hurt
ship: ranpoe
genre: emotional hurt comfort, vent fic
prompt: poe is no good at social cues
notes: poe is autistic. change my mind.
anyways i got upset over something and decided to throw my emotions at poe.
also the title for this in my google docs is fuck you poe you little fucking bitchbaby
In the 28 years Poe has been alive, there has always been one thing that’s certain. A stable variable, something that never changes.
It’s always his fault.
It doesn’t matter if it was a murder he made nothing to do with, if the glass shattering had nothing to do with him, or if he was even near a problem at all.
It’s always his fault.
I mean, you can’t blame him. It’s something he’s been told most of his life. Little mistakes become life threatening matters for him fast, it’s like the panic button in his brain replaced the button of common sense in his brain.
He’s just a mess.
Or, that’s what he thinks.
There are actual words and conditions that explain this phenomenon, Poe’s had them all listed to him at least nine or ten times.
It’s stupid of him to really think this is his fault.
At the very least, it shouldn’t be his first assumption.
It’s definitely not his fault that Ranpo is upset, it has nothing to do with him.
Ranpo even said that, called that out to him while Poe rushed home, hopping on the first train he saw and hiding in the back, tugging on his hair to try and keep himself from crying.
It’s when the train stops that he realizes that Karl is missing.
And then Poe feels even more pathetic for not realizing his best friend and emotional support animal had abandoned him.
He bit his lip, holding his jacket a little bit closer and continuing to rush home.
It’s his fault Karl disappeared, anyway.
He must’ve done something seriously wrong to the raccoon, given him a bath too many times, not fed him enough, not gotten the food he likes.
… Karl must hate him. That’s understandable.
Poe eventually got home, hurriedly unlocking the room and closing it behind him, leaving him in a dark apartment.
Alone.
At last…
Poe hid in his tiny bathroom and provided to have a meltdown.
Pulling out his hair, screaming, crying.
Ripping up papers, god awful drafts that no one would never want to see.
Hitting his head on the wall, definitely annoying the neighbors, but oh well.
It lasted for at least an hour, everything felt overwhelming, and everything felt upsetting.
But by the end of it, Poe ended up sitting in the empty bathtub, clothes on and still staring at the shower head.
He felt empty, devoid of any emotion, and his throat hurt from screaming.
There was a knock at the door, though Poe couldn’t bring himself to get up and answer it.
He wasn’t quite presentable enough to do that, either…
He had thrown off his two jackets, which were now left disheveled on the floor, leaving him in his button up and vest. His bangs kept sticking to his eyes while he was crying, so he put them up with a headband, his bangs just about soaked with tears. His eyes were red, puffy. His entire face was probably red, actually.
Either way, he was not going to answer the door.
The door unlocked though, and Poe felt like he was about to become the victim of a murder case.
… Maybe he deserved that.
“Poe? Are you home?” Called out a familiar voice.
It’s Ranpo’s. This was bad.
Quickly, he closed the shower curtains, and decided that the best course of action was to turn on the shower with him still in it.
Clothes and all.
So he did.
Cold water poured down his face and clothes, it was ice cold from the fact that he didn’t warm up the water beforehand.
Just anything to keep Ranpo from seeing him like this.
The door opened anyways, and Poe found himself holding his breath, and from behind the curtain, Karl peeked his head out into the shower at Poe, soaked to the bone with ice cold water.
Poe couldn’t help but smile and shake his hands.
“Karl!” He exclaimed, using his foot to turn off the shower and pull the raccoon in, holding his to his chest and rocking back and forth.
Moments afterwards, Ranpo pulled back the shower curtains, looking down at Poe with a slight smile.
… He was cute. His glasses her on top of his head, likely having just used them to figure out where Poe’s spare apartment key was. His hat had been discarded, he probably just dropped it on the floor the moment he came in like usual.
Ranpo let out a laugh, “Did you seriously turn on the shower just to avoid talking to me?”
Poe glanced to the side, petting Karl, “... Maybe.”
Ranpo got to his knees, ruffling Poe’s hair haphazardly. He didn’t seem to be bothered by Poe's disheveled state, the torn up papers on the ground, or really any of the mess in the bathroom.
… It was a little embarrassing now that Poe thought of it.
“Are you okay?” Ranpo asked, “You left in a hurry, without Karl nonetheless, I got worried.”
“I’m… Fine,” Poe managed to mumbled out, his voice had gotten much quieter, and he couldn’t seem to increase his volume.
He wasn’t sure he wanted to.
“... You know, me being upset wasn’t your fault, Poe,” Ranpo explained.
So he already knew why Poe rushed off so fast. He probably knows why the bathroom is a mess, too.
As to be expected from one of the best detectives.
He probably thought Poe was even more of an embarrassment, then. He probably doesn’t even want to be friends anymore.
Why would anyone want to be friends with Poe?
“You need to stop blaming yourself for that sort of thing, honestly. It had nothing to do with you, Kunikida-san just got mad at me, so I was mad at him. You weren’t even there,” Ranpo continued.
“I could’ve at least noticed you were mad…” Poe replied softly, looking off to the side.
“I don’t expect you to do that,” He replied, lowering his voice, “I know you have a hard time with social cues, I do too. You not noticing is just fine, I didn’t want to make a big deal of it anyway. It was just a little thing, it had nothing to do with you, and it wasn’t your fault.”
Karl began to start purring almost in Poe’s arms as he looked back up at Ranpo, who smiled back at him, his normal cheerful and happy demeanor returning.
“Let’s get you changed. And also, next time don’t shower in your clothes, stupid.”
Ranpo holds out a hand and helps Poe out of the bathtub, Ranpo then quickly leaves to get Poe some new clothes.
Poe smiles happily.
Ranpo is too kind to him.
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Six Baudelaires AU, Part One: Reference Guide
A quick guide for everything I intentionally referenced in The Six Siblings, Part One: There’s No Happy Endings, Not Here and Not Now.
