Pathology: Serial Killer, Hebephile, Ephebephile, Abductor
INFORMATION
Sara Jean Mason and Jacob Dawes were a married couple on death row for the murders of several young girls, plus the possible addition of their son Riley. Though the team did uncover Sara Jean’s innocence during their last minute investigation, unfortunately, they couldn’t save her from her own pain and guilt. In the end, Riley was revealed to have been alive all along, and she chose to proceed her execution with the hope that he could continue succeeding at a life protected and untainted by the evilness he was born into.
JJ has a nightmare on the plane home and Elle comforts her.
750 words
Jacob Dawes. A face JJ would never forget. He haunted her.
The team were heading home from Florida. It was late. The case had been long and gruelling. What started as trying to get information from the unsubs, ended up in a chase for the unsub's son who was presumed dead. Everyone slept peacefully in their respective spots, apart from Elle Greenaway. She couldn’t sleep on the jet - flying made her anxious. She read her book and curled up in the chair by the table. her knees hugged to her chest. Spencer was asleep beside her, his head resting on the window. Derek was opposite with his headphones on while Hotch and Gideon were in singular seats near the front of the jet. JJ slept on the sofa, her legs up and her blue blanket around her body. Occasionally, Elle would glance up at her girlfriend, checking on her. Elle and JJ had been dating for two months and Elle was completely smitten with the blonde. Everything the younger girl did encapsulated Elle. Elle loved JJ and although it hadn’t been said yet, JJ knew it. JJ loved Elle right back.
The flight was long and everyone stayed sleeping. Until JJ woke up. She shot up forcefully. JJ’s heart pounded, her hand shot to her chest. She couldn’t breathe. She couldn’t see. His face was in front of her, his stupid smile spread across his stupid face was right there. She screamed and hit him- hit at his face and his chest but he didn’t move, his smile only spread.
Elle shot up from her seat. She was by JJ’s side in seconds but JJ was still in the dream, still facing Jacob Dawes, not her girlfriend.
“Get away from me!” she screamed. Suddenly the whole jet was awake.
“JJ, hey,” Elle said. Her voice was soft and relaxing. She took hold of JJ’s flailing hands and held them down in her lap. “Look at me,” she said. JJ cried. JJ looked and Elle’s soft, honey-brown eyes filled JJ’s vision. Jacob Dawes faded away and she was back in the plane’s cabin. Safe. Alive.
Everyone, although disorientated, looked over at the commotion as JJ’s sobs filled the space.
“It’s okay, JJ,” Elle whispered. She moved so she was holding JJ. She pulled the blonde against her chest and began rocking her side to side so softly. JJ clung to Elle’s t-shirt. Unfortunately, it wasn’t JJ’s first nightmare with Elle. “I’ve got you, honey.”
Realising the situation was sorted, Derek and Spencer quickly fell back asleep but Gideon and Hotch were wide awake. Hotch’s brow furrowed as she looked over at the shaking girl in Elle’s arms. Gideon pondered the situation with his hand on his chin. Elle caught Hotch’s gaze and sent a reassuring smile his way before turning to JJ.
“Hey, baby,” she whispered, lifting JJ from her chest. JJ whimpered at the movement but sat up. She moved around subconsciously so her back was to the rest of the jet and the pondering eyes of Hotch and Gideon.
“What happened?” Elle asked.
“He was trying to kill me,” JJ whispered.
“Kill you? Who?”
“Dawes. He knew we found Riley. He thought I’d tell him where he was and he attacked me. Hotch was gone- I was alone. With him. He-” She stopped speaking, no longer trusting her voice. She grabbed a lock of her hair. In her dream. Jacob had cut it off, taken it all for himself to smell whenever he wanted. It made JJ sick.
“He’s gone now, Jay,” Elle whispered. She had her hand on JJ’s back, rubbing her fingers in soft circles. “He’s dead. He won’t ever, ever hurt you.”
“But he hurt me in my dream,” JJ whispered back. She turned to Elle and looked at her desperately, her blue eyes full of water.
“I know but you’re safe. So safe. We’ll keep you safe.” She wrapped her arms around JJ and JJ snaked her arms around Elle’s torso, resting her head on her shoulder.
“I’m safe?” JJ asked, her voice small.
“Safest you can be, baby. I’m right here,” Elle caressed JJ’s hair, letting the softness flow through her fingers.
“Will you stay?” JJ asked.
“I’ll stay for as long as you need me,” Elle replied. She planted a kiss on JJ’s head and smiled down at her girlfriend. JJ nodded and moved to get more comfortable, already feeling the sleep overcome her again.
