death, however the premise of the scene is the same. The long shot of the father was also the first shot we saw of the daughter after she was thrown into the lake, and so the reactions of the townspeople people reflect how the audience is feeling and also allow us to feel how tragic the death of this child is and how important it is to the story, since it causes outrage in the town, ultimately leading to the search party for the monster.

I also like that the film explores the human morality of creating life unnaturally, as if playing God. When Frankenstein succeeds in giving life to the monster, he exclaims: “Now I know what it’s like to be God!” This is still such a controversial and possibly unanswerable question even in today’s society, which makes the topic applicable to any time period. However, the message the film conveys is that consequences will occur if the natural cycle of life is disturbed.

Furthermore, I have to remind myself that this film was made in 1931 and some of the film tropes/archetypes we know of today didn’t exist or was fairly new when this film was made. For example, the angry mob of townspeople chasing the monster with torches, the lab or the evil lair of the mad scientist, as well as having an incompetent hunchback as a sidekick, were all knew concepts at the time. Frankenstein’s monster is one of the most iconic villains/monsters of all time, and this movie is one of the reasons why it’s still so well known today. When it was first released, I can just imagine how freaked out people were of the concept of a resurrected ‘man’ who’s made of sewn together body parts of dead corpses, who also has a brain of a murderer. And the image of a towering man with bolts on the side of his neck, and long, prominent stitches that connect one body part to next is just…terrifying. Even by today’s standards, I was still a little shaken when we first saw the monster, awake and walking.

The black and white also pairs nicely with the tone and mood of the movie, and when added to the production and set design, creates a Gothic, dark and eerie atmosphere which is very practical in evoking fear and unease.

To conclude, Frankenstein (1931) is worth a watch if you are a horror movie lover and is bored of recent horror flicks and remakes of the classics. Although it wasn’t completely my cup of tea, I can still appreciate and understand why it is considered a horror classic.

Rating: 3.5~4/5 (I can’t decide)

#frankenstein #filmreview

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gp-synergism-blog · 6 years

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Gothic Film in the ‘40s: Doomed Romance and Murderous Melodrama

Posted by: Samm Deighan for Diabolique Magazine

Secret Beyond the Door (1947)

In many respects, the ‘40s were a strange time for horror films. With a few notable exceptions, like Le main du diable (1943) or Dead of Night (1945), the British and European nations avoided the genre thanks to the preoccupation of war. But that wasn’t the case with American cinema, which continued to churn out cheap, escapist fare in droves, ranging from comedies and musicals to horror films. In general though, genre efforts were comic or overtly campy; Universal, the country’s biggest producer of horror films, resorted primarily to sequels, remakes, and monster mash ups during the decade, or ludicrous low budget films centered on half-cocked mad scientists (roles often hoisted on a fading Bela Lugosi).

There are some exceptions: the emergence of grim-toned serial killer thrillers helmed by European emigres like Hitchcock’s Shadow of a Doubt (1943), Ulmer’s Bluebeard(1944), Siodmak’s The Spiral Staircase (1945), or John Brahm’s Hangover Square(1945); the series of expressionistic moody horror film produced by auteur Val Lewton, such as Cat People (1942) and I Walked with a Zombie (1943); and a handful of strange outliers like the eerie She-Wolf of London (1946) or the totally off-the-rails Peter Lorre vehicle, The Beast with Five Fingers (1946).

Thanks to the emergence of film noir and a new emphasis on psychological themes within suspense films, horror’s sibling — arguably even its precursor — the Gothic, was also a prominent cinematic force during the decade. One of the biggest producers of Gothic cinema came from the literary genre’s parent country, England. Initially this was a way to present some horror tropes and darker subject matter at a time when genre films were embargoed by a country at war, but Hollywood was undoubtedly attempting to compete with Britain’s strong trend of Gothic cinema: classic films like Thorold Dickinson’s original Gaslight (1940); a series of brooding Gothic romances starring a homicidal-looking James Mason, like The Night Has Eyes (1942), The Man in Grey(1943), The Seventh Veil (1945), and Fanny by Gaslight (1944); David Lean’s two best films and possibly the greatest Dickens adaptations ever made, Great Expectations(1946) and Oliver Twist (1948); and other excellent, yet forgotten literary adaptations like Uncle Silas (1947) and Queen of Spades (1949).