{ao3} {tumblr}
Without further ado...
Chapter One / Prologue - in which the Baudelaires make a Fort
“Mother and Father are gone again, and we can’t get Sunny to shut up.” [...] “Where are Mom and Dad?”
This is relevant throughout the entire fic; the Netflix!Baudelaires (Violet, Klaus, Sunny) refer to their parents as “Mother and Father”, while the Movie!Baudelaires (Lilac, Nick, Soli) refer to them as “Mom and Dad.” This is because they did so in their respective adaptations.
In case you missed the origin of the Movie!Baudelaires names:
Lilac is also a purple flower, similar to Violet.
Nick and Klaus are both diminutives of Nicholas.
Solitude and Sunny are both popular candidates for S Theodora Markson’s first name in the prequel series, All the Wrong Questions.
Lilac said, moving up next to the crib and smiling as some hair fell out of her ponytail and into her face- ugh, she’d have to braid it back before breakfast.
obvious reference to the fact Movie!Violet has four braids at any given time.
Lilac sighed. “Vi, can you pass the hone- is that my sweater?”
Violet glanced down at her outfit, and then glared at her sister. “Well, it’s not like you were going to wear it.”
“That’s mine, Nancy gave it to me for my birthday!”
“Nancy” is a lowkey reference to goth movie character Nancy Downs, from The Craft (1996).
But there were Klaus and Nick, sitting in the corner. Klaus was covering his ears and rocking back and forth, while Nick was grabbing blankets out of a box and putting them over him, nervously fiddling with the edges and bouncing up and down as he ran.
Most of the Baudelaires’ reactions to the storm are referencing the fact that they’re autistic and/or adhd, and the loud thunder is overstimulating for Klaus and Solitude especially. [I also used this as a reference in part two of my Stranger Things crossover, If I Go (There Will Be Trouble), with Klaus and Sunny.]
As Lilac dictated what to do, Violet grabbed some rope out of a box, and threw blankets over it as Lilac tied it to loose planks and metal structures. They kept doing that, until the blankets made up a small enclosed area. Lilac dug some pillows out of another box, using those and the extra blankets to fill in the floor of the blanket fort.
obvious reference to the blanket fort scene in the 2004 film.
“Music box.” Lilac explained, and she grabbed something on the side, winding it up and then opening it. Slowly, notes started playing, sounding a bit like a jazz song.
Reference to Ellington’s music box in All the Wrong Questions, which was probably playing either “Black, Brown and Beige” or “Solitude.”
“Snahpro.” Solitude said, which meant, “I’d rather [Mom and Dad] were here with us.”
Hint: spell “snahpro” backwards. ;)
Rest of the fic under the cut.
Chapter Two - in which the Baudelaires receive some Distressing News
“But I was reading about tide pools yesterday,” he said, “And I’d like to see what’s here.”
“Hopkins,” said Solitude, which probably meant, “Let him look at the tide pools, we’ve got time.”
“Hopkins” is a reference to Kailey Hopkins, the American Girl doll Girl of the Year 2003-2004, whose story centered around tide pools.
“Lilienthal,” Sunny said, which meant, “Or the hang-glider.”
Otto Lilienthal was the first person to make repeated successful flights with gliders.
[Lilac] said there was “always something” that could be done to better any item, any piece of trash. Anything could be useful… except Violet’s ugly clothes, nobody could fix that disaster.
obvious reference to Movie!Violet’s catchphrase.
[Solitude] would have the same smile while succeeding in finishing a puzzle as she did when she was playing fetch with Nick- “fetch” being a word which here meant that he would throw whatever was closest to him and she would catch it and bite it.
obvious reference to the short scene in the 2004 movie.
“Ready.” Nick said.
“Asill.” said Soli and Sunny.
“Asill” is a combination of the words “As I’ll”, aka the popular phrase, “Ready as I’ll ever be.”
“They just get back from a trip.” Violet said. “Maybe they needed to follow up on something today?”
“What would they need to follow up on that we couldn’t be there for?” Nick asked. “Maybe they’re just-”
Lowkey, Nick was going to suggest that maybe their parents kicked them out of the house so they could have “alone time” together. He’s lucky he didn’t get to finish this thought, as Lilac probably would have throttled him.
“How do you do?” Violet asked.
“How do you do?” Klaus asked.
“Odo yow!” Sunny and Soli both said.
Nick stared at them. “You all sound like robots.” he said, before turning to Mr Poe. “It’s nice to see you, Mr Poe.”
a reference to the popular meme format:
Klaus and Nick stared at the burnt pages, while Violet made her way over to a broken grandfather clock she had spent hours of her life repairing and fixing and adding additions too; it was almost completely shattered.
A reference to her clock/toaster in The Bad Beginning, Part One.
“Nick,” Lilac said, glancing at Solitude, who she was currently holding, “You’re scaring her.”
“I’m scaring her? Lilac, our parents are dead! We’re going to be shoved to the first person who might be related to us, and til then we have to sleep on the floor. We don’t have anything, our house is gone-”
Nick’s freakout is a reference to a deleted scene from the 2004 film that goes similarly.
“Deciduous,” Soli said, which probably meant, “Can I bite it?”
“Deciduous” is a term used for when leaves are shedded from trees.
What [Lilac] didn’t say, was that while she couldn’t remember seeing it before, or the Eye on top, it looked… it looked familiar, somehow. But she couldn’t say where she might’ve seen it before.
A reference to Book!Violet being able to vaguely remember VFD activity. Lilac takes that subplot in this fic.
Chapter Three - in which a wild Count Olaf appears
“Which one is the eldest?” Olaf asked.
Poe paused, glancing between Violet and Lilac. “Well, they’re twins, so I don’t believe it matters.”
“We’re the twins.” Nick said, gesturing to himself and his brother. “Lilac and Violet are not.”
Start of a running joke where Lilac/Violet and Solitude/Sunny are confused for the set of twins, as they look more similar to each other than the fraternal twins Nick and Klaus.