“That’s my girl, get some more sleep. I’m right here,” Elle comforted.
JJ quickly fell back asleep in the comfort of Elle’s arms.
If you see the quote “screw comfort characters, who’s your confront character” and you go for one of the women of the BAU as opposed to one of the hundreds of vile male unsubs then idk what to tell you other than you might wanna consider some internalised misogyny
I really don’t think Jordan Todd being a bit snappy with Morgan or Ashley Seaver interrupting Reid is enough to warrant them being seen as worse than characters such as Jacob Dawes, Frank Breitkopf, Charles Hankel, Jason Clark Battle, George Foyet, Ian Doyle, John Curtis, Malcolm Ford, Hastings and Askari, Carl Buford, Edgar Solomon, Peter Lewis, Elias Voit…. To name a few
fellow fansies - I have complied a (hopefully) comprehensive list of cast members for anyone new to the fandom or for those who may like a refresher on the casts. I've not included every single character, just the main ones, so if you'd like a character adding just ask; also if you notice any cast members are missing or have been labelled incorrectly in any way, please let me know, I want this list to be as accurate as possible. characters with a dash (-) for any of the categories I wasn't sure if they were included in that production or not. if you're able to fill in any of the blanks that would be much appreciated. any questions, please let me know <3
Jack
1992; Christian Bale
Workshop; Jay Armstrong Johnson
Paper Mill; Jeremy Jordan
Broadway; Jeremy Jordan, Corey Cott, Mike Faist (u/s)
Tour; Dan DeLuca, Joey Barreiro
Proshot; Jeremy Jordan
UK; Michael Ahomka-Lindsay, George Crawford (u/s), Matt Trevorrow (u/s)
Pulitzer
1992; Robert Duvall
Workshop; Shuler Hensley
Paper Mill; John Dossett
Broadway; John Dossett, Rob Raines, John E. Brady (u/s)
Tour; Steve Blanchard
Proshot; Steve Blanchard
UK; Cameron Blakely, Ross Dawes (u/s), George Crawford (u/s)
Katherine
1992; N/A
Workshop; Meghann Fahy
Paper Mill; Kara Lindsay
Broadway; Kara Lindsay
Tour; Stephanie Styles, Morgan Keene
Proshot; Kara Lindsay
UK; Bronté Barbé, Bobbie Chambers (u/s)
Davey
1992; David Moscow
Workshop; Jason Michael Snow
Paper Mill; Ben Fankhauser
Broadway; Ben Fankhauser, Ryan Breslin (u/s), Garrett Hawe (u/s)
hey! some of you were curious to read things I'm working on/my bib. my comprehensive exam is 18th June, so these aren't like, FINAL final (in terms of citation formatting), but they're pretty darn close.
I'll probably paste the contextual review document I've been writing for 2 years as well - it's awaiting final say-so from my supervisors right now.
ALDERSLADE, Merlin. 2019. 'How Ghost became the face of the new generation of heavy metal.’ Metal Hammer. May 29 [online] Available at: https://www.loudersound.com/features/how-ghost-became-the-face-of-the-new-generation-of-heavy-metal
ANZALDÚA, Gloria. 2021. Borderlands/La Frontera: The New Mestiza. (The Critical Edition, edited by Ricard F. Vivancos-Pérez and Normal Elia Cantú) San Francisco: Aunt Lute Books.
ANZALDÚA, Gloria. 1991. 'To(o) Queer the Writer – Loca, escritora y chicana.’ In WARLAND, Betsy (ed.). Inversions: Writing by Dykes, Queers, and Lesbians. Vancouver: Press Gang Publishers, 249-264.
ARROW, V. 2013 ‘Real person(a) fiction’. In JAMIESON, A.(ed.). Fic: Why Fanfiction Is Taking Over the World. Dallas: Smart Pop, 323–32.
BAKHTIN, Mikhail. 1984. Rabelais and His World. Bloomington: Indiana University Press.
BENNETT, J. 2013. 'Receive the Beast’. Decibel. Issue 100/February, 75-84.
BENSHOFF, Harry M. 2015. 'The Monster and the Homosexual.' In GRANT, Barry Keith, The Dread of Difference: Gender and the Horror Film. Austin: University of Texas Press, 16-41.
BIELAK, Zbigniew M. ‘Prequelle.’ [album art]
BUSSE, Kristina. 2006. ‘My life is a WIP on my LJ: Slashing the slasher and the reality of celebrity and Internet performances.’ In HELLEKSON, Karen and BUSSE, Kristina (eds.). Fan Fiction and Fan Communities in the Age of the Internet: New Essays. Jefferson: McFarland and Company, 207-224.