The American films, which not only responded to their British counterparts but helped shape the Gothic genre in their own right, tended towards three themes in particular (often combining them): doomed romance, dark family inheritances often connected to greed and madness, and the supernatural melodrama. Certainly, these film borrowed horror tropes, like the fear of the dark, nightmares, haunted houses, thick cobwebs, and fog-drenched cemeteries. The home was often set as the central location, a site of both domesticity and terror — speaking to the genre’s overall themes of social order, repressed sexuality, and death — and this location was of course of equal importance to horror films and the “woman’s film” of the ‘40s and ‘50s. Like the latter, these Gothic films often featured female protagonists and plots that revolved around a troubled romantic relationship or domestic turmoil.

Wuthering Heights (1939)

Two of the earliest examples, and certainly two films that kicked off the wave of Gothic romance films in America, are also two of the genre’s most enduring classics: William Wyler’s Wuthering Heights (1939) and Hitchcock’s Rebecca (1940). Based on Emily Brontë’s novel of the same name (one of my favorites), Wyler and celebrated screenwriter Ben Hecht (with script input from director and writer John Huston) transformed Wuthering Heights from a tale of multigenerational doom and bitterness set on the unforgiving moors into a more streamlined romantic tragedy about the love affair between Cathy (Merle Oberon) and Heathcliffe (Laurence Olivier) that completely removes the conclusion that focuses on their children. In the film, the couple are effectively separated by social constraints, poverty, a harsh upbringing, and the fact that Cathy is forced to choose between her wild, adopted brother Heathcliffe and her debonair neighbor, Edgar Linton (David Niven).

Wuthering Heights is actually less Gothic than the films it inspired, primarily because of the fact that Hollywood neutered many of Brontë’s themes. In The History of British Literature on Film, 1895-2015, Greg Semenza and Bob Hasenfratz wrote, “Hecht and Wyler together manage to transfer the narrative from its original literary genre (Gothic romance) and embed it in a film genre (the Hollywood romance, which would evolve into the so-called ‘women’s films’ of the 1940s)… [To accomplish this,] Hecht and Wyler needed to remove or tone down elements of the macabre, the novel’s suggestions of necrophilia in chapter 29, and its portrayal of Heathcliffe as a kind of Miltonic Satan” (185).

This results in sort of watered down versions of Cathy — who is selfish and cruel as a general rule in the novel — and, in particular, Heathcliffe, whose brutish behavior includes physical violence, spousal abuse, and a drawn out, well-plotted revenge that becomes his sole reason for living. It is thus in a somewhat different — and arguably both more terrifying and more romantic — context that the novel’s Heathcliffe declares to a dying Cathy, “Catherine Earnshaw, may you not rest as long as I am living. You said I killed you–haunt me then. The murdered do haunt their murderers. I believe–I know that ghosts have wandered the earth. Be with me always–take any form–drive me mad. Only do not leave me in this abyss, where I cannot find you! Oh, God! It is unutterable! I cannot live without my life! I cannot live without my soul!” (145).

Despite Hollywood’s intervention, the novel’s Gothic flavor was not scrubbed entirely and Wuthering Heights still includes themes of ghosts, haunting, and just the faintest touch of damnation, though it ends with a spectral reunion for Cathy and Heathcliffe, whose spirits set off together across the snow-covered moors. These elements of a studio meddling with a film’s source novel, doomed romance, and supernatural tones also appeared in the following year’s Rebecca, possibly the single most influential Gothic film from the period. This was actually Hitchcock’s first film on American shores after his emigration due to WWII, and his first major battle with a producer in the form of David O. Selznick.

Rebecca (1940)

Based on Daphne du Maurier’s novel of the same name, Rebecca marks the return of Laurence Olivier as brooding romantic hero Maxim de Winter, the love interest of an innocent young woman (Joan Fontaine) traveling through Europe as a paid companion. She and de Winter meet, fall in love, and are quickly married, though things take a dark turn when they move to his ancestral home in England, Manderlay, which is everywhere marked with the overwhelming presence of his former wife, Rebecca. The hostile housekeeper (Judith Anderson) is still obviously obsessed with her former mistress, Maxim begins to act strangely and has a few violent outbursts, and the new Mrs. de Winter begins to suspect that Rebecca’s death was the result of a homicidal act…

The wanton or mad wife was a feature not only of Rebecca, but of earlier Gothic fiction from Wuthering Heights and Jane Eyre to “The Yellow Wallpaper.” In the same way that Cathy of Wuthering Heights is an example of the feminine resistance to a claustrophobic social structure, Rebecca is a similar figure, made monstrous by her refusal to conform. The dark secret that Maxim’s new wife learns is that Rebecca was privately promiscuous, agreeing only to appear to be the perfect wife in public after de Winter already married her. She pretends she is pregnant with another man’s child and tries to goad her husband into murdering her, seemingly out of sheer spite, but it is revealed that she was dying of cancer.