They stared at each other for a moment, and then Nick said, “Well, I’ve got a good feeling about this.”
“Nick-” Lilac warned.
“No, really, he seems like a great guy.” Nick said, dropping Solitude on the ground and starting to wander around the room. “I mean, the house is falling apart, sure, but I’m sure it’s nothing. We probably won’t die the second a storm comes around. Oh, and I’m sure we can just find some rat traps lying around, I thought I saw a mouse on the way up.” He paused, glancing to the side, and then said, “Ooh, one bed, fantastic.”
Once again, a reference to the deleted 2004 film scene.
“Hey, maybe we could take off that wallpaper.” Violet suggested after they all worked for a few minutes, glancing at a part that had already peeled off.
[...] Klaus turned slightly, smiling at Nick and saying, “It is so pleasant to be out in this great room and creep around as I please.”
While Soli and Sunny stared in confusion, Nick laughed, and Lilac and Violet also smiled slightly. Nick then continued, “For outside you have to creep on the ground, and everything is green instead of yellow.”
“The wallpaper’s not yellow, though.” Lilac noted, though she still smiled.
“Don’t be a spoilsport.” Violet said, before continuing the quoting from a short story the older children all enjoyed. “I’ve got out at last, in spite of you and Jane! And I’ve pulled off most of the paper, so you can’t put me back!”
The siblings are referencing the 1892 short story The Yellow Wallpaper by Charlotte Perkins Gilman, which was written to highlight the "medical, professional, and societal oppression against women at the time.”
Chapter Four - in which Nick and Klaus finally get into a Library
“They don’t have anything more recent than twenty years ago, and the Librarian doesn’t say anything, other than asking me if I’ve been good to my Mother.”
reference to a VFD codephrase as revealed in The Unauthorized Autobiography; a librarian will ask “Well, young lady, have you been good to your mother?” which means “I have a message for you.” The message will be given if the volunteer replies with, “The question is, has she been good to me?”
“Hmm?” Soli asked. “I don’t remember that.”
“That was before I liked you.” Nick said, grinning over at the toddler. “Remember? Took me six weeks, and then we were best friends.”
“You tried to throw her off the roof.” Violet reminded him.
“That’s just sibling bonding.”
Reference to the best movie of all time, Addams Family Values (1993), in which Wednesday and Pugsley take a dislike to their new baby brother and attempt to throw him off of the roof.
“Tagenon.” Sunny said quietly. “I wish we had pancakes, this oatmeal has no flavor.”
Foreshadowing to Sunny’s future interest in cooking.
“Pasta Puttanesca.” she said, holding up the cookbook she’d been flipping through.
“That sounds Italian.” Lilac noted.
“I wonder what it means.” Klaus said.
“I think it means ‘very few ingredients.’” Nick said.
“That’s great.” Lilac said, looking like she didn’t care at all.
Klaus considered a moment. “I don’t think that’s right.”
“I don’t think you’re right.” Nick retorted.
Reference to both Movie!Klaus and Netflix!Klaus’s reactions to “Puttanesca” - “that’s Italian for ‘very few ingredients’” vs “I wonder what that means in Italian.” Fun fact: “Puttanesca” roughly translates to “prostiitute.”
Chapter Five - in which Dinner goes Badly
“Vanukas.” Sunny said. “And Chocolate Pudding for desert.”
“Vanukas” is Finnish pudding.
Chapter Six - in which the Baudelaires are Cast in a Play
Sunny raised a small hand. “Caedis,” she said, which meant, “We could just kill him.”
derivation of the Latin verb “caedo”, which means “to cut, beat, kill, defeat”
“Funus.” Soli laughed. “I could hide the body.”
derivation of the Latin noun “funus”, meaning “funeral, death.”
“Standoffish” was not a word the children would use to describe Count Olaf. Lilac would have been more inclined to use “pure evil” had she not been worried something might happen to her siblings if she did.
Reference to one of Movie!Violet’s lines.
Slowly, Count Olaf got to his feet, walking around so he was standing beside Lilac, and he reached forwards and stroked her on the chin, staring deep into her eyes. “You will participate in this performance. I would prefer it if you…” he smiled darkly, “Volunteered to perform, but I believe you orphans are familiar with the term in loco parentis. That is a phrase that here means that I can order you to participate, and you must obey.”
Reference to VFD.
Chapter Seven - in which the Baudelaires read up on Inheritance Law
“I mean…” Klaus paused. “She couldn’t be scared, could she? Lilac doesn’t get scared.”
Nick glanced over at him. “Klaus, we’re all-”
Reference to a line from The Bad Beginning, Part One that is quoted directly in the next chapter: “We’re all frightened, Klaus.”
Chapter Eight - in which Lilac and Violet attempt a Rescue
Soli sniffled. “Parvula,” she said, which meant, “I had to move out of the crib, but I didn’t care, I was just happy to have someone to play with.”
Feminine form of the Latin noun “parvulus”, meaning “infancy, childhood.”
Lilac nodded. “When… when Mom and Dad brought you home, boys, and Soli, and Sunny, they told me… they told me, ‘you are the eldest Baudelaire child. And as the eldest, it will always be your responsibility to look after your younger siblings.’”
Violet flinched, glancing away, and Soli sniffled a little.
The reason Lilac does not mention Violet is simply because she would’ve only been eleven months old when Violet was born, not old enough to remember anything her parents told her. Violet flinched because her parents had never told her the same thing, or at least not to the extent of Lilac, which just feeds into her inferiority complex.
“Devil’s tongue knot.” Lilac nodded; they’d both memorized the knot when they were younger, after reading about the female Finnish pirates that invented them in the fifteenth century. Violet had thought it’d be useful to know a knot that twisted in such a complicated and eerie way, and while Lilac agreed, she’d honestly learned it because she thought it’d be a good way to impress a female Finnish pirate, should they ever meet one.