BUSSE, Kristina. 2005. ‘Digital Get Down: Postmodern Boy Band Slash and the Queer Female Space.’ In MALCOLM, Cheryl Alexander and NYMAN, Jopi, eros.usa: essays on the culture and literature of desire. Gdańsk: Gdańsk University Press, 103-125.
BUTLER, Judith. 1990. Gender Trouble. New York: Routledge.
CHANEY, Keidra and LIEBLER, Raizel. 2006. ‘Me, myself and I: Fan fiction and the art of self-insertion' Bitch. 31, 52-57.
CHARMAZ, Kathy. 2006. Constructing Grounded Theory: A Practical Guide Through Qualitative Analysis. (2011 reprint) London: SAGE Publications.
CIXOUS, Hélène. 1976. ‘The Laugh of the Medusa’. Signs. 1(4), 875-893.
CLIFFORD-NAPOLEONE, Amanda. 2015. 'Living in the margins: Metal’s self-in-reflection.’ Metal Music Studies. 1(3), 379-384.
CLIFFORD-NAPOLEONE, Amanda. 2015. Queerness in Heavy Metal Music: Metal Bent. New York: Routledge.
COHEN, Cathy J. 1997. 'Punks, Bulldaggers and Welfare Queens: The Radical Potential of Queer Politics?’ GLQ. 3, 437-465.
DAWES, Laina. 2013. What Are You Doing Here? A Black Woman’s Life and Liberation in Heavy Metal. Brooklyn: Bazillion Points.
DAWES Laina. 2015. ‘Challenging an "Imagined Community:” Discussions (or lack thereof) of black and queer experiences within heavy metal culture. Metal Music Studies. 1(3), 385-393.
DERECHO, Abigail. 'Archontic Literature: A Definition, a History, and Several Theories of Fan Fiction’. In HELLEKSON, Karen and BUSSE, Kristina (eds.). Fan Fiction and Fan Communities in the Age of the Internet: New Essays. Jefferson: McFarland and Company, 61-78.
DORAN, John. 2012. ‘Mass is in Session.’ Metal Hammer UK. April 2012, 38-47.
DRISCOLL, Catherine. ‘One True Pairing: the Romance of Pornography and the Pornography of Romance.’ In HELLEKSON, Karen and BUSSE, Kristina (eds.). Fan Fiction and Fan Communities in the Age of the Internet: New Essays. Jefferson: McFarland and Company, 79-96.
EHRENREICH, Barbara, HESS, Elizabeth, and JACOBS, Gloria. 1992. ‘Beatlemania: Girls Just Want to Have Fun.’ In LEWIS, Lisa A. (ed.). The Adoring Audience: Fan Culture and Popular Media. London: Routledge, 84-106.
FABBRI, Franco. ‘A Theory of Musical Genres: Two Applications.’
FAST, Susan. 1999. ‘Rethinking Issues of Gender and Sexuality in Led Zeppelin: A Woman’s View of Pleasure and Power in Hard Rock’. American Music. Fall 1999, 17(3), 245-299.
FAUSTO-STERLING, Anne. 1993. ‘The Five Sexes: Why Male and Female are Not Enough’. The Sciences. March/April 1993, 20-25.
FAXNELD, Per. 2017. Satanic Feminism: Lucifer as the Liberator of Woman in Nineteenth-Century Culture. Oxford: Oxford University Press.
FIESLER, Casey, MORRISON, Shannon, and BRUCKMAN, Amy S. 2016. ‘An Archive of Their Own: A Case Study of Feminist HCI and Values in Design.’ CHI ‘16 Proceedings of the ACM Conference on Human Factors in Computing Systems.
FIESLER, Casey. 2019. ‘Ethical Considerations for Research Involving (Speculative) Public Data’. Proc. ACM Hum-Comput. Interact. 3, GROUP, Article 249 (December 2019), 249-249:13.
FRITH, Simon. 1996. Performing Rites: on the Value of Popular Music. Oxford: Oxford University Press.
FRITH, Simon, and MCROBBIE, Angela. 1990. 'Rock and Sexuality’. In FRITH, Simon and GOODWIN, Andrew (eds.). On Record: Rock, Pop and the Written Word. London: Routledge, 317-332.