A surprisingly faithful adaptation of the novel, Rebecca presents the titular character’s death as a suicide, rather than a murder, thanks to the Production Code’s insistence that murderers had to be punished, contrary to the film’s apparent happy ending, and restricted the (now somewhat obvious) housekeeper’s lesbian infatuation for Rebecca. Despite these restrictions, Hitchcock managed to introduce some of the bold, controversial themes that would carry him through films like Marnie (1964). For Criterion, Robin Wood wrote, “it is in Rebecca that his unifying theme receives its first definitive statement: the masculinist drive to dominate, control, and (if necessary) punish women; the corresponding dread of powerful women, and especially of women who assert their sexual freedom, for what, above all, the male (in his position of dominant vulnerability, or vulnerable dominance) cannot tolerate is the sense that another male might be “better” than he was. Rebecca is killed because she defies the patriarchal order, the prohibition of infidelity.”

Wood also got to the crux of many of these early Gothic films (and the Romantic/romantic novels that inspired them) when he wrote, “The antagonism toward Maxim we feel today (in the aftermath of the Women’s Movement) is due at least in part to the casting of Olivier; without that antagonism something of the film’s continuing force and fascination would be weakened.” Heathcliffe and de Winter are similarly contradictory figures: romantic, but also repulsive, objects of love and fear in equal measures, they mirror the character type popularized in England by a young, brooding James Mason — an antagonistic, almost villainous (and sometimes actually so) male romantic lead — that would appear in a number of other titles throughout the decade.

Rebecca (1940)

In “‘At Last I Can Tell It to Someone!’: Feminine Point of View and Subjectivity in the Gothic Romance Film of the 1940s” for Cinema Journal, Diane Waldman wrote, “The plots of films like Rebecca, Suspicion, Gaslight, and their lesser-known counterparts like Undercurrent and Sleep My Love fall under the rubric of the Gothic designation: a young inexperienced woman meets a handsome older man to whom she is alternately attracted and repelled. After a whirlwind courtship (72 hours in Lang’s Secret Beyond the Door, two weeks is more typical), she marries him. After returning to the ancestral mansion of one of the pair, the heroine experiences a series of bizarre and uncanny incidents, open to ambiguous interpretation, revolving around the question of whether or not the Gothic male really loves her. She begins to suspect that he may be a murderer” (29-30).

As Waldman suggests, there are many films from the decade that fit into this type: notable examples include Hitchcock’s Suspicion (1941), where Joan Fontaine again stars as an innocent, wealthy young woman who marries an unscrupulous gambler (Cary Grant) who may be trying to kill her for her fortune; Robert Stevenson’s Jane Eyre (1943) yet again starred Fontaine as the innocent titular governess, who falls in love with her gloomy, yet charismatic employer, Mr. Rochester (Orson Welles); George Cukor’s remake of Gaslight (1944) starred Ingrid Bergman as a young singer driven slowly insane by her seemingly charming husband (Charles Boyer), who is only out to conceal a past crime; and so on.

Another interesting, somewhat unusual interpretations of this subgenre is Experiment Perilous (1944), helmed by a director also responsible for key film noir and horror titles such as Out of the Past, Cat People, and Curse of the Demon: Jacques Tourneur. Based on a novel by Margaret Carpenter and set in turn of the century New York, Experiment Perilous is a cross between Gothic melodrama and film noir and expands upon the loose plot of Gaslight, where a controlling husband (here played by Paul Lukas) is trying to drive his younger wife (the gorgeous Hedy Lamarr) insane. The film bucks the Gothic tradition of the ‘40s in the sense that the wife, Allida, is not the protagonist, but rather it is a psychiatrist, Dr. Bailey (George Brent). He encounters the couple because he befriended the husband’s sister (Olive Blakeney) on a train and when she passes away, he goes to pay his respects. While there, he he falls in love with Allida and refuses to believe her husband’s assertions that she is insane and must be kept prisoner in their home.

In some ways evocative of Hitchcock (a fateful train ride, a psychiatrist who falls in love with a patient and refuses to believe he or she is insane), Experiment Perilous is a neglected, curious film, and it’s interesting to imagine what it would have been if Cary Grant starred, as intended. It does mimic the elements of female paranoia found in films like Rebecca and Gaslight, in the sense that Allida believes she has a mysterious admirer and, as with the later Secret Beyond the Door, she’s tormented by the presence of a disturbed child; though Lamarr never plays to the level of hysteria usually found in this type of role and her performance is both understated and underrated.

