#just like he was an adult / teen ? in spn for plot reasons

[angelsdean]

the silliest thing to me are people who argue staunchly against baby jack headcanons because it's "initializing" him or "taking away his agency" as if he isn't 1.) a fictional character and 2.) was literally going to be a baby before he was "forced to grow up fast" bc plot reasons. also when people are mad bc "you just want to give destiel a baby" like. yea and??? this is fanfic and fiction and jack can be their baby. also when jack de-ages himself in fics like. maybe the guy is tired of carrying the weight of the world on his shoulders. maybe he just wants to literally be 3 and have other ppl deal w/ everything, who can blame him

edit to add: i very much view him as an adult in canon and canon treats him as such too. he's new to the world and aged quickly but he's not a literal baby or toddler, and people viewing and treating canon jack as a baby is something i can understand ppl taking issue with. but simply getting mad at baby jack headcanons / AU fics?? like, we can contain multitudes. i can both view him as an adult with agency in canon AND enjoy baby jack AUs / fanart etc

[goshen-applecrumbledore]

hi what r your thoughts on time travel sam & dean?? like older sam hanging out w younger dean and vice versa for like... magic plot reasons etc idk. i just ask because you do SUCH a great job at writing both adult and teenage them, so i wonder what your thoughts are on how they would approach their teenaged-brother!

I'm new to participating in fandom in a way where I am ~known~ and it's so great to be asked stuff like this apropos of nothing. it feels like a slumber party. we are braiding each other's hair.

(also, thank you, when I first started writing spn fic I told myself I wouldn't write weecest but I love writing teens so much, they're so complicated and sloppy, so I'm glad it comes out ok)

I've never really thought about time travel sam-dean before, but I will now!

older sam with younger dean would be veeeery interesting because I feel like.. when Sam was a kid, he oscillated between thinking Dean was big-brother annoying and didn't understand him at all, and thinking he was SO grown-up and larger than life, in the way that when you're 12, kids who are 16 seem like they're practically in college, you know?

so I think seeing teen-dean as an adult, sam might be.. struck by how.. small he was? not physically (and also yes physically) but that he was actually pretty insecure, and pretty lost, in a way sam didn't see when he was a kid. and he might think that maybe he could've looked out for dean more if he'd noticed how dean wasn't always the brave face that he put on, but you don't always think of that as the little sibling, you think they're always fine. it would be a very fun thing to write.

old dean with young sam would be absolutely KNEECAPPED by seeing sam young again because dean, as we all know, still sees adult-Sam as a kid. so seeing him actually as a kid would be "oh! oh, you WERE small. and now you are.. so.. big." he'd be starry eyed and nostalgic like the fourth of july scene. moreso than sam, he'd feel guilty seeing this unblemished kid and knowing what he'd have to go through in the future (what he wouldn't be able to save him from going through!) and I think he'd be very caught off guard by how capable sam was as a kid, not the baby he saw him as. but also: how weird and sad and trapped he was. would probably give him a new perspective on stanford.

I can't speak to this from a wincest angle without my lawyer present

[norestwithoutlove]

Hi, I just finished reading to build a home (quite literally just then) and it was one of the best stories I’ve ever read. everything was so cohesive and beautifully done and has inspired me to do some writing of my own. How did you manage to keep track of minor details and plots throughout the book continuity wise, with such a large word count, thats something most authours cant do and it made it feel so much more personal and immersive. this fic was a wild ride, sorry if this sounds weird btw i dont usually do this.

Hey !! sorry this one took me a while to reply to ! thanks so much for this message it made me beam - i’m glad the fic made you want to use your own voice as well! writing is such a balm especially in times like these, so i hope you’re loving it.

holy shit i’ve just gone over this and this is a LONG answer so i’m very sorry for the essay in advance. regarding continuity and minor details:

from like very early days (essentially day one of writing) i had a very clear vision of where i wanted the fic to go, and what the major plot points were (the night of the fight aged 18 and everything which caused it, even that it would take place on the roof, sam’s overdose happening in the middle of dean’s drunk love confession, the chapter 59 love confession which leads to them FINALLY getting together happening in front of the fire and cas giving dean his poetry book, the dedication saying ‘to dean, i still do, and always will’. all of that was just sitting rotting all other thoughts in my mind and so i had to type it all out at the bottom of the word document to get it down and make sure i didn’t forget. here’s an excerpt of that very early days plan (the scene where dean comes out to sam in the hospital!!! one of my absolute favourites):

other things came later, like the wedding + concussion scene, and the scene where dean waits out in the treehouse all night, which honestly was SO cruel of me and really added to the tragedy of the chapter 38, 40, 42 arc. but yeah as with the above they sat in my brain just waiting for me to reach the appropriate part of the fic to type them up from VERY early days of the fic. opinions on this vary but i don’t like typing out the scenes that i really want to type out if i haven’t actually reached them in the fic’s construction, (does that make sense?  i’ve phrased it badly) because knowing i’m gonna get to write those scenes is what motivates me to actually write the scenes inbetween. i should probably switch this up a bit as everyone advises against this form of writing but also yeah changing routine is effort.

other things plotted in the fic came about in light of the events of the show. mary wasn’t originally gonna be such a distant mother but, as spn pushed that narrative of distance and withdrawal, i thought it would be weird for readers to read a fic which pushed the deified mary mother figure like early seasons spn. especially weird for the readers to read a deified mary fic when the mary they were watching on screen seemed to differ so drastically from the one in the story. so the mary-dean relationship (which was fortunately pretty ambiguous and stilted because of dean’s grief-brain in early chapters) had to change in tbah into the really complicated entity it became. honestly the formulation of that relationship is one of the things i was most proud of in the fic because it was so thorny and hard and felt tragically real for that reason. 

other things the progression of the show impacted: dean’s relationship with jack. obviously he couldnt be a nephilim in the tbah universe(!) so i had to consider another angle which would stilt his relationship with dean in the fic. considering the fact that in the show dean’s aversion to him came from a knot of grief, anger and dean’s own upbringing, i transplanted that idea onto the fic and said okay, but here it’s not about cas, it’s about john. dean untangles much of his own trauma with john through his relationship with jack in the symbols of his father he can find in his life: driving, fishing, and building. but also in the symbols of jimmy: cooking, talking, teaching. dean gets to choose between being a john or a jimmy to his son, but the question isn’t so simple, because people aren’t just symbols, and actually dean ends up being a dean to jack, which is perfect.

weirdly, i also think music helped with continuity. i had a few songs in my head at the beginning of the fic and they became like thematic seeds which could grow and make threads to be picked up throughout. i’d listen to these as i wrote, especially as i wrote the scenes i deemed the most significant. same thing with literature.

also thinking about the fic just became really comforting to me ! so i’d play major plot points in my head like a movie before i went to sleep, which meant by the time i got to writing them they’d had a lot of time to develop and pick up earlier themes of the fic. essentially all of the fic was written in light of the future of the fic, which really helped continuity and direction but also the weird tangled traumatised nature of time in the story. this figuring of time became really important because i think tangled traumatised time is essentially just the reality of grief-time. 

subconsciously i’m sure a lot of stuff bled through which was unintentional, the framing of events which repeat location (dean waiting in the treehouse all night as a teenager to say goodbye to cas before he leaves for university vs dean and cas going to the treehouse as adults and finding teens there who are saying goodbye to each other before leaving for university. confession 3 takes place a literal 10 years after confession 1. confession 1 comes from cas and happens on the roof just before he leaves for the uk, confession 2 comes from dean and happens drunken in the living room after dean has had an intense and ambiguous conversation/fight with his mother, confession 3 happens in the living room after dean has come out to his mother, confession 4 happens on the roof as castiel returns from the uk and repairing every sense of the rift confession 1 caused because this last confession ends in their engagement.)