Baby Lilac was a baby gay for female Finnish pirates.
Lilac froze a moment, and then her eyes darted towards Violet, whose face fell into a look of horror the second she realized what Olaf was implying. Then Lilac turned back to the Count, a darkness and hate behind her eyes as she spoke in a growl of fury her siblings had never heard come from her voice before. “Don’t fucking touch her.”
A running joke is Lilac constantly reprimanding her siblings for their language, though she swears herself on occasion. However, she herself will say “fuck” almost exclusively when Olaf is threatening her siblings- especially Violet, who, as another teenage girl, is in just as much danger as Lilac- and when she is threatening him right back.
Chapter Nine - in which Violet has a Plan
“If we fail-”
“We won’t.” Violet gripped tighter onto her sister’s hands, and she stared her in the eyes. “You’re Lilac goddamn Baudelaire, and you are not giving up here.”
this is a reference to me being salty at the ending of the 2004 film.
“God, we should’ve just murdered Olaf on day one.” Nick said. “Just all dogpiled on him and punched him til he stopped moving, and then claim we don’t know what happened.”
a reference to the original shitpost that inspired this au.
“Then we better get moving.” Nick said. “I saw the troupe member Violet said was guarding the stairs in the crowd, so we might be able to get up that way. We won’t have to climb the tower.”
“Good, cause I can’t climb for shit.” Klaus said, wiping his face with his sleeve.
“We wouldn’t do as good as Lilac or Violet anyway.” Nick shrugged. “If we had to make something.”
Once again, a reference to me being salty at the ending of the 2004 film.
Chapter Ten - in which the Baudelaires crash a Wedding
Softly, Violet looked over at her, and grinned slightly. “Your makeup’s ridiculous.” she said, giggling.
You may have noticed a pattern in me being salty towards the ending of the 2004 film.
Chapter Eleven - in which the Baudelaires meet their next Guardian
“What sort of scientist is he?” Lilac asked[...]
The siblings all looked out the windows, and after a pause, Nick said, “Well, Li, there’s your answer.”
As Poe’s car pulled up to the steep gravel driveway to the enormous stone house before them, they could see a vast, green lawn, covered in shrubs and hedges that had been trimmed to resemble long serpents.
A reference to Movie!Violet asking what kind of scientist Monty is while walking beside several hedges shaped like snakes.
“Sayonara.” Soli giggled, meaning, “Good riddance.”
“Yeet.” Sunny said.
In The Reptile Room book, it is mentioned that “yeet” is one of Sunny’s ways of saying goodbye. But also it’s funny because of a recent meme.
Solitude looked up curiously. “Serpentium?” she asked, meaning, “What reptile room?”
“Serpentium” is a derivative of the Latin noun “serpens”, meaning “snake.”
The second Nick entered, he glanced down at Solitude to see her eyes light up completely.
And Solitude’s interest in Herpetology has begun.
“That is one of the smallest frogs in our collection.” Monty said. “But size is no guarantee of power, is it, Solitude? That frog is very long-living, can switch genders at will, and is incredibly adaptable. You can name them if you like.”
Solitude looked like Monty had just given her the world, and the tiny frog hopped onto her shoulder. She giggled as it curled up against her, as if preparing to fall asleep on her sleeve. "Babbitt!" she cried with delight.
The introduction of Solitude’s pet.
Babbitt is named after Natalie Babbitt, the author of the book Tuck Everlasting, which features a toad as an important character.
Babbitt is based on a Wood Frog, though they are not an exact correlation; while they display many behaviors/physical similarities, Babbitt’s ambiguous species has some unique traits, such as genderfluidity and a longer lifespan.
Chapter Twelve - in which Sunny makes a Friend
“Ink!” Sunny said, meaning, “And I can play with the Incredibly Deadly Viper!”
A reference to Inky’s name, which is revealed in The End.
“Okay.” she finally said. “Um… Sunny, say goodnight to your siblings.”
“Nocte!” Sunny yawned.
“Nocte” is derived from the Latin noun “nox”, meaning “night.”
Nick fell asleep quickly, too, but Klaus stayed up a bit more, playing with the cylinder in his hands and occasionally staring towards the window, where he could’ve sworn he heard something outside, but… it must have been nothing.
A reference to the VFD code phrase, “If there’s nothing out there, then what was that noise?”
Chapter Thirteen - in which Monty receives a New Assistant
While Solitude was slightly jealous that Sunny had befriended such a large snake, she had her own pet; she’d named her tiny frog Babbitt, and the small animal tended to jump onto her shoulder or into her dress pocket whenever they had the chance.
See the reference list for Chapter Eleven for notes on Babbitt.
“Cheup!” Sunny called to the crocodile in the corner of the room. “Don’t be sad! Uncle Monty will be back soon!”
“Sun! Cor!” Solitude called, meaning, “Sunny, the broken-hearted crocodile just sounds like it’s saying ‘woe is me,’ he’s not actually sad at the moment.”
“Cheup” is a combination of the words “cheer up.”
“Cor” is the Latin noun for “heart.”
“You were just reading about alligators.” Klaus said. “They’re different.”
“Not really.”
“Sinensis.” Solitude said. “Klaus is right, actually.”
“Sinensis” is part of the scientific name for a subspecies of alligator, the alligator sinensis.
“Serpe?” Sunny asked, looking over. “Can we bring the Incredibly Deadly Viper?”
“Serpe” is derived from the Latin verb “serpo”, meaning “to crawl”
Chapter Fourteen - in which the Baudelaires go to the Movies
“We’re fine.” Violet said. “What was screaming?”
“Nothing.” Nick said.
“If that was nothing,” Violet glared at him, “What was that noise?”
A reference to the VFD code phrase, “If there’s nothing out there, then what was that noise?”
“How did he find us?” Klaus asked.
“That’s the wrong question.” Violet said, and they stepped back again as they heard more pounding on the door. “What do we do?”