Experiment Perilous (1944)

Tourneur was an expert at playing with moral ambiguities, a quality certainly expressed in Experiment Perilous, and the decision to follow the psychiatrist, rather than the wife, makes this a compelling mystery. Like Laura, The Woman in the Window, Vertigo, and other films, the mesmerizing portrait of a beautiful woman is responsible for the protagonist becoming morally compromised, and for most of the running time it’s not quite clear if Bailey is acting from a rational, medical premise, or a wholly irrational one motivated by sexual desire. Rife with strange diary entries, disturbing letters, stories of madness, death, and psychological decay, and a torrid family history are at the heart of the delightfully titled Experiment Perilous. Like many films in the genre, it concludes with a spectacular sequence where the house itself is in a state of chaos, the most striking symbol of which is a series of exploding fish tanks.

But arguably the most Gothic of all these films — and certainly my favorite — is Fritz Lang’s The Secret Beyond the Door (1947). On an adventure in Mexico, Celia (Joan Bennett), a young heiress, meets Mark Lamphere (Michael Redgrave), a dashing architect. They have a whirlwind romance before marrying, but on their honeymoon, Mark is frustrated by Celia’s locked bedroom door and takes off in the middle of the night, allegedly for business. Things worsen when they move to his mansion in New England, where she is horrified to learn that she is his second wife, his first died mysteriously, and he has a very strange family, including an odd secretary who covers her face with a scarf after it was disfigured in a fire; he also has serious financial problems. During a welcoming party, Mark shows their friends his hobby, personally designed rooms in the house that mimic the settings of famous murders. Repulsed, Celia also learns that there is one locked room that Mark keeps secret. As his behavior becomes increasingly cold and disturbed she comes to fear that he killed the first Mrs. Lamphere and is planning to kill her, too.

A blend of “Bluebeard,” Rebecca, and Jane Eyre, Secret Beyond the Door is quite an odd film. Though it relies on some frustrating Freudian plot devices and has a number of script issues, there is something truly magical and eerie about it and it deserves as far more elevated reputation. Though this falls in with the “woman’s films” popular at the time, Bennett’s Celia is far removed from the sort of innocent, earnest, and vulnerable characters played by Fontaine. Lang, and his one-time protege, screenwriter Silvia Richards, acknowledge that she has flaws of her own, as well as the strength, perseverance, and sheer sexual desire to pursue Mark, despite his potential psychosis.

This was Joan Bennett’s fourth film with Fritz Lang – after titles like Man Hunt (1941), The Woman in the Window (1944), and Scarlet Street (1945) — and it was to be her last with the director. While her earlier characters were prostitutes, gold diggers, or arch-manipulators, Celia is more complex; she is essentially a spoiled heiress and socialite bored with her life of pleasure and looking to settle down, but used to getting her own way and not conforming to the needs of any particular man. (Gloria Grahame would go on to play slightly similar characters for Lang in films like The Big Heat and Human Desire.) In one of Celia’s introductory scenes, she’s witness to a deadly knife fight in a Mexican market. Instead of running in terror, she is clearly invigorated, if not openly aroused by the scene, despite the fact that a stray knife lands mere inches from her.

Secret Beyond the Door (1947)

Like some of Lang’s other films with Bennett, much of this film is spent in or near beds and the bedroom. The hidden bedroom also provides a rich symbolic subtext, one tied in to Mark’s murder-themed rooms, the titular secret room (where his first wife died), and the burning of the house at the film’s conclusion. Due to the involvement of the Production Code, sex is only implied, but modern audiences may miss this. It is at least relatively clear that Mark and Celia’s powerful attraction is a blend of sex and violence, affection and neurosis. As with Rebecca and Jane Eyre, it is implied that the fire — the act of burning down the house and the memory of the former love (or in Jane Eyre’scase, the actual woman) — has cleansing properties that restore Mark to sanity. It is revealed that though he did not commit an actual murder, the guilt of his first wife’s death, brought on by a broken heart, has driven him to madness and obsession.

This really is a marvelous film, thanks Lang’s return to German expressionism blended with Gothic literary themes. There is some absolutely lovely cinematography from Stanley Cortez that prefigured his similar work on Charles Laughton’s The Night of the Hunter. In particular, a woodland set – where Celia runs when she thinks Mark is going to murder her – is breathtaking, eerie, and nightmarish, and puts a marked emphasis on the fairy-tale influence. But the house is where the film really shines with lighting sources often reduced to candlelight, reflections in ornate mirrors, or the beam of a single flashlight. The camera absolutely worships Bennett, who is framed by long, dark hallways, foreboding corridors, and that staple of film noir, the winding staircase.

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