once i realised this was happening i went back and combed through those scenes for lines to be repeated. an easy example of this is chapter 38//chapter 59. here’s a scene from chapter 38 as they enter the big white house:

and here’s them entering the house in chapter 59: 

i think it’s about trauma and repetition (freud has a theory about this, see Remembering, Repeating, and Working Through) in that we return to sites of trauma; trauma is reiterated in memory and in the material, but in every reiteration, we grow and heal and understand the trauma and ourselves better. it’s like an upward spiral: the first confession goes so badly, the second goes better but not good, the third good, the fourth goes wonderfully (dean’s narrative frames it as paradise: “maybe this is the sound of the trumpets on the other side”). so yeah, part of the ‘continuity’ of tbah is just a traumatised cycle of reiteration, and i say this in the nicest possible way, because these cycles of repetition are how we heal. deep down, i think that’s what the fic is all about.

tl;dr: i had a scrawl of a plan at the bottom of the word document i wrote tbah on, i thought about it a lot because it made me happy, i had a pretty clear vision of where things were going from the very opening chapter, and i was a very gay english lit student.

anyway thanks for the ask lovely i am SO sorry it resulted in the borderline novel of an answer.

[soysaucecas]

oooh for the ask game 24, 30, and 44!

MAGPIE MY BELOVED HELLO

24. What are your favorite episodes?

The only episodes I've really watched are TMWWBK (which is my favorite episode and I'm certain would still be my favorite if I watched every single one because it has the only SPN character and the only SPN line), The French Mistake (which was funny enough but honestly in the Just Okay category for me, which makes me pretty sure I wouldn't enjoy actually watching SPN if this is one of the funniest/highest-rated eps), and Reading Is Fundamental (my best friend was watching it and asked me if I wanted to hop on Discord, I thought it might be fun to see Kevin's first introduction but instead this ep found the two of us taking like 90 minutes to get through it bc we kept pausing and screaming (derogatory) as the model minority stereotype jokes piled up and up and up... Unfortunately not a favorite even if we got Meg AND the "pull my finger" joke AND the "Sorry" shot). Other than TMWWBK, from clipping and transcript-reading, I like Wayward Sisters (who doesn't?), The Things We Left Behind (Claire!!!! Cas trying to be a dad! The diner scene aka my favorite destiel scene of all time bc being in love just looks so good on Cas! Also the parallels between Claire and Randy and teen Dean and the adults at that club in his story... woof.), Golden Time (Eileen gets to be HERE and be sad and loved and fight people with ghost powers and Cas gets to do a cool speech and a stabbing and do the Asian community a favor), and Lucifer Rising (just immensely sexy on all counts for Ruby, Sam, Cas, and myself). Also I am SO fond of Steve!Cas so I'll add Heaven Can't Wait even if I barely know anything about it.

30. What is an unpopular opinion or headcanon you have about the show?

Ooh okay hm I think. So I adore confession scene, but I don't think the "I cared about the whole world because of you" is like. The Objective Truth the way that most bloggers seem to take it. Cas was lobotomized tons of times before he met Dean, he was described as coming off the line with a crack in his chassis, he's always been the weird little angel who likes humanity too much! I don't think Dean came first, and although gay love was part of what helped Cas invent free will, he *Ruby voice* didn't need the feather to fly, Dumbo! I do think Cas believes what he says in the moment, but I also think he sorta... made himself believe it? This is probably just me deciding that cas-coding should go both ways, but like. I very much crush as a coping mechanism and I very much overascribe my actions to love because it simply seems more noble/poetic to do so. Being miserable because school is hard is cringefail but being miserable because of unrequited love is Good Shit. And I have been in unrequited love with my best friend for at least 7 years (probably 9 but I didn't realize it earlier) and if you asked I would 100% say that she taught me love and defined love for me and that she will be my first and last, but I also know that that is not entirely true; it's just the narrative that I like for myself. And I think that being in an Empty deal contingent on whether or not he LETS himself feel happy would lead Cas to do plenty of mental maneuvering, which I think involved intentional self-poor-little-meow-meow-ification via overascribing his choices and happiness to Dean (and I also think he'd already been doing that for a while just because of personal self-worth issues and because it's a nice narrative). I know as Cas's last Moment on the show it was probably written to be The Objective Truth, but I am perceiving him and I say no.

44. If you could write an episode of Supernatural, what would happen?

Oh scream okay! This is a fun one! I am going to start out with two ideas from other people:

1. Months ago Nate from the pocnatural discord had the idea of an episode from the "monster"'s perspective where the Winchesters are just clearly the antagonists while not doing anything different than they usually do. I think the idea was that all these supernatural beings live in a self-regulating community together and we have one Very Likable pov character who's a member of this community, but one of the newer members messes up one day and kills someone and the Winchesters come on a case and wreak havoc on this Very Much Functioning (there was going to be a whole rehab and reparations thing for the new member who messed up!) system and kill pov character and in the end you just HATE Sam and Dean for it.

2. It's hard to adapt anything from bad moon rising (aka my favorite spn fic) very well because the point of an Arab Winchesters season 1 rewrite is that it doesn't really work with the white characters we have now, but I think I could see a version of chapter 2 adapted as long as Haley (an Ojibwe hunter who lives in the area affected by what Sam and Dean are hunting) takes the lead. I'd especially like to see this section:

Dean laughs, a little disbelievingly. The question has never crossed his mind. “Do you like it?”

This gives Haley no pause at all. “Yeah,” she says. “I mean, it’s not really about killing monsters, though, for me. Or, it’s not always about killing monsters. It’s about community. Not violence. It’s a spiritual thing to build a home, you know?”

“Oh,” Dean says. He can’t think of anything else to say. It has never crossed his mind before that hunting could be compatible with a community.

I don't have any original episode ideas to add to the hunting discourse, so we're on to my ideas about character-driven eps. I think I would like to see a version of my sastiel possession fic (ty again for beta-ing that! you're a real one) as an ep around the time of 9.11 because Sam deserves to work through their trauma, but idk what the Dean plot should be for that. Another thing I would like very much is TFW drunk history storytime (so like. Tall Tales bass boosted), where for some reason they all need to go over what they were doing during Stanford era but each of them is telling someone else's story. It's gonna be either Sam->Dean->Cas->Sam or Dean->Sam->Cas->Dean. It starts out very funny (they all have terrible wigs and makeup in the flashbacks. Cas is Jimmy wearing a giant mask with googly eyes on it.) but as it goes on it gets increasingly sad how much these three don't really know each other.

In the Sam->Dean->Cas->Sam episode, Sam's telling of Dean's past veers wildly between "crushing pussy and killing things" and "feels like absolute shit all the time" and it's funny but Not Right and afterwards Dean goes "I didn't know you thought of me that way" and Sam says "... I am basically reading off the voicemails you left me back then" and Dean has to sit there and contend with the mythology he himself wrote for Sam to believe in. Dean->Cas provides the comedic beats for the episode as Dean awkwardly narrates Cas's Life As A Weird Little Guy who watches trees grow and heals babies and in the end Dean goes "so how did I do" and Cas is like "well actually I was either getting lobotomized or murdering people so like 3/10?" The moral of this plot line is that Dean is bi. Cas gives a fairly faithful retelling of Sam living her trans little life at Stanford and veering between trying to be Normal and being a total weirdgirl and feeling guilty and angry and happy and free. It becomes clear that Cas admires Sam a lot (but also feels like. guilt and some self-recrimination for not being that) for rebelling from their dad and exploring their queerness during a time Cas was still to his knowledge in total soldier mode, and Sam is having an a_good_soldier's Thesis 5 moment about how she failed the kid she used to be and how very sorry they are about all the things that happened to them, and Dean hates that this is the first he's hearing about so much of this but is also quite emo about the parts where Sam is struggling. The ep ends with them all in the same room not looking at each other and not knowing if they want to group hug or never talk again.