A quote from the Netflix show that is most likely a reference to All the Wrong Questions.
“Propositum,” Solitude said, meaning, “He must have some scheme, we just don’t know what it is.”
“Propositum” is a derivative of the Latin verb “propono,” meaning “to make known, declare.”
The movie itself was very confusing for the children; it had subtitles in the same language it was spoken in, the characters all spoke in stilted and unrealistic dialogue, and whenever a bell rung, Nick and Klaus would hear Monty count every eighth word, write it onto his ticket, and then look at the confused, unrelated jumble of words and erase the sentence, muttering something about paranoia.
Monty knows there is a message in this movie for him in Sebald code (see: The Unauthorized Autobiography), but he is counting every eighth word instead of every eleventh. Thus he does not get the message.
“Poliziotto?” Sunny asked, which meant something like, “Do you think Uncle Monty called the police?”
“Poliziotto” is the Italian noun for “police officer.”
Chapter Fifteen - in which the Baudelaires crash a Car
“Video!” Sunny shouted, which meant, “Anyone could see that!”
“Video” is a Latin verb meaning “to see.”
“He’s an actor, he could’ve-” Lilac began.
[...] “How’d he get rid of his tattoo?” Klaus asked quietly.
“Makeup, it has to be.” Lilac said. “He’s an actor, he’d know where to get some.”
A reference to the fact the Movie!Baudelaires realized he could have used makeup faster than the Book and Netflix!Baudelaires.
“Omicido?” Sunny asked, which meant something like, “Do you think he’d kill Mr Poe?”
“Omicido” is an Italian noun for “murder.”
“Squamate,” Solitude said, cuddling Babbitt to her face, which meant, “I would rather see more reptiles.”
“Squamate” is a derivative of “Squamata,” the scientific name for the largest order of reptiles.
Chapter Sixteen - in which Solitude leads a Jailbreak
“Okay, that was clearly one of his troupe members.” Klaus said. “The- I’m not quite sure what their gender is.”
A reference to the fact the Netflix!Baudelaires pick up on disguises faster than their Book counterparts.
As Babbitt hopped out of her pocket and across the floor, she said, “Recente,” which, in this case, meant, “It was in the newest one, so it should be on one of the ends.”
“Recente” is a derivative of the Latin adjective “recens”, which means “new, recent.”
“Or we could just have Sunny bite us a lockpick.” Violet said.
“I don’t think she can do that.”
A reference to Sunny biting Violet a lockpick in The Reptile Room, Part Two.
Lilac said, hiking up her skirt and starting to tie it back; she remembered, briefly, how her Mother had taught her how best to tie back long dresses and skirts if she planned to run in them.
actually useful information
“Would you rather break open the lock with a flamethrower?”
“Yes! Was that an option?”
A reference to this incorrect quote, which is, of itself, a reference to a line from the television show Brooklyn Nine-Nine, episode 3x10, “Yippie Kayak.”
“Lilac?” Violet asked, watching as Solitude tried to squirm out of Nick’s arms to reach a cage that was being carried by. “Do we know an Aunt Josephine?”
“I…” Lilac shut her eyes. “I think I vaguely remember the name.”
“Josephine Anwhistle.” Poe said.
Lilac considered. “Yeah. Auntie Josephine. Fierce Auntie Josephine.”
“We have an Aunt Josephine?” Klaus asked.
“Yeah.” Lilac said. “I… it must’ve been before you boys were born, but I do remember someone saying ‘Fierce Auntie Josephine’... I must’ve met her when I was young.”
A reference to Book!Violet being able to vaguely remember VFD activity. Lilac takes that subplot in this fic.
Nick placed Soli onto the floor as he started shoving books into his suitcase, trying his best to fill it up, and she wandered around the room, crouching by the corner a moment as the screeching iguana was carried away over her head. When he finally picked her up, she cried a bit quieter, putting her head on his shoulder and keeping her hands in her pockets.
This is when Solitude puts Babbitt into her pocket to smuggle out of the Reptile Room.
“Bye, Ink!” Sunny called. “Amo! Mox!” This meant, “I love you! I hope to see you soon!��
“Amo” is a Latin verb, meaning “to love.”
“Mox” is a Latin adverb, meaning “soon.”
Chapter Seventeen - in which Aunt Josephine is no longer Fierce
“What do you remember about Aunt Jo, Lilac?” Nick asked.
The Movie!Baudelaires call Aunt Josephine “Aunt Jo.”
Soli bit her lip. “Timor,” she whispered to Nick, meaning, “Someone’s been to crazy-town.”
“Timor” is a Latin noun meaning “fear.”
“Sunny doesn’t speak fluently yet.” Klaus said. “She does know some English words.”
“And Italian.” Nick said. “Mom taught her some of that.”
“And Father taught us some Latin.” Klaus added. “But Sunny and Soli mostly just use baby talk.”
Italian and Latin are the languages I use most for Soli and Sunny’s speech.
Beatrice knew Italian from here career in the opera.
Solitude, who had bent down to look under her crib, sat back up and said, “Cooke,” which meant, “It kind of sounds like a Rattlesnake.”
The journalist Alistair Cooke recommended cooking rattlesnakes.
Should also be noted that Solitude bending down to “look under the crib” was her hiding Babbitt under there.
“Dorel,” Solitude said, pointing at the crib. “I’m too old for that, I moved out of cribs back when Sunny was born.”
Dorel Industries is a Canadian manufacturing company that makes cribs.
They stared for a moment, and then Nick said, “Well, I’m gonna go disassociate in front of the fridge.”
y’all are never gonna let me live this post down and honestly keep going i love it
“Hirudinea!” Solitude threw up her arms. “Then who cares?”
“Hirudinea” is the subclass that leeches belong to.
Chapter Eighteen - in which the Baudelaires break into a safe
Klaus eventually got bored of the grammar books, and he was dismayed to find that the only non-grammatical book that Aunt Josephine didn’t have put away somewhere was Anna Karenina, which he’d already read twice.