GHOST. 2012. ‘Children! In the wait for some news from the ghoul front, devour some graphics that we applaud here within the ministry...’ October 30, 2012 [Facebook post]. Available at: https://www.facebook.com/thebandghost/posts/297668790339417
GHOST. 2019. ‘Chapter Seven: New World Redro’. June 13 2019 [YouTube video] Available at: https://www.tumblr.com/ryuzatodraws-archive/672367379880312832/i-remembered-the-jesus-showing-off-his-top?source=share [accessed 30 May 2024]
GHOST-BAND-AIDS. 2020. ‘Interview with GHOST and TRIBULATION.’ [Tumblr post] Translated from DELASTIK, Anja. 2020. ‘Schlagabtaush: Ghost vs. Tribulation.’ Metal Hammer Germany. March 2020. Available at: https://www.tumblr.com/ghost-band-aids/190811297796/interview-with-ghost-and-tribulation https://www.metal-hammer.de/schlagabtausch-ghost-vs-tribulation-1424295/
GREEN, Shoshanna, JENKINS, Cynthia, and JENKINS, Henry. 1998. ‘Normal Female Interest in Men Bonking: Selections from The Terra Nostra Underground and Strange Bedfellows’. In HARRIS, Cheryl and ALEXANDER, Alison (eds.). Theorizing Fandom: Fans, Subculture, and Identity. Cresskill: Hampton Press.
HAGEN, Ross. 2015. 'Bandom Ate My Face: The Collapse of the Fourth Wall in Online Fan Fiction’. Popular Music and Society. 38(1), 44-58.
HALBERSTAM, Judith. 2003. ‘Reflections on Queer Studies and Queer Pedagogy’. In YEP, Gust A, LOVAAS, Karen E., and ELIA, John P. (eds.). Queer Theory and Communication: From Disciplining Queers to Queering the Discipline(s). Binghamton: Harrington Park Press, 361-364.
HALBERSTAM, Judith. 2005. In a Queer Time and Place: Transgender Bodies, Subcultural Lives. New York: New York University Press.
HICKMAN, Langdon. 2023. ‘The Dialectical Satan’. In LUKES, Daniel and PANAYOTOV, Stanimir (eds.). Black Metal Rainbows. Oakland: PM Press, 335-350.
HILL, Rosemary Lucy. 2016. ‘”Power has a penis”: Cost reduction, social exchange and sexism in metal – reviewing the work of Sonia Vasan’. Metal Music Studies. 2(3), 263-271.
HILLS, Matt. 2002. Fan Cultures. London: Routledge.
HINERMAN, Stephen. 1992. '”I’ll Be Here With You”: Fans, Fantasy and the Figure of Elvis’. In LEWIS, Lisa A. (ed.). The Adoring Audience: Fan Culture and Popular Media. London: Routledge, 107-134.
HOAD, Catherine. 2017. 'Slashing through the boundaries: Heavy metal fandom, fan fiction and girl cultures’. Metal Music Studies. 3(1), 5-22.
HOOKS, bell. 2015. Feminism: From Margin to Center. New York: Routledge. (third edition)
HOPPER, Jessica. 2021. The First Collection of Criticism by a Living Female Rock Critic. New York: Farrar, Straus and Giroux. First MCD x FSG Originals Edition.
HUTCHERSON, Ben and HAENFLER, Ross. 2010. ‘Musical Genre as a Gendered Process: Authenticity in Extreme Metal’. Studies in Symbolic Interactions. Vol 35, 101-121.
IRIGARAY, Luce. 1989. This Sex Which is Not One. Ithaca: Cornell University Press.
ISMMS 2023: ‘No Outsides’. (Conference June 3-6, 2023)
JENKINS, Henry. 2013. Textual Poachers. New York: Routledge. The Classic Edition.
JONAS, Hans. 1958. The Gnostic Religion. Boston: Beacon Press.
JONES, Rhian E. and DAVIES, Eli (eds.). 2017. Under My Thumb: Songs That Hate Women and the Women Who Love Them. London: Repeater Books.
KAPLAN, Deborah. 2006. ‘Construction of Fan Fiction Character Through Narrative.’ In HELLEKSON, Karen and BUSSE, Kristina (eds.). Fan Fiction and Fan Communities in the Age of the Internet: New Essays. Jefferson: McFarland and Company, 134-152.
KROVATIN, Christopher. 2018. 'Ghost is the Most Try-Hard Satanic Rock Band on Earth’. Vice. 31 May [online]. Available at: https://www.vice.com/en/article/9k8qbe/ghost-is-the-most-try-hard-satanic-rock-band-on-earth [accessed 29 May 2024].
LATZKO-TOTH, Guillaume, BONNEAU, Claudine, and MILLETTE, Mélanie. 2017. ‘Small Data, Thick Data: Thickening Strategies for Trace-Based Social Media Research’. In SLOAN, Luke and QUAN-HAASE, Anabel (eds). The SAGE Handbook of Social Media Research Methods. London: SAGE Publications, 199-214.