Dean->Sam->Cas episode is similar but the storytelling dissolves a lot faster as it becomes clearer way faster how much their own emotions are getting in the way. Dean is upset that Sam could leave their family so easily and probably swing a normal life, Sam keeps wondering what it would be like to live millennia just KNOWING that you were right and good and clean, and Cas is gay and veering between fitting Dean's life into a larger Righteous Man narrative and just being very tender (and sad and angry) about Dean's pain. Episode ends in a rather cathartic shouting match where they all end up apologizing to each other for many things.

Oh also I would like to see Cassie again but I don't have an episode in mind there. Also would love to see Kaia adjusting to life in Sioux Falls and befriending the others and dealing with Bad Place trauma.

tysm for the questions sorry for taking so long!

(ask game)

[queeranarchist]

Dear Creator

General Likes: Trans characters, queer themes, queer solidarity, character development, strong gen. relationships and interactions with characters outside of a relationship, dialogue-driven story, non-linear narrative, animals, angst, hurt/comfort, character introspection

DNW: underage, a/b/o, past S10 for SPN

Realm of the Elderlings

Well if this reads as though I haven't finished the books it's because I haven't, but I will have by reveals so don't worry about spoilers.

Fitz/Fool

1. Set in the Golden Fool Trilogy before the Fool being Amber and him being in love with Fitz is revealed they have the head out on a sea voyage for whatever reason. They come across the Paragon, Fitz freaks because why does that ship have my face and also it's ALIVE? The Fool has to then awkwardly explain what happened.

2. At the end of the Golden Fool Trilogy they venture back to the Fool's homeland together.

3. After the Red Ships are vanquished Fool seeks out Fitz. They travel the world together with Night Eyes.

Brashen/Althea

1. I would love a bit more detail about their life after their series! We see them with a kid in the Dragon series so I would adore a look into that family.

2. I would love to see how these guys relationship works with their families, does Brashen ever really speak to his family again? Does Malta have the Trell's over and Brashen and his family awkwardly sit at the table together.

3. Generic ship adventure! I would love to see these guys travelling around with the Paragon and what they get up to.

Supernatural

DNW: Anything past Season 10

Likes: boy king arc, Sam centric fic, queer Sam (I literally head canon him as anything with whatever pronouns), Bobby, trans Dean, religious iconography/themes, Sam being a lore nerd

Dislikes: Sidelining Sam 

Sam/Ruby

1. Ruby lives, I’d love to see how this plays out in Season Five. Whether she sticks with Lucifer or chooses Sam.

2. Sam goes dark side after freeing Lucifer

3. Earlier on Sam starts trusting her and fulfilling his role as the boy king. If this stops Dean from going to hell, changes the way the demons work etc

Sam/Jess or Sam/Jess & Dean

1. Jess lives au! My personal head canon is that Jess is pre-med and being very intent on saving people. When she finds out about hunting, she realises that she can’t just go back to being “normal” knowing people are dying. Maybe Sam decides to go back to law school and they have a semi long-distance relationship where she asks him for advice, maybe they hunt together every now and again. Maybe she joins Dean and Sam and they become a hunting trio.

2. Jess gets brought back to life – place this in any season you want! Go wild.

Dean & Sam

1. Dean keeps in touch with Sam during Stanford! Maybe from the get-go, maybe after a couple of years, maybe seeing each other, maybe just through postcards

2. I’d love to see them during S4 where their relationship starts to fall apart, but like also see them still loving each other

3. John gets a year to live instead of instantly going to hell AU – how do they react? Do they try to save him? Does John tell them?

4. I’d love a sort of non-linear story of them (especially Sam because it’s been so long) trying to integrate John into his adult life also looking at his life as a child/teen. You know the general angst about how he’d done it, he’d gotten away and he’s right back at square one. Also, Dean starting to realise that he isn’t a kid anymore, and he’s got his own thoughts etc

Sam

1. Licherally anything in the boy king arc! I’d love to see him fulfilling his role as the boy king. This stops Dean from going to hell, changes the way the demons work etc

2. His time at Stanford! I’d love to see him adjusting to his new life.

3. I would love to see a bit more of him in Season Four! How he feels about Dean being chosen by the angels, how this affects his view on religion, how he feels about himself and the demon. Blood etc

4. Just some introspection anytime in the series tbh, love to see this boy struggle with wanting to be good, with wanting to be normal, and then um not being those things

5. I’d love a sort of non-linear story of Sam trying to integrate John into his adult life also looking at his life as a child/teen. You know the general angst about how he’d done it, he’d gotten away and he’s right back at square one.

Final Fantasy XV

Likes: fics that include the whole gang, trans Gladio, anything with Prompto, angst about destiny, angst about royal linage, character introspection

Noctis/Prompto

1. I really like angsty fics about destiny with this lot - I would love to see how the way in which they’ve been raised effects their relationship, be it being groomed to be king or shield or advisor. I would love a getting together fic, with whichever ship you wish to write, with a lot of internal angst.

2. I would also love a post cannon fic where Noctis is alive (magic, never died, skip over it entirely it’s up to you) where they all settle down, maybe Noctis lets the world think he has died so he can live a peaceful life?

3. I would like to see a fic of Prompto integrating himself into Noctis’ life, Gladio and Ignis have been around his entire life, so how does Prompto feel about them? How do they feel about him? Honestly I’m 100% here for awkward insecure bby Prompto

4. Set between game cannon and Brotherhood, I‘d be down to see what these guys got up to in the years between high school and the road trip. Did Prompto and Noctis study after high school? Do they travel?

5. Less of a prompt and more a vague feeling but like *slaps prompto* this bad boy can fit so much angst in it. Honestly, he’s childhood is depressing af, with the lack of parents and friends combined with a shit body image/relationship with food I wld rlly love some emotional hurt/comfort with him and the squad

Naruto

Likes: the summons, Rock Lee, the squads and how they operate, Naruto getting to eat the ramen he deserves, Sakura being an actual bad arse fleshed out character, trans Naruto

Sasuke/Naruto

1. Naruto leaves and joins Sasuke on his mission to destroy to Leaf, talks him out of y’know murdering everyone but agrees that the Shinobi system is deeply fucked and needs to be fixed

2. I’d like a fic of Sasuke thinking about Naruto while doing all his plotting, be it set when he’s with Orochimaru or the Akatsuki, it would be nice to see him thinking about Naruto, wanting to stop doing so, wondering how strong he could have been if he had managed to kill him and gain the mangekyou earlier

Gai/Kakashi

1. I’d like a fic set just before Kakashi gets his genin, really love to see Gai trying to talk up how cool having a squad is! Dragging Kakashi to see his kids and being like aren’t my team great! And then Team Gai getting into some crazy hijinks that make Kakashi a lil scared about the future but also maybe a bit endeared towards them

2. a fic of Gai watching Kakashi slowly lose himself while in ANBU, of him trying to make things right and not being able to and then eventually asking him to be removed from the forces

[seenashwrite]

Nash Watches & Rates Cheesy Lifetime & Hallmark Original Christmas Movies, So You Don’t Have To (2018)

(a.k.a. -  Nash Records Her Viewings Of Lifetime & Hallmark Original Christmas Movies, which are fanfic in visual form & are gold)

ETA Jan 2019: This adventure is now moving to @seenashblog, so my SPN peeps can rest assured they’ll not be exposed to this any longer - I have a feeling I’ll not be done purging my soul for awhile yet #bless my heart

Last Addendum, I Swear

But I caught one this morning called “Home For Christmas Day” that sailed into a 5/5 with little effort. Here’s a mash-up of two “official” summaries I found, and that’s all I am giving you:

An Army widow worries about her teenage daughter when she meets a soldier from the town's military base & starts to spend time with him during the two weeks before he ships out. The mother wants to spare her daughter the pain of losing someone she loves in action, so she tries to get her daughter to break it off with the soldier before she becomes attached.  Little do they know they are about to learn important lessons of the heart and that taking chances can make this Christmas one they will cherish forever.