Anna Karenina is required reading for VFD.
Solitude spent most of her time finding a new room to hide in, as she’d seemed to tire of Nick never letting her out of his sight, but she felt very bad about this; whenever they found her, she’d look very guilty, and she’d apologize for worrying them.
She’s sneaking out to play with Babbitt.
“Scripto,” Solitude huffed, petting Babbitt, “Not actually paying attention to things we like.”
“Scripto” is a Latin verb, meaning “to write.”
“Roh.” Solitude said, also taking a photo to show Babbitt. “Wrestling.”
ROH (Ring of Honor Wrestling Entertainment, LLC) is an American wrestling promotion.
Chapter Nineteen - in which Aunt Josephine gets a date
Before Lilac could stop him, [Nick] reached forwards and grabbed Olaf’s leg, pulling on it and pulling back the pant to try and show the tattoo. Violet and Klaus screamed as their older sister raced forwards and pulled him back, but before she could, Nick stared, wide-eyed, at a peg leg, instead of an ankle.
A reference to a similar scene in the 2004 film.
Lilac pushed Nick behind her, terror filling her as she shouted, “Nick Liam Baudelaire, what the hell was that?”
Nick’s middle name is taken from his actor, Liam Aiken.
Chapter Twenty - in which Lilac gives her siblings allergic reactions
“Dead fly.” Solitude said, but thankfully none of the adults heard her and asked why she’d want something like that, nor why her dress pocket was squirming.
While this is an obvious reference to Soli wanting to feed Babbitt, it is also a reference to a similar request made by Wednesday Addams in the 1964 sitcom The Addams Family, episode 1x10, “Wednesday Leaves Home.”
Chapter Twenty-One - in which the House falls
“So what do all these mistakes mean?” Violet said.
“It’s substitution, isn’t it?” Nick said, figuring it out. “The k is supposed to be a c, so c is the first letter.”
Nick figuring it out before Violet is a reference to how fast Movie!Klaus figured out the code in the 2004 film.
“Raef.” Sunny shuddered. “Scared, but alright.”
“Raef” is “fear” spelled backwards.
Chapter Twenty-Two - in which Violet steals a Sailboat
“Irma?” Sunny shrieked, meaning, “Did you miss the fact there’s a hurricane?”
A reference to Hurricane Irma.
Aunt Josephine looked down at the photo, and they were surprised to see her face soften. “Ah, Lucky Smells Lumbermill. In Paltryville!” she sighed. “It’s not far from here, maybe a day’s drive. I remember the day this photo was taken. We were all so young. Look! There’s Ike. Isn’t he handsome? Oh, and Gregor! Of course that was before… well…”
“That was before” Gregor and Ike had a falling out and Gregor was killed in an arson.
Chapter Twenty-Three - in which the Baudelaires go Off-Book
“That won’t matter.” Lilac shut her eyes tight. “I’ll sing us to sleep.”
A reference to the song “Asleep”, performed by Emily Browning, Movie!Violet’s actress. The perfect depressing song to end The Wide Window on.
Chapter Twenty-Four - in which the Baudelaires break and enter
“Well…” Nick bit his lip. “Remember what Mother said? ‘Do the scary thing first…’”
“‘Get Scared Later.’” Violet nodded.
A quote from Lemony Snicket in All the Wrong Questions.
Nick bringing it up is a lowkey reference to the fact that Movie!Klaus’s actor, Liam Aiken, narrated the audiobooks to All the Wrong Questions.
They looked at each other and then Sunny said, “Sondheim,” meaning, “Let’s travel through the woods, and follow the road from there; can’t be that much of a walk.”
“Sondheim” is a reference to Stephen Sondheim, the composer of Into the Woods.
Nick and Soli clapped, and Lilac hissed, “Violet Malina Baudelaire, I am going to slaughter you.”
Violet’s middle name is taken from her actress, Malina Weissman.
Chapter Twenty-Five - in which the Baudelaires are put to work
“Good, we could get Nick new glasses.” Lilac said.
“I don’t need glasses!” Nick huffed. “I can see just fine!”
“Yeah, outta one eye.” Klaus said. “What happens if your good eye gets scratched or burnt or something?”
Nick has amblyopia.
“Parvum!” Sunny shouted. “We’re not midgets, we’re children!”
“Parvum” is derived from the Latin adjective “Parvus”, meaning “small.”
Klaus, Lilac and Sunny seemed the most bothered by this; Lilac kept flinching whenever the pots clanged, Sunny would sometimes hide on one side of the log to cover her ears, and Klaus kept shutting his eyes in a struggle to hold back tears of frustration and overstimulation.
Lilac, Klaus and Sunny are incredibly overstimulated by their environment.
Chapter Twenty-Six - in which Klaus goes to the optometrist
“Simitu!” Solitude said. “We can’t just let him off by himself!”
“Oculus!” Sunny said. “That eye building is creepy!”
“Simitu” is a Latin adverb meaning “at the same time, together.”
“Oculus” is a Latin noun meaning “eye.”
Chapter Twenty-Seven - in which Klaus is acting Very Strange
No major references in this chapter.
Chapter Twenty-Eight - in which there is an accident at the Lumbermill
“Records.” he whispered.
“Timbales?” Sunny asked. “Any Tito Puente?”
“Egieb?” Solitude asked. “Or Duke Ellington?”
Timbales are an instrument used by Tito Puente.
“Egieb” spelled backwards is “Beige,” a reference to Duke Ellington’s “Black, Brown and Beige.”
That song, as well as the reference to Duke Ellington himself, are a reference to All the Wrong Questions, which took a lot of names from things associated with Duke Ellington.
Chapter Twenty-Nine - in which Sunny has a Swordfight
“Ubi?” Sunny asked. “Where could he be?”
“Ubi” is a Latin word meaning “where.”