LUKES, Daniel and PANAYOTOV, Stanimir. 2023. Black Metal Rainbows. Oakland: PM Press.
MCINTOSH, Peggy. 1990. ‘White Privilege: Unpacking the Invisible Knapsack’.
Metal and Religion Conference 2022
NAMASTE, Viviane. 2009. 'Undoing Theory: The “Transgender Question” and the Epistemic Violence of Anglo-American Feminist Theory.’ Hypatia. 24(3), 11-32.
PAGELS, Elaine. 1989. The Gnostic Gospels. New York: Random House. (Vintage Books Edition, September 1989.)
PARR, George. 2023. ‘Rape Culture’. In LUKES, Daniel and PANAYOTOV, Stanimir (eds.). Black Metal Rainbows. Oakland: PM Press, 353-361.
PASCOE, C.J.. 2011. Dude, You’re a Fag: Masculinity and Sexuality in High School. Berkeley: University of California Press.
PETROCELLI, Heather Oriana. 2023. Queer for Fear: Horror Film and the Queer Spectator. University of Wales Press.
REED-DANAHAY, Deborah. 1997. Auto/ethnography: rewriting the self and the social. New York: Berg.
RICHES, Gabby. 2015. ‘Re-conceptualizing women’s marginalization in heavy metal: a feminist post-structuralist perspective’. Metal Music Studies. 1(2), 263-270.
RICHES, Gabrielle, LASHUA, Brett, and SPRACKLEN, Karl. 2014. ‘Female, Mosher, Transgressor: A “Moshography” of Transgressive Practices within the Leeds Extreme Metal Scene’. IASPM Journal, 4(1), 87-100.
ROACH, Emily E. 2018. ‘The homoerotics of the boyband, queerbaiting and RPF in pop music fandoms’, Journal of Fandom Studies. 6(2), 167-186.
RYUZATODRAWS. 2022. ‘I remembered the “jesus showing off his top surgery scar to the homies" post so heres Trans Copia showing his off!’ [Tumblr post] Available at: https://www.tumblr.com/ryuzatodraws-archive/672367379880312832/i-remembered-the-jesus-showing-off-his-top?source=share
SAVIGNY, Heather and SLEIGHT, Sam. 2015. ‘Postfeminism and heavy metal in the United Kingdom: Sexy or sexist?’ Metal Music Studies. 1(3), 341-357.
SHADRACK, Jasmine Hazel. 2021. Black Metal, Trauma, Subjectivity and Sound : Screaming the Abyss. Bingley, UK: Emerald Publishing.
SLAVGHOUL. 2019. ‘Tobias on being the sexy face of Satanism.’ Translated from CZARTORYSKI, Bartosz. 2019. ‘Seksowne oblicze satanizmu. Rozmawiamy z liderem zespołu Ghost.’ Available at: https://slavghoul.tumblr.com/post/189496141322/tobias-on-being-the-sexy-face-of-satanism [accessed 29 May 2024].
SLAVGHOUL. 2020. Into the Fog. Translated from LAGERGREN, Richard. 2010. ‘In i dimman’. Sweden Rock Magazine. 76. Available at: https://slavghoul.tumblr.com/post/619019726477213697/heres-an-interview-with-papa-from-2010-that-i [accessed 29 May 2024].
SLAVGHOUL. 2022. ‘Ghost MySpace, 2010’. [Tumblr post]. Available at: https://slavghoul.tumblr.com/post/695852845125238784/ghost-myspace-2010 [accessed 30 May 2024]
SLOAN, Luke and QUAN-HAASE, Anabel. 2017. The SAGE Handbook of Social Media Research Methods. London: SAGE Publications.
SMOKE-AND-SILVER. 2024. [Tumblr post] Available at: https://smoke-and-silver.tumblr.com/post/741475063435542528
SPRACKLEN, Karl. 2020. ‘From The Wicker Man (1973) to Atlantean Kodex: Extreme music, alternative identities and the invention of paganism.’ Metal Music Studies. 6(1), 71-86.
STASI, Mafalda. 2006. ‘The Toy Soldiers from Leeds: The Slash Palimpsest.’ In HELLEKSON, Karen and BUSSE, Kristina (eds.). Fan Fiction and Fan Communities in the Age of the Internet: New Essays. Jefferson: McFarland and Company, 115-133.
SWIST, Jeremy J. 2019. ‘Satan’s Empire: Ancient Rome’s anti-Christian appeal in extreme metal.’ Metal Music Studies. 5(1), 35-51.