All 4 leads (mom, diner owner, daughter, soldier) are good actors (the daughter really impressed me), and they help overcome some dialogue that could’ve been less formulaic. A highlight is that Kristin Chenoweth’s “Home On Christmas Day”, a *phenomenal* song and one that has permanent residence on my holiday playlist, is featured and sung by a character who - wait for it - can actually sing and it was pleasant to hear, they kept it simple, and it’s the better for it. The movie could’ve gone Velveeta and shmoop and severe angst fast, but it didn’t. You’ll be torn on the ending, some of you wishing they’d gone the other direction. You’ll be sweetly tearful either way.

.

So, the new official rec list for the ones that are worth your time?

(5 of 5) The Christmas Ornament (Kellie Martin, Cameron Mathison, Jewel Staite - Hallmark)

(5 of 5) Love At The Christmas Table (Danica McKellar, Lea Thompson - Lifetime)

(5 of 5) Home For Christmas Day (Catherine Bell, Victor Webster - Hallmark)

(4 of 5) Every Other Christmas (Schuyler Fisk, Dee Wallace - Lifetime)

(4 of 5) Operation Christmas (Tricia Helfer, Marc Blucas - Hallmark)

(4 of 5) A Very Nutty Christmas (Melissa Joan Hart, Barry Watson - Lifetime)

(4 of 5) Mingle All The Way (Jen Lilley, Brant Daugherty, Lindsay Wagner - Hallmark)

(4 of 5) A Princess for Christmas (Sam Heughan, Katie McGrath, Sir Roger Moore - Hallmark)

.

And don’t forget: never, ever watch “My Christmas Love”.

Past entries below

Special (Royal) Addendum!

In a shocking turn of events, I’m about to recommend a [gulp] prince-and-princess-based plot Hallmark movie. I’m out-of-pocket a lot this week, but spotted this one randomly and needed to tell you about it, in case you had a chance to catch it. Because surprise, surprise - from some pretty impressive music for a TV movie, to some solid acting (even from the precocious children!), to a decent script, the most off-putting thing is the title. Possibly the best thing? It’s from 2011 but you may recognize the leading man:

So as a reminder, here’s my overall recommendation list for Christmas movies that are actually worth your time...

(5 of 5) The Christmas Ornament (Kellie Martin, Cameron Mathison, Jewel Staite - Hallmark)

(5 of 5) Love At The Christmas Table (Danica McKellar, Lea Thompson - Lifetime)

(4 of 5) Every Other Christmas (Schuyler Fisk, Dee Wallace - Lifetime)

(4 of 5) Operation Christmas (Tricia Helfer, Marc Blucas - Hallmark)

(4 of 5) A Very Nutty Christmas (Melissa Joan Hart, Barry Watson - Lifetime)

(4 of 5) Mingle All The Way (Jen Lilley, Brant Daugherty, Lindsay Wagner - Hallmark)

(4 of 5) A Princess for Christmas (Sam Heughan, Katie McGrath, Sir Roger Moore - Hallmark)

...and the newest addition is the one in question, I’ll give you the scoop.

Google tells me that this was marketed in the UK as “A Christmas Princess”, but I don’t find that any better - I hate movies that blow their wad in the title. Let us not forget the Hallmark rule (and I am certain by this point it IS a rule) that “Christmas” must be in the title. So why not just “Christmas at _ Manor”? That implies aristocracy of some sort, it’s just.... blaaaargh, this channel. Wait hey, look what google told me!

* I swear on my stories that I did NOT see that before I wrote this draft *

Interestingly the version that’s on You Tube is called the latter, so... ya got me. But legit, I am shocked that when you click the “info” on the TV, it says it’s only got 2 stars. It’s higher on IMdB. Probs high ratings, too. I’m not looking it up.

Right. So. Heughan is a *phenomenal* actor, there’s nothing more to say there, and McGrath is high above average for not just typical Hallmark fare, but TV in general. I knew I recognized her, and turns out she was in the short-lived TV series Dracula about 4 years ago (of which I watched the pilot and peaced out), and google tells me she plays Lena Luthor on Supergirl presently (which I don’t watch), but where my lightbulb went off was that she’s the chick who inexplicably got yanked away by a pterodactyl and eaten by the water dino in Jurassic World. She is a gorgeous woman whose hair is made to look atrocious and it’s Hallmark tradition, so nobody’s surprised. One thing is that you’re going to find that on occasion (and it’s few-and-far between) she over-enunciates some words and will rush random parts of sentences, and google tells me she’s Irish, so I get it. A word will sneak in once in a blue moon, but it’s not grating, not in the least, but it’s there. Anyway.

Roger Moore is solid, of course, and points to him for not slipping into Bond mode, and also for not playing it too gruff. The teen boy is a great actor as well - he can pull an angst face and verbalize frustration without it going petulant teen, which is so refreshing I cannot even. And the little girl has a slight Shirley Temple thing going on, holds her own with the adults. Thankfully the servants are all charming and several funny and endearing moments happen because of and with/about/surrounding them. (The narrator is the head butler, too - and fear not, it only happens at the top and at the finale, and are lovely bookends.)

Okay, the story: it kicks off with narration, and it is very well done and cheeky - “Once upon a time in a land called Buffalo there lived a girl names Jules...”  Jules --- ::sigh:: just call her Julie, ffs --- has gotten custody of her niece and nephew (about 6 and 14, respectively) after their parents (the Mom being Jules’ sister) died earlier that year. We find her in the midst of a shitstorm because she got fired from her job (and it’s a *very* cool job), the older kid shoplifted a game, and the girl drove away their babysitter with some pranks - she’s also apparently addicted to Doritos. Clearly they’re just processing, and high props to all involved for not taking it over the top. They’re just the right amount of troubled to where it’s not eyeroll-worthy on either the bratty end or the angsty end. She looks to be about 12 years older than the boy, so that’s another reason he’s probably not so with this arrangement, but she’s not harsh with him, she actually treats him like a person and tells him why his behavior is out-of-line and punishes appropriately, reminds him he’s not the only one who lost them, doesn’t go all authoritarian on him, another pleasant change in typical fare.

We find out that their dad was the son of a Duke of some wherever over in Jolly Ol’ - and THANK YOU SCREENWRITERS for keeping it simple and not making up some ridiculously-named kingdom tucked somewhere on the planet - but he gave up the title to marry a “commoner” and moved to America. Still, they get invited to the manor (”castle”? Didn’t look castle to me, but all right) and the brother of the Dad is Heughan’s character, Ashton, with whom Jules has some chemistry, yo. They get us there fast, about 12 minutes, and again against Hallmark type, those 12 weren’t crammed to the gills with backstory and prep work, because that stuff’s gonna unfold, we’ve got an hour twenty, we’re fine.

Heughan happens to technically be a prince (the faux land this must be for isn’t mentioned, again, bless you screenwriter) and it is easily explained without unneeded detail by saying “It’s through my mother’s side”. So I don’t know if that means the kids are lil’ princes and princesses because was Dad technically a prince? Or was he a half-brother? My point is, the Prince-Princess thing was unneeded - “A Duchess For Christmas” would’ve been fine, Hallmark. I promise. And maybe that’s what the writer intended, seeing as how his working script title had nothing about Princess in it. So it was a weird “Huh?” thing that happens a decent ways into the story, so it’s like....???? 