Georgina looked furious. “As if this is all about some fortune!” she shouted, swinging her sword and only barely missing the infant Baudelaire’s cheeks. “As if you don’t know what this is about, what with your parents’ role in-”
“Your parents’ role in VFD.” (as well as some crimes they committed for VFD, such as the assassination of Olaf’s parents.)
Chapter Thirty / Epilogue - in which the Baudelaires are enrolled in a School
“Next guardian?” Poe coughed. “Oh, no, I couldn’t find a single person willing to take you in after what happened to your last guardians. But I have a place to put you until I can convince someone. It’s a lovely school, one of my associates just dropped off two twin orphans there a few weeks ago.”
A reference to the fact Esme was in charge of thee Quagmire estate in book!canon, meaning she was probably left in charge of Duncan and Isadora and left them at Prufrock. Both her and Poe work in the financial sector, they could possibly know each other.
They went into the building, and Nick walked up to the first student he came across. “If I was a bathroom,” he asked, “Where would I be?”
A quote from book one of All the Wrong Questions.
Nick saying it is a lowkey reference to the fact that Movie!Klaus’s actor, Liam Aiken, narrated the audiobooks to All the Wrong Questions.
“Your new Vice Principal is waiting for you in his office. You will wait for him on the bench outside.” Poe said, taking them down a hall. “And I will see you once I have found a guardian. Please behave yourselves as you would at a normal school.”
“Our normal school burned down with our parents inside.” Nick said.
The Baudelaires were homeschooled before the fire.
They all fell silent, and then Sunny looked up at Lilac. She was still tired, and she whispered, “Browning?” which meant something similar to, “Will you sing us to sleep?”
Once again, a reference to the song “Asleep”, performed by Emily Browning, Movie!Violet’s actress.
She was changing the words slightly to an old tune they used to hear on the radio when they were bored, and on a music box that was given to the boys when they were toddlers by a relative they hadn’t liked much before she was trampled by horses, and playing in a coffeeshop their Father had to duck into one time they were heading to the train station to pick up their Mother from a journey.
The relative they hadn’t liked being trampled by horses is a reference to Lemony Snicket line from The Wide Window, Part One: “The expression ‘You can't lock up the barn after the horses are gone’ was a favorite of a woman who meant a great deal to me, even after she was trampled."
There is also an implication in the last line that the Baudelaires may have been to Stain’d-by-the-Sea, stopping at Black Cat Coffee before going to the Stain’d Train Station to pick up Beatrice.
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R. Creative Investigation - Collated Quotes
Style
“they sent me this script and i really liked it, it was very strong. i had never really done something that was more of a horror film, and its funny, because those are the kind of movies that i like probably more than any genre. The script had images in it that i liked - the windmill, the tree of the dead - although i’m not a big horse fan. And its a fascinating story, a story that a lot of people know but that nobody’s really read.”
“succeeded in fitting together in such a way that shifts Alice towards a character that is suddenly more ‘Burtonian’ having an overtly melancholy relationship with her own childhood.”
“in the end, however, Sleepy Hollow is a Tim Burton film…. something unmistakably the directors own”
“Burton’s curious ability to rethink anything…. as an experiment in expressionist autobiography is yet again in evidence”
“when i reread the story, so many elements came together: the Gothic setting, the air of mystery, and the sense that the town itself has a kind of sleepiness to it”
“its always a great challenge to walk that line between reality and fantasy”
“ Experiencing his brand of cinema is a lot like walking into an abandoned amusement park, or a haunted carnival, or a nightmarish circus—it’s entertaining—and even endearing at times, but it’s also extremely dark and deeply disturbing”
“ defines exactly what “Burtonesque” is, from the concept of the “heroic loner” to his surrealistic humor”
“ In terms of cinematic style, Burton’s films are—interesting. They’re dark, demented, and nightmarish, but they also have a strange innocence and element of childlike wonder, too. He creates a dichotomy between the gothic and idyllic—the dark and the light—but since it’s Burton, the darks and lights are warped by the funhouse mirror of his creativity”
“every film is designed to within an inch of its life, with the mise en scene and visual motifs providing so much of what should be considered typical Burton”
“most of his productions are not filmed on location but on studio sets, often at great expense, which allows Burton complete control to realise these stunning visual ideas”
“Burton rarely employs tension or suspense”
“it normally does not take more than a few seconds of screen time to realise that you are watching a Burton movie. this is because he employs a number of recurring themes and motifs that create a cohesive and personal vision. in some senses you are not watching a Tim Burton film, but entering his world”
“the key to Burton’s approach with his film projects lies in the way he takes an established genre and twists it”
“this goes a long way to explain the rare filmic charm of Burton’s work” (explaining how others have been influenced by his style)
“they are the embodiment of a nostalgic youth - the wonder of discovery - like opening up a musty book on a windy night and being unsure as to what’s inside” (talking of Burton’s films in the contest of genre)
“it is the overall aesthetic cohesion that makes his work stand out. conceptually he is far removed from the mainstream, and yet is successful enough to ensure that his name on a film is eminently marketable”
“the project must be right and the studios willing to cough up the cash - but its a price worth paying for what is undoubtedly one of Hollywood’s most fascinating directors”
“Burton’s Sleepy Hollow straddles the border between dark parody and pastiche. The film provides adept commentary on authorship in fairy tales and folktales”
“No contemporary director-producer has as deliciously macabre a signature as Tim Burton”
“ In the garden of Miss Peregrine’s home, there is a topiary of a dinosaur, a reference to one of Tim Burton’s earlier films, Edward Scissorhands (1990), in which the main character, Edward, cuts the shape of a dinosaur into a shrub”
“ Every person in Wonderland/Underland has a proper name. These names were invented for this movie, as in the books and most other movie versions, they are referred to only by descriptive titles… The size-changing potions are likewise named for the first time”
“ He has a say in everything present in each scene, from the actors to the symbols ever present in his films that help tell the narrative and reach audiences on a sub-conscious level”
Themes
“the majority of burtons previous films have been fuelled by his strong sense of identification with his lead characters, and his identification in Sleepy Hollow is just as personal, if less obvious.”