TEDDLIE, Charles, and TASHAKKORI, Abbas. 2009. Foundations of mixed methods research: integrating quantitative and qualitative approaches in the social and behavioral sciences. Los Angeles: SAGE Publications.
TIIDENBERG, Katrin. 2018. ‘Research Ethics, Vulnerability, and Trust on the Internet.’ In HUNSINGER, J., ALLEN, Matthew M., and KLASTRUP, Lisbeth (eds). Second International Handbook of Internet Research, Springer. 569-585.
THOMSON, Andrew. 2021. ‘Right hand up, left hand down: The New Satanists of Rock n’ Roll, Evil and the Underground War on the Abject.’ Metal Music Studies. 7(1), 43-60.
TRANARCHYREIGNS. 2024 [tumblr post] ‘I made a diagram that represents myself perfectly.’ March 26th, 2024 Available at: https://www.tumblr.com/tranarchyreigns/746022566448316416/i-made-a-diagram-that-represents-myself-perfectly [accessed 30 May 2024]
TRINH, T. Minh-Ha. 1989. Woman, Native, Other: Writing Postcoloniality and Feminism. Bloomington: Indiana University Press.
UNGER, Matthew P. 2019. ‘Ode to a dying God: Debasement of Christian symbols in extreme metal.’ Metal Music Studies. 5(2), 243-262.
VASAN, Sonia. 2010. ‘”Den mothers and band whores”: Gender, sex, and power in the death metal scene’, in HILL, R.L. and SPRACKLEN, Karl (eds.), Heavy Fundamentalisms: Music, Metal and Politics. Oxford: Inter-Disciplinary Press, 69-78.
VASAN, Sonia. 2011. ‘The Price of Rebellion: Gender Boundaries in the Death Metal Scene,’ Journal for Cultural Research. 15(3). 333-349.
WALSER, Robert. 1993. Running With the Devil: Power, Gender, and Madness in Heavy Metal Music. London: Wesleyan University Press.
WEINSTEIN, Deena. 2000. Heavy Metal: the Music and Its Culture. Da Capo Press. First Da Capo Press Edition 2000.
WISE, Sue. 1990. ‘Sexing Elvis’. In FRITH, Simon and GOODWIN, Andrew (eds.). On Record: Rock, Pop and the Written Word. London: Routledge, 333-340.
YOUNG, Iris Marion. 1990. Justice and the Politics of Difference. Princeton, NJ: Princeton University Press.
YOUNG, Iris Marion. 1990. Throwing Like a Girl and Other Essays in Feminist Philosophy and Social Theory. Bloomington: Indiana University Press
Hiya, since y'all since are out there liking and sharing my Newsies Previews audio I would like to share a new one (:
This one is not tracked (yet, i want to track it but I haven't had the time so far).
Here you go!
This was taken on the evening show of sunday 12-03-2023. It was Jamie Duncan-Campbell's Last show and Bobbie was on for Katherine! I'll share the full cast list under the cut!
This was front row Bronx seats, so got some nice improv/ad-lib lines again, I could talk about hours about those alone haha
Disclaimer: you can download, share link, everything just please don’t re-upload since it’s my own master thank u!
Ps: I also have a 03-12-2022 (previews) audio, if anyone is interested! and a bunch of notes i wrote during the show, so let me know!
Jack Kelly - Michael Ahomka-Lindsay
Davey Jacobs- Ryan Kopel
Katherine Plumber - Bobbie Chambers
Les Jacobs - Oliver Gordon
Crutchie - Matthew Duckett
Joseph Pulitzer - Cameron Blakely
Medda Larkin - Moya Angela
Race Higgins - Josh Barnett
Specs - Samuel Bailey
Tommy Boy - Jack Bromage
Buttons- Alex Christian
Mike - Mark Samaras
Ike - Zack Guest
Mush - Jamie Duncan-Campbell
Splasher - Ross Dorrington
Albert - Jacob Fisher
Finch - Damon Gould
Romeo - George Michaelides
Jo Jo - Mukeni Nel
Elmer - Rory Shafford
Henry - Matt Trevorrow
Morris Delancey / Darcy - George Crawford
Oscar Delancey / Bill - Alex James-Hatton
Spot Conlon / Nun / Bowery Beauty - Lillie-Pearl Wildman
1-5 for teddy & 6-10 for lilah for the fallout ask meme !!!
Teddy
1. Which Fallout game are they from?
New Vegas!