The rest of the movie goes how you think, but it’s got some genuinely charming moments, and it’s *entertaining*. See, Hallmark? You can take a basic storyline and not fill it with teenage-level angst, then dip it marzipan and roll it in sprinkles. Keep. It. Simple. Let the actors do their jobs. The hijinks aren’t over-the-top, the kids act and speak like actual kids - there’s actually a few lines out of Jules that I side-eyed more. Some of the music was too cutesy-quirky for my taste, but overall, like I said above, Night. And. Day. from the majority.  

The dress they put her in for the ball at the end is absolutely appropriate, it is lovely and isn’t overdone (hair, minus the clip in it, looks awful, of course) and - realistically! - it’s different from the other ladies’ without being drastically so. And also realistically, the crowd isn’t gawking because she’s now the best thing in the room, they’re gawking because a commoner is amongst them. 

Here’s why this gets a 4/5, and none of these are deal-breakers, but there’s just too many to justify a 5/5:

There is a dance scene that is embarrassing for everyone. But! I’ll be honest - their laughing looked real, I bet behind-the-scenes they’d gotten tickled at something, and Heughan throws all fucks out the window at one point, and bless him, because he saved it - the both of them had enough rhythm that it wasn’t altogether hide-your-eyes worthy; the better choice would’ve been to do the waltz he was teaching her to a more modern song, different tempo than the classic (I’m going blank on it, I feel like it’s the Blue Danube, but that’s irrelevant, anyway you’ll recognize it), throw in some relaxed improv steps. Snaps also to Heughan for faking playing violin well - and snaps to the director for some clever close ups that never quiiiiite give you a look at his (again, props - moving) fingers.

Second thing - the not-quite-climax set-up. I’ve not spoiled the others on the rec list, so I won’t spoil this one, either, but at about a half-hour til the end, the script goes with a trope and I just rolled my eyes. Granted, it didn’t go melodramatic and they saved it with a touch of a twist, and it is genuinely sweet. Still. Didn’t have to go the full distance, could’ve been taken care of while she was prepping to do what she did. I know that’s cryptic, you’ll get what I mean when you watch.

Third thing - the side-plot of the whoever-she-is Duchess or Lady something that expects Heughan’s character to marry her is WAAAAAAAY too much. And it’s the actress, it’s not the lines. Her choices of delivery are just bush league, even I know better and the only thing I’ve ever acted in is a third grade play. I was a Lucy VanPelt-type character (quelle surprise) and I kicked ass.

Other things: that whole “Huh? Prince, what?” stuff, and I could’ve done with a touch less shmoop ending, but the narration saved it.

Okay! There you go! A good princess movie! The rest are garbage. 

And never, ever watch “My Christmas Love”.

Love, Nash.

#11

This is it, folks, last entry. And by "folks" I mean the maybe three who are reading these, and thanks, hope you've enjoyed. But the ratio of work-to-response isn't motivating enough to continue, plus the season's about over,  and besides, this has covered in the ballpark of 20-ish movies. I think. I can't be bothered to count.  So here's the last speed run, I'll cover some more than others, and I'll also note one final time my Yes You Should Watch These 4-and-5 Star Rec List with any updates at the end, as well.  

You'll still get a post all its own (with screencaps to paint the full picture and an official, free link of where to watch) on the fanfic-y-est ickiest of all Christmas movies ever. It is too precious for words. I can't not write about it. And on top of that, I wrote an actual fic based on the same premise, because per usual  I have seen a travesty that had potential, worked it over, then said:

#humbly

And without further adieu: here's your speed round of the ones to avoid at all cost (the 1 and 2 stars) and a handful that were all right, I thought, but when it comes down to it are a matter of taste and you may love them (the 3 stars).  Oh, and spoilers in several places, because it's not going to matter because on tons of these you'll either (a) guess it yourself or (b) shouldn't waste your time.

I’m saving you, here.

Christmas in Angel Falls (Rachel Boston [a-gaaaaaaaain] - Hallmark)

"Guardian angel Gabby Messenger is sent to the town of Angel Falls to restore its Christmas spirit."

::sighs::

No. 

As predicted, it was pure schmaltz (my note actually says "suicide by schmaltz") and the usually charming Boston was annoying as hell.

1/5 stars . A Royal New Year's Eve (Jessy Schram - Hallmark)

This one was so grating. There's a prince, she's a fashion designer, it has a bit of a Cinderella undertone (if you watch it you'll see what I mean, there's some boss as pseudo-stepmother and friend as fairy godmother and dressmaking and hidden identity action sprinkled in) and know right now that the prince's accent is inexcusable, it is ear-burning. I looked the guy up because I had to know his nationality, to make sure that I wasn't off the beam and that this was just some weird subset of fill-in-the-bank accent to which I was unfamiliar, but nah, he's from goddamn Milwaukee. That a dialect coach or the director or SOMEBODY didn't speak up is embarrassing, I hope he realizes now and doesn't have this on his reel.  And as always, Jessy Schram is dialed to 11 on her typical coked-up mouse with flippy hair routine.

1/5 stars . Four Christmases and a Wedding (Nobody you'll know - Lifetime)

What? Huh? So the premise is he just keeps leaving for work and showing up again at the town Christmas festival with the shitty prom that happens afterward that they call a "ball" and I assure you it is not. They also kinda blew their wad in the title. Also-also, she's Perfect McBody but has had attached to her the trope of I LOVE FOOD GIVE ME ALL THE EATS which personally makes me sick.

1/5 stars . Christmas Everlasting (Tatyana Ali, Dennis Haysbert - Hallmark)

I mentioned this one in passing in an early entry, it's based on a book, so... not "original" totally. Here's why this one doesn't get onto the rec list - it's predictable. It's well-acted, but the story was weak, and I saw the "twist" coming a mile away, and granted - as stated prior somewhere in past entry - I happen to be bizarrely good at that, but I feel like you'd see it, too. Again, this could be the "fault" of the book, I don't know, I've never read it (it's called "The Other Sister", btw), I just judge the movie. Anyhow, it's the same ol' same ol' of big city gal comes home, dead family member (aforementioned sister - you know this immediately though, not a spoiler ), but rekindled lurve, and hey, she's gonna stay for good this time! Bonus appearance of Patti LaBelle, though, which is a bright spot. 

The thing that worked my nerves the most was that they inexplicably got actors to play the main folks in flashbacks to 10 years ago who look *nothing* like Ali and the lead male (whose name I unfortunately didn't note, but he was familiar to me), and I'm not just talking hair, that and clothes are what they're supposed to do for changes in time period, I'm talking distinct facial structure and skin tone and height. It was, on god, the most bizarre "young actor analog" (for lack of knowing another way of putting it) that I have ever seen on film in my life, I'm not exaggerating. The genuine, heartfelt acting of Ali and co. is what gets this bumped to a 3 vs. a 2, because I didn't think it was a *complete* waste of time, despite the meh story.

3/5 stars . Santa's Boots (Megan Hilty - Lifetime)

These are my notes verbatim:

--> family department store --> hot flannel Santa --> tree farm --> exec who comes home to save the family business and she's gonna stay 4eva! --> wtf do the boots have to do with anything, I don't.... --> 2/5 stars - 1 b/c hot flannel Santa - should be 1 star . A Christmas Arrangement (it doesn't matter - Hallmark)

Flower shop, check. "Arrangement", get it? ::sigh:: You'll just *love* the first ten minutes, where the lead says "no" and rebuffs and in general tries to get away from this dude about a zillion times. Byeeeeee! Nash will be out after the first 15 mins (I give these 15 mins before bailing), guaranteed. [time passes] I was right.  Angel Anna (a.k.a. the real Anael, thankyouverymuch) co-stars, and she's a better actress than the lead, who is absolutely grating in every way. Oh, and the font on the flower shop delivery van is Comic Sans. 