“for burton, sleepy hollows setting is as important as his identification with Ichabod Crane.”
“Burton’s inner world oscillates between a dark almost autistic mode, and carnivalesque display; it is populated by mutations and disguises”
“she thus represents Burton’s first major female character, stubborn and determined”
“it is a key to Burton’s universe that only the truly terrified and alone… can face up to the monsters and earn the reward the romantic fulfillment”
“ The Melancholy Death Of An Oyster Boy & Other Stories conveys the pain of an adolescent outsider”
“like Tim Burton’s movies, the work manages to be both childlike and sophisticated, blending the innocent with the macabre”
“one of the original images in my mind was a character who lies in his head versus a character with no head. i always though it was symbolically wonderful”
“ In terms of the narrative, Burton’s films, at least from this time, tend to feature a protagonist that Brubaker calls the “heroic loner”, which is quite a departure from the traditional underdog hero that was (and still is) popular in films in that Burton’s heroes aren’t lowly nerds that desire companionship or acceptance from others in their community. His heroes are lowly nerds/goths/super crime fighters that are 100% happy with their lonely existence secluded from others”
“the origins of a character, particularly concerning their parents (or lack of them), form a significant contribution to their psyche”
“the bastard sons of Frankenstein”“the grotesque” “stripes and swirls” “weird sciences and domestic appliances” “television” “snow” “dogs” “Godzilla” “Tim Burton” all of these are key features in multiple Burton’s films, they are almost always present somewhere in the film, all representing something.
“the links between horror, folk tale and fantasy genres have always been strong”
“He has produced a body of work that that focuses on the outcasts of society. his villains are rarely resolutely evil - they’re normally misunderstood. the traditional narrative techniques exist in his films, but secondary to image and feeling”
“Often Burton portrays the normal people, the powerful people, and the conventionally beautiful people as possessing deep character flaws, and the entrenched systems of discourse in which they participate as pervasively corrupt”
“ His films are characteristically quirky; they explore concepts that could never exist in the real world. Since his films are so typically ‘fantasy’, audiences come to expect quirky, unusual stories when a film is associated with him. However, even though they feature things that do not really exist, the films are centred around themes that are very human and relatable”
“ His films also explore social issues such as peer pressure and conformity”
Influences
“Although Burton has acted as his own producer since Batman Returns, Sleepy Hollows production duties were handled by Scott Rudin and Adam Schroeder.”
“Alice is neither frivolous nor carefree: she believes in her dreams. I liked Mia Wasikowska’s seriousness and maturity”
“Ricci seems a natural inhabitant of Burton’s world, her broad, child-woman face blank in adoration of her deeply embarrassed swain, credibly witchlike, chaste but not asexual, clearly willing to step into madness if that’s what it takes to join the man she loves”
“i wanted to make a film that was respectful to the source material but also tapped into some of the visual influences of the classic hammer horror films of the 1950′s 1960′s”
“expressionism if fundamental to the Burton ethos and many of the classics of early German cinema seen to have had an effect on his work, perhaps because of saturation of images that came from these influential films”
. “what makes a Burton film so magical is the influence of past absurdities and eccentricities”
“he doesn’t intentionally waste studio money, but follows his instincts as to what he would like to see”
“Burton has said, he tended to sleep between twelve and fourteen hours a day, a fair amount of his time on the job. To trick his employers, he often dozed upright with a pen in one hand (Salisbury 1995, 10). During this sluggish period, Burton produced some short films such as Vincent (1982), Hansel and Gretel (1982), and Frankenweenie (1984)”
“Burton primarily discusses his familiarity with contemporary versions
of the tale, giving a vague impression that he may never have read Irving’s
story that closely for inspiration” (talking of sleepy hollow)
“Burton has spoken on one or two occasions about his influences, including fairy tales:
Because I never read, my fairy tales were probably those monster movies. To me they’re fairly similar. I mean, fairy tales are extremely violent and extremely symbolic and disturbing
I think I’ve always liked the idea of fairy tales or folktales, because they’re symbolic of something else. There’s a foundation to them, but there’s more besides, they’re open to interpretation… . So I think I didn’t like fairy tales specifically. I liked the idea of them more”
“His philosophy of life and film is partly shaped by the possibilities he has long seen in the realm of dark cinematic fantasy”
“In particular, he has commented repeatedly on the importance of his early hero, actor Vincent Price, and the cinematic adaptations of Edgar Allan Poe”
“ Tim Burton aimed to use as few digital effects as possible; “It was nice to shoot on location, to be connected to a place, and geography, while having people actually floating, as opposed to doing it all digitally”
“ Ransom Riggs’ novel was partly inspired by otherworldly vintage photographs, one of them being a cover-shot of a levitating girl. The author collected these at flea markets, included them in the book, and later showed them all to Tim Burton, before filming began”
“In the books, Olive is one of the youngest girls, and has the ability to float. The inhumanly strong Bronwyn, is around the same age as Jake and Emma, and Emma has the ability to control fire. In the film, the ages of Olive and Bronwyn, and the abilities of Olive and Emma, are switched, with Emma also gaining the ability to control air”
“ Before Tim Burton was involved with the project, Anne Hathaway was offered the titular role of Alice, but she turned it down because it was too similar to other roles she had previously played. However, she was keen to work with Burton, so was pleased to be cast as the White Queen. She shot all her scenes in two weeks”
“ Tim Burton and Johnny Depp worked hard to give the Mad Hatter more depth and presence than in past portrayals. In fact, the pair swapped sketches and themes for the character prior to creating this new version”
“ He was very introspective, looking at things in a symbolic and very poetic way. While he was not an avid reader, he did identify with the work of Edgar Allan Poe, Dr Seuss and Roald Dahl for its imagery and symbolism”
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