2. Which faction(s) did they join and which did they destroy? Why?
He belongs to the Great Khans and, after he meets Arcade, the Followers. He destroys the fuck out of the NCR and the Legion. The NCR because of Bitter Springs (it was personal to him) and the Legion because fuck em.
3. What is their S.P.E.C.I.A.L.?
S9, P1, E4, C9, I5, A2, L10
4. Give us a summary of their backstory.
Oh great heavens. A very short summary: He was raised Mormon on an NCR ranch with his four older brothers and one younger sister. He got fed up one day, burned the ranch down (only he, his sister, and one brother survived), and became a drifter. Ran odd jobs, most of them ethically questionable bc they paid best. Eventually linked back up with his sister who pretended she didnt know him, then his brother who was in rehab with the Followers. He stayed at the Fort and was heart eyes with Arcade, but his brother was homophobic to them so Teddy left, causing his brother to OD the next day. Joined the Khans and stayed there for a few years before Bitter Springs happens. After that, he became an outlaw and basically hunted NCR with the Khans until he’s paid by the Mojave Express to deliver a pack of cards (Courier Three) and is shot by Benny (he got it wrong the first time). Events of the game happen, he pursues independent Vegas, then retires and lives a happy rancher life with Arcade afterward.
5. What’s their full name and does it have a meaning? Do they have any nicknames and how did they get em?
Theodore Dawson. It doesn’t really, it just feels cowboy to me and I like the idea of a big mean man named Teddy. It does have a meaning in the context of his siblings though. Their names are Benjamin, Levi, Jacob, Noah, and Hannah; Theodore (named after his father) is the only name not found in the Bible.
He has a few “nicknames” that are just derivative of his name. When he’s young, he goes by Theo. When he’s a drifter, he goes by Dawson or Daws. After he finds his brother, he goes by Teddy (Arcade gives him the nickname). His bestie Amantis (@odd-ball-out’s courier) also calls him Bear.
Delilah
6. What’s their sexual, romantic, and gender orientation? Do they feel comfortable telling other people?
She is a cis woman who is not attracted to (sexually or romantically) anyone. I guess rigidly she could be considered aroace, but really, romance is just something that she doesn’t prioritize, and sex has been completely ruined for her because she only knows how to use it to get what she wants.
7. Do they have any mental illnesses? How do they cope?
Miss girl has PTSD from domestic abuse something terrible, but she copes by… uh… motions to her entire personality
8. Do they have any medical conditions? Is medicine/ treatment available for them?
She is anemic, so she’s cold all the time and bleeds a lot if she gets injured, but there’s not much she can do about it in the wasteland. Just has to keep warm and avoid injury.
9. How much do they care about their outer appearance? What’s their “beauty routine”? How often do they shower/ bathe?
She cares very much about her outward appearance because it’s really her bread and butter. Her whole theory of survival would be moot if she wasn’t hot enough to seduce people into giving her caps/info, buying chems from her, and underestimating her in gunfights. She doesn’t need to shower unusually often because pretty lady doesn’t like to get her hands dirty, but she maintains great hygiene for wasteland standards.
10. What do they fear the most?
I don’t wanna say she’s fearless bc that’s not necessarily true, but there’s very little that phases her. She should be terrified of abandonment, but she intentionally keeps people at length so they can’t abandon her (which is… another problem entirely). Realistically, I guess the answer is that she’s most afraid of people she trusts getting angry/violent with her when she would never expect that of them.
Don't worry, Flo -- we definitely don't want to lose you!
[6.22]
Alfred Soto: Charming, and I won't change it if I catch it on the radio, but Sexxy Red added panache to her sexxytalk.
[6]
Harlan Talib Ockey: “Hey, remember that weird era when a bunch of female rappers had a run of awkward, Doja-inflected, pop-friendly singles? The Flo Milli ones were subpar."
[4]
Nortey Dowuona: Apparently the original beat by Gerreaux Katana, who is popular enough to place a beat with two rappers but still has a Beatstars page that if you make any kind of music you should immediately peruse, samples the soft, plaintive track "Anata Ga Iru Jinsei" by Jin Kirigaya, a Japanese balladeer. I hope he makes a mint from this (he won't), because it is a beautiful song. I wholeheartedly agree: you don't ever want to lose her.
[7]
Jacob Sujin Kuppermann: Slightly surreal to hear Flo Milli in such soft focus. Babyface Ray and 42 Dugg used this Jin Kirigaya loop the way they tend to use '80s R&B of its ilk, a gleaming counterpoint to the grime of their raps; Flo Milli plays it straight but subverts her own reputation. If she didn't sound so poised here, it'd be easy to write this off as a crass bit of pop crossover. Instead, it comes off as a bit of a flex, a demonstration that she can be nearly as compelling when her taunts are buried under layers of gloss.