1/5 stars . Every Christmas Has A Story (Lori Laughlin, Colin Ferguson, and Willie Aames who, it should be noted, has not aged poorly nor has he had obvious plastic surgery yet at the same time looks nothing like himself so figure that one out - Hallmark)

This should've been called Christmas In Hollyvale (I *think* that was the town), but whatever, she's a reporter and he's her producer, so "story". Get it? GET IT?! Lori Laughlin does not age, and Colin Ferguson can pull a face and inject snark on Jensen-levels, and they have great chemistry, both are funny, and are great actors, then there's Doug ("The Crew") who is a delight. The hotel attendant is a bit annoying. The "mystery" she solves is meh. And though the overall premise is fine, the pacing is sloggy, but it's not necessarily a complete waste of your time because your two leads are such great actors.

3/5 stars . Now, here's one that's terrifically bad that I actually suggest you *might* want to watch because while it's not the jaw-dropping holy shit this is stupid ride that will be the final entry, this one's pretty fucking fan-fic-y and should give you some snickers:

A Cinderella Christmas (the chick from Once Upon A Time In Wonderland with lips that look so fake I hope they’re not real because otherwise bless her heart, Mindy Cohn, and doesn't matter - ION)

There is a get-together they have chosen to call a Chrismasquerade, and technically I don't think I have to say any more. But I will. Fuck, this is amazeballs stupid. Only redeeming thing? The always-delightful Mindy Cohn is in the fairy godmother role, I love her, and she has pinky-purple hair, and I always have/always will adore her sweet face and crinkled eyes smile.

Otherwise....

--> is shite music a pre-requisite for these movies?

--> our lead has *very* distinctive lips and her hair/eyes/lips combo look *nothing* like her cousin (the stepsister sub) even behind the half-face mask, so props to the casting department for whiffing the shit out of that

--> the dude is an incredible, unlikable asshat

--> "A Snow White Christmas" is premiering after this, and it's Sunday, and I'm going to host CASPN instead, but Imma go out on a limb and say it ain't worth your time, either

1/5 stars .

Get ready: shockingly for me, I'm about to give you a pair of 3-star trope-premised movies. I know, I know, unlike me. But these actually pulled it off. The trope?

*takes deep breath*

Pretend to by my boyfriend/girlfriend for my family . (1) A Holiday Engagement (Bonnie Summerville ???, and Jordan Bridges)

It's what you think, but not for terribly flaky reasons - she *was* engaged but the dick broke up with her at Thanksgiving. And in a pleasant change of pace, she doesn't get a friend-who-will-turn-to-more to play the part, she hires an actor. Smart girl. Bridges is another one of those random actors you see off-and-on who elevates everything he is in, and the chick is great, and the family is well cast, and the waiter at the restaurant made me laugh out loud. The whole thing is snappy in pace (lil' bit of filler, but that's par for the course with these movies) and has some snappy dialogue in places, and overall it's not a waste of time, not too shmoopy.

3/5 stars . (2) Mingle All The Way (Jen Lilley, Brant Daugherty, Lindsay Wagner - Hallmark)

Inventive concept here, though they kinda shit the bed with naming their business something affiliated with Christmas if it's clearly a year-round affair, but okay. What it is: a dating app that's not a dating app, it's purely for folks who need a +1 to specifically business/work social events, but also more formal family and friend events (so, say, Christmas party where it's not just family, or friend party that's not just show up in your jeans and sweaters - the cocktail stuff, is my point). The thing is, no one is pretending to be the boyfriend or girlfriend, it's supposed to be like "And this is Susie/Steve, an associate of mine from ____ business". Nothing romantic, no false pretenses, no lying to others (well... not supposed to wink-wink).

The chick - who runs the biz/came up with it/helped develop it - is needing to take on investors, and one of them is like "Sold! But can I get some firsthand testimonial? Have you yourself tested your product?" and since she's got shit coming up on her agenda, she does. Plus, her mom's on her ass about working so much and not dating since a bad breakup years ago, and it's compounded because baby sister just got engaged. (Mom is bionic woman Lindsay Wagner. She's not really bionic. Google it, youths.)

Dude is in a situation where he's not advancing at work because scuzzy kiss ass co-worker is shmoozing with boss during off hours because boss doesn't invite the single people to brunch or whatever with him and his wife, he's only inviting the ones who he knows has a partner to bring. I know to some of you this may sound absolutely ridiculous but, um, I've experienced this many times. This is not out of the realm. Not even a little bit. I had a gay boss who understood how this happens (likely because he experienced it) and he was wonderful about including everybody. Otherwise, yeah, I been there. I've digressed.

The leads have good chemistry, there was great snark and back-and-forth when they met each other a couple times prior to the set-up ('cause you guessed it: the app paired them with a high %age of compatibility - his sister suggested he do it after he heard about it on the news and he told her of his situation) and they click really well. There's touches of shmoop, of course, but this was an above-average story amongst the typical Christmas dreck, so it makes the rec list at 4/5 stars. 

Your rec list is now:

(5 of 5) The Christmas Ornament (Kellie Martin, Cameron Mathison, Jewel Staite - Hallmark)

(5 of 5) Love At The Christmas Table (Danica McKellar, Lea Thompson - Lifetime)

(4 of 5) Every Other Christmas (Schuyler Fisk, Dee Wallace - Lifetime)

(4 of 5) Operation Christmas (Tricia Helfer, Marc Blucas - Hallmark)

(4 of 5) A Very Nutty Christmas (Melissa Joan Hart, Barry Watson - Lifetime)

(4 of 5) Mingle All The Way (Jen Lilley, Brant Daugherty, Lindsay Wagner - Hallmark)

That's all, kiddos! See you next time for the worst of the worst, complete with screencaps. You will *not* be disappointed.

#10

Okay, if I'm gonna get to the fanfic-y-est of all the Christmas movies - and it will easily take up an entire post -  we gotta tear through a bunch because the season's almost over and you're not gonna have time to avoid/find these, depending. So we'll hit a high point first (because I've added to the 4-to-5 stars you-should-actually-watch-these rec list), and tear through a bag of mixed nuts, including the third David Haydn-Jones... treat... nah, this third one is the best (?) so far... though, um, that ain't saying much. Woof. Yeesh.

As a reminder - 3/5 means they aren't exactly a waste of time, 2/5 are debatable/up to personal taste,  and of course 1/5 means I will never get that time back and I'm that much closer to death because of the movie and what it drained from my soul.

Let's kick off with one that may be my favorite, and got a 5/5 score, update the ol' You Should Definitely Watch This rec list...

.

Love At The Christmas Table 

(Danica McKellar, Lea Thompson, the guy who played Luke on Gilmore Girls, several character actors you'll recognize, and the lead dude is familiar too though his name doesn't ring bells - Lifetime)

Look, from what I can recall, ol' Danica was fine in "Wonder Years", but as I mentioned in a past post, something has happened over the years and girl can't act. It's distractingly bad, because she's typically paired with heavy-hitters (even if they aren't well known). So I'm not sure if it's that she and the lead male really clicked or she really clicked with the director, but it was night and day. This movie is also from 2012, so maybe it's just been tough going acting-wise since then. In any event, don't let any other of my other reviews of her dissuade.

But the script and the direction are both *fantastic*, and I suspect it's partly because the concept was kept nice and basic: A man realizes that his best friend since childhood is the one. Boom. Lots of room to get some good character development and plot progression, and they did, since it's not bogged down with a bunch of extraneous stuff.

There is so much delight packed into the first half hour, you will be grinning. The execution of it is nicely done, too - as we go through the years, each Christmas is prefaced by "Age ___" to let you know how much time has passed, and they look subtly different in appearance and attitude each time. The parents are phenomenal, you're going to enjoy each one of them. The interactions between all parties feel real. And more on feels, this almost feels like a play - it takes place in a house for like, 90% of the movie. But every set is very cozy and crowded with things and/or people (in a good way), and nothing seems like it was perfectly placed, it's how these locations would actually realistically look.

The worst thing I can say about this movie is that I really wish the two leads were other people. They had fantastic friend chemistry, but I tell ya, not a ton of spark when it started bending romantic. And there are plenty of actors who look younger than their age, and maybe that's what this needed, more mature actors who could realistically be shown as teens with some sweet hair/make-up magic. Or, again, could be Danica. I don't know. But she comes across *legions* more relaxed in front of the camera here than in others I've seen her in, so that little bump in road aside (and truly, it's not intolerable - it's noticeable, that possibly poor casting of them, but it's not going to pull you out of the story).

You're going to love the last fifteen minutes, what she does for her dad, how he's walking and talking with his parents when she sees what----- I can't say it. I *genuinely* do not want to spoil this for you. And then the very-very ending is *chef's kiss*.

I want you to watch this movie, especially you who are fans of friends-to-more. Because, I mean, there's a STORY, thank you lord. It's not regurgitated same-ol', same-ol'. This is a really great character-driven piece, and honestly? I wish it had gotten optioned to be on the big screen. I think it could've really been included with other heart-grabbing, fan-favorite romantic Christmas movies.

5/5 stars

The (now newly) updated rec list of well-worth-your-timers:

(5 of 5) The Christmas Ornament (Kellie Martin, Cameron Mathison, Jewel Staite - Hallmark) (5 of 5) Love At The Christmas Table (Danica McKellar, Lea Thompson - Lifetime) (4 of 5) Every Other Christmas (Schuyler Fisk, Dee Wallace - Lifetime) (4 of 5) Operation Christmas (Tricia Helfer, Marc Blucas - Hallmark) (4 of 5) A Very Nutty Christmas (Melissa Joan Hart, Barry Watson - Lifetime)

.

Christmas At The Palace (Not a person you'll have ever seen or heard of, ever - Hallmark)

I've regrettably watched "Christmas At The Palace" once through completely, and three times caught blocks of it because I basically leave these channels on all day, then when I pass by the remote, I'll flip through the main four giving us "originals" (Hallmark, Hallmark Movies & Mysteries, Lifetime, and the JV team over on ION), and that's that. This one has clearly been on *constantly*. And it sucks. Not one person - I'm not exaggerating - not *one* *person* in this movie can act. If you've ever imagined yourself in a movie or TV show and thought it impossible? Please let this movie give you hope. You can do it. Someone hired these people, they'll hire you.

Gives me hope writing wise, as well. What a septic tank of a script. Check it: once again we find ourselves in a royal circumstance where the prince is widowed or needs to get married because of blah-blah-law-queen -and-king -insist, who cares. This time though, he gets his Christmas boner --- I MEAN --- spirit via a former almost not quite professional ice skater. Seriously, they make a point to say she didn't make the Olympic team and isn't on the pro circuit, she choreographs for this travelling show thing. I mean characters with flaws, sure, but they shit on her in the first fifteen minutes. The whole movie in its entirety is embarrassing to watch. There is minor redemption in the (standard) best friends (one for each of the leads). They are.... tolerable. That's it, I almost said "okay", but I can't because they're so grating in most of their scenes.

And the two main gals? The lead and the best friend? Won't. Quit. Fucking. Smiling. I'm not exaggerating this - they are smiling easily 90% of the time. It is incredibly irritating. And there is zeeeeeeero chemistry between the prince and the ice skater.

Skip it. I can find something that's garbage enjoyable  in a So Bad It's Entertaining way, but this one is absolute stank garbage, and they are pimping it like it's the second coming.

1/5 stars

. Christmas In Tennessee (Rachel Boston [again], Andrew Walker, some kid with really jacked teeth, Caroline Rhea, and Patricia Richardson - Lifetime)

Aw, shit. Here we go. After the Graceland one with Kellie Pickler (which you'll not see me report on here because I couldn't sit still long enough to watch it because she can sing, but she sure as shit can't act) my hopes are not high, though they *were* renewed to a great degree with "Every Other Christmas", which if you'll recall is on my rec list for you.

Bakery. Christmas pageant. Real-estate suits coming after the teensy town to build a ski resort. One of them is cute man. She is cute baker. She is also a single mom. And there's a mysterious sweet woman "Mrs. C" who *loves* the cookies - and so did her husband "Kris" [wink-wink]

:: sighs ::

At least nobody's trying and failing to fake a Southern accent, god and small favors and all that.

Listen, all I want is for there to be some originality. That's it. I'm not looking for perfection, I mean, that's subjective, after all. (Well.) Just fucking... I mean, look: don't make her a single mom, to start. Don't make her a baker, second.  Keep your ski lodge in small town thing, fine, that's the conflict between them. But hey, what if she's the mayor? Have a Leslie Knope, politics-oriented, civil-service type as the lead character. Somebody who can go toe-to-toe and not have to sugar-sweet-charm her way around shit.

In any event, good acting from the leads, Caroline Rhea and Patricia Richardson are always good in everything, and there's some nice snappy dialogue. It's not too terribly saccharine. Fuck, fine, I'll stick it on the not a waste of time list it unless something goes way haywire. [time passes] Okay. I has a lil' smile on my face. It actually didn't typical too-too hard. The lead actors were great, everything seemed easy and casual between them. Too bad the plot was weak. Still though, didn't leave me feeling it was a total waste of time.

3/5 stars .

~ Let's do an Alicia Witt Trifecta! ~

. Christmas at Cartwright's (Alicia Witt - Hallmark)

"Nicky is a single mother, unemployed and broke at Christmas and desperate to find a job in order to make her young daughter's holiday a happy one. With the aid of an angel, she gets a job as a department store Santa." - It is pure cheese. Alicia Witt should stick with drama, hundred percent, it is astounding how pedestrian her acting skills become when she has to get sweet/touching/emotional in the absence of any heart-grabbing stakes (think Lily Sunder). So anyhow, this is some piss-poor amalgam of Miracle on 34th and It's A Wonderful Life, but I'm giving an extra star because kudos for making the chick the Santa. 

2/5 stars . Christmas on Honeysuckle Lane (Alicia Witt, Colin Ferguson, Laura Leighton - Hallmark)

This almost got off the naughty list purely because Colin Ferguson is a fucking delight in everything he's in, he's one of those "elevators" as I call them - Mark Sheppard is another good example - because they elevate anything they're in, however shlocky, and if it's actually good, they help make it even better. This, according to my notes, is "exposition dumps coated in cheese", and it's that ol' chestnut of the saving the family home and oh noes dead parents and big city gal back in town and wow she's gonna stay! You've seen many iterations of this movie, don't bother. The house is fabulous, though, I'd live in it in a hot second. 

2/5 stars (and that 2nd star is only for Ferguson - as stated before, Witt should stick to drama vs. awwww stuff)

. A Very Merry Mix-Up (Alicia Witt - Hallmark)

Once again, please welcome Alicia, this time en route to meet her future in-laws as a surprise to announce the engagement (well, and that he's been dating someone at all - he's a work-a-holic who never gets home much - matter of fact, he's stuck finishing up a deal and has to meet her there vs. ride together) and "through a serendipitous series of events" has to ride along with a dude who turns out to be her future bro-in-law, who proceeds to wreck her phone with a drink, and then wreck the car because he's distracted. The MD at the hospital tells them not to sleep for the next 24 hours and that they need constant monitoring.