[7]
Dave Moore: Finding a midpoint between hypertrap drone and the cheesy demo instrumental for a new DAW plugin isn't a bad look for Flo Milli, whose best track from last year was kinda her worst: PG-13 "BGC," which would have sounded great soundtracking the kind of teen sex comedy they stopped making at least a decade ago. But her personality doesn't quite work for modal rap. I hate to say that she should be selling out harder, but fake suits her.
[5]
Taylor Alatorre: Not the complete abdication to romantic and sexual bliss that it might seem at first -- the title is an implicit threat, after all, and the secondhand beat carries the air of something unsettled, as if searching for a steady focal point that just isn't there. Flo Milli doesn't prod at these nuances because she doesn't need to, and also because it would eat up too much of the two-minute runtime if she tried.
[6]
Katherine St. Asaph: The insistent repetition of "tell me you'll never want to lose me" -- I measured, and the line makes up about one-quarter of this 2:07 song -- lends "Never Lose Me" a palpable possessiveness that's a touch Fatal Attraction, in a good way with interesting subtext. Between this and "Kill Bill" -- maybe add in various reappraisals of that film and similar -- we've got ourselves enough for a trendpiece!
[7]
Leah Isobel: Flo Milli is irrepressible; even when she's drafted into this glittering dreamscape, she finds ways to push her voice outward, away from the aqueous sensuality of the piano and toward the straightfoward throb of the drum track underneath. It's nice! And a little awkward.
[6]
Ian Mathers: There's enough sustain on the piano that it feels warm, layered, almost humming. For an interlude (sorry, TikTok) length track like this, something that just sounds good like that, plus a pretty basic beat and a winning/punchline-dense performance on top, are really all you need.
[8]
Allen Jake
Alnefelt Hugo
Andersen Frederik
Annunen Justus
Askarov Yaroslav
Augustine Trey
Binnington Jordan
Bjarnason Carson
Blackwood Mackenzie
Blomqvist Joel
Bobrovsky Sergei
Brennan Tyler
Brossoit Laurent
Bussi Brandon
Campbell Jack
Clara Damian
Comesso Drew
Comrie Eric
Copley Pheonix
Cossa Sebastian
Daccord Joey
Daws Nico
Demko Thatcher
Dostal Lukas
Driedger Chris
Ersson Samuel
Fedotov Ivan
Fleury Marc-Andre
Forsberg Anton
Fowler Jacob
Francouz Pavel
Gajan Adam
Garand Dylan
Georgiev Alexandar
Gibson John
Greaves Jet
Grubauer Philip
Gustavsson Filip
Halak Jaroslav
Hart Carter
Hellberg Magnus
Hellebucyk Connor
Hildeby Dennis
Hill Adin
Hofer Joel
Hrabal Michael
Husso Ville
Ingram Connor
Jarry Tristan
Johansson Jonas
Jones Martin
Kahkonen Kaapo
Keyser Kyle
Knight Spencer
Kochetkov Pyotr
Kokko Niklas
Kolosov Alexei
Korpisalo Joonas
Kuemper Darcy
Lankinen Kevin
Larsson Filip
Leinonen Topias
Lennox Tristan
Levi Devon
Lindberg Filip
Lindbom Olof
Lindgren Charlie
Luukkonen Ukko-Pekka
Lyon Alex
Malek Jakub
Markstrom Jacob
Martin Spencer
Merilainen Leevi
Merzlikins Elvis
Montembault Samuel
Mrazek Petr
Murashov Sergey
Nedeljkovic Alex
Oettinger Jake
Portillo Erik
Poulter Isaac
Primeau Cayden
Prosvetov Ivan
Quick Jonathan
Raanta Antti
Ratzlaff Scott
Reimer James
Rittich David
Samsonov Ilya
Saros Juuse
Saville Isaiah
Schmid Akira
Shesterkin Igor
Silovs Arturs
Skinner Stuart
Soderblom Arvid
Sogaard Mads
Sorokin Ilya
Stauber Jaxon
Stevenson Clay
Svedeback Philip
Swayman Jeremy
Talbot Cam
Tarasov Daniil
Tendeck David
Thompson Logan
Tolopilo Nikita
Ullmark Linus
Vanecek Vitek
Varlamov Semyon
Vasilevskiy Andrei
Vejmelka Karel
Vladar Daniel
Wallstedt Jesper
Wedgewood Scott
Wolf Dustin
Woll Joseph
Zavragin Yegor