(Couple things while I have you: The former is an old wives' tale, and as for the latter, if they need constant monitoring, they wouldn't be discharged, they'd be admitted for, you know, monitoring. Jeez this part was so stupid. It was so they could slumber party and bond. Because there was no other way to accomplish bonding than via stupid car wreck and representing med professionals as stupid. ::sighs::)

You know, this would be a great movie if the plot was that she was a con artist. It's not. But wouldn't that be great? And the romance comes in when she has a change of heart because shmoop-shmoop-shmoop first family Christmas she's ever experienced? WHY AM I NOT A SCREENWRITER HOW DO I SUBMIT THINGS TO PEOPLE

Anyway, we find out fiance is scum, and later we see that his family is stiff and cold and miserable and a bit *too* much of a contrast to the other family. There's a cookie baking scene, check. The leads have pretty good chemistry, though. But oh, quelle horror! Name mix-up! Wrong family! Oh noes! Anyway there's a thing with a story about grandparents and a clock that's legit creative and sweet... but at the very end, I don't get why t.f. he didn't put the ring they found on her finger.  This movie isn't a complete waste of time, there's just some choices in there that they whiffed that could've made it something special.  

3/5 stars

. Hey! Let's do another like that - but oh boy does this one take a turn.

Dashing Through The Snow (Meghan Ory, Andrew Walker)

You'll recognize Walker from the Tennessee movie with Rachel Boston, he's the one with the cheekbones you could cut diamonds on (no seriously, it's just skin on skull, it's mesmerizing) and you know Ory from lots of other stuff. Be warned: she is annoying as all-get-out in this movie, and it's tolerable, but it spikes every now and again into the I Want To Shake You territory.

This one is bugfuck bananas, and I am here for it.

So it's a eye-roll premise, she gets stuck when her flight reservation gets screwed and then there's no rentals so she and this guy who are going in the same direction agree to share a rental. 

Here's the thing: she's gonna work your nerves, I'll tell you up front. She's this whimsical perky but anal retentive ball of AAAAHHHHHH!!! SHUT UP!!!! that made me quit watching this movie the first time. I went back to it when it re-ran for one reason, and one reason only, and it is this:

After she makes a fuss at the counter to the attendant at the airport about her reservation being fucked up, when attendant is on the phone, she sneaks through to get to the other side (because, y'know - this is the Get On Plane side, over yonder is the Get Off Plane Side where it's easier to get to rental car vs. walking across the airport), and we learn that attendant wouldn't let her board and lied about the whatever was wrong and is on phone because homeland security or feds or whatever are there because some chick with her same name is an international criminal.

Phew! Out of breath.

Now, you have to overlook the fact of why would an international criminal who knows how to evade authorities all the sudden (a) use her real name and (b) make a fuss/a scene and (c) get herself caught all over cameras so that the authorities now know what she looks like for the first time in years. I'm warning you now. I know. I *know*. It's a piss-poor way of going about this, even though it does get explained in, like, the last 40 minutes and with a "Really?" sort of reasoning. But, interesting and unique plot, so I'll take it. There’s also a wonderfully cute puppy who lights up the screen, totes steals the show.

So, there's a "twist" that I didn't find to be twisty, I called it the moment ___ interact early on, but that's okay, I can let that go, I guess the endings of easily 95% of movies I watch (blessing/curse). But - AGAIN! - interesting and unique plot, so I'll take it. Only reason it didn't make a 3 is how annoying Ory's character is, and how stupidly they portray the FBI, with not listening to their top agent when he says "We're wrong - she had her identity stolen - call off the op." It’s not a “1″ but it may be a “3″ for you, you’ll have to make the call. But for me.... 

2/5 stars

. Hope at Christmas (The lead chick is familiar, her name is Scottie Thompson - Hallmark)

Single mom! Precocious daughter! Returns home to deal with dead grammy's house! Meet cute in bookstore! Mom not terribly into Christmas because kid will be with her dad! She slowly gets back into it! Plans on going back to big city! Ends up staying! Because lurve!

None of the acting was bad (I mean, the little girl is annoying after awhile), but as noted, the story is the same as most others. You make the call, folks. And you'll be able to, I've caught it airing after my initial viewing no less than four or five times, no joke.

2/5 stars . The Sweetest Christmas (Lacy Chabert - Hallmark)

This is about a gingerbread contest. It is boring as fuck. Skip anything involving Lacey Chabert, trust me, this is the only one I managed to make it all the way through, and believe me when I say it was touch-and-go, I had to make myself in order to give her a fair shake. I've never thought she could act, though, to me her voice is less delicate and more whiny, and besides, she's Poor Man's Jennifer Love Hewitt #sorry not sorry  

1/5 stars . Just In Time For Christmas (Doesn't matter, though William Shatner does show up driving a horse-drawn carriage - Lifetime)

Meet Lindsay, a young - too young to be up for tenure, bee-tee-dubs - psychology professor has to choose between a book deal and tenure track at a prestigious university versus accepting the marriage proposal from her longtime, totally adores, really loves him (they are VERY pointed about establishing this) boyfriend. But hey, screenwriters, got a thought, and hear me out: why not both? But I get it, since this movie is from 1975, oh shit sorry, 2015. Yeah, no. Pass.

1/5 stars

. And finally, DHJ.  This is gonna be short and sweet, because on the whole, it blew. But I'll tell you when/where you can watch the fourth, since I won't be covering it and it's gonna come on at an ungodly hour and I likely won't watch it. It sounds like ass.

A Bramble House Christmas (David Haydn-Jones, Autumn Reeser - Hallmark)

The premise is he's a children's book illustrator who comes to this little town under the guise of getting inspo for his next book, but really he's supposed to be confronting the nurse's aid to whom his now-deceased (and estranged) father left a shitton of cash, giving her an injunction (to the will) on behalf of himself and his sister.

But then, lurve. :::sigh:::

Understand up front that this is an hour's worth of "movie" that was stretched into 2 hours, man oh MAN did it drag. And there's all the typical: ice skating where one person sucks; cookie baking; tree decorating (with garish, not subtly-done product placement); also tree in the town square that is visited and "oooh"-ed upon; and precocious child with some oh-noes-sick-kid frosting on top. It is dreck. The premise, sure, okay, that's decently original, but the rest of the story is basic bitch in a bow.

At fifteen til quittin' time, it got straight dumb. She rushes off after she finds out the truth - on Christmas Farging Eve - packing up her and the kid and saying they're off to the airport. How? What? You got no ticket, bitch, where the fuck do you think you're going? Ugh. Idiotic.

One thing, though: if you can get to this in a manner that you can skip to about the 45 minute mark, do it. There is a *moment*. The way DHJ can pull an old Hollywood leading man *look* that says "My dear, I want to kiss you, and well" is a sight to behold.

2/5 stars (one of which is automatic, because DHJ elevates everything he’s in) . You can see the fourth DHJ movie - A Cookie Cutter Christmas - on Hallmark at 1 a.m. CST on Saturday the 22nd of December.

One last entry (#11, tomorrow or Sunday) then a #12 all its own for the pièce de résistance. I'm not overselling it. It is deliciously ridiculous.

#9

Candace Cameron Collection check-in: "Switched For Christmas" is absolute nutterbutters. It is ridiculous and it knows it, so it goes full throttle. I am really impressed with her acting, doing the identical twin thing must be a bitch and a half to film, and she pulls it off. The split screens are well done, too, and not just for TV movie, I mean it's good-good. I'm telling you nothing about the plot. It's sugary sweet, you'll get cavities, and it's not my jam but I couldn't turn it off so that means.... something, I don't know. There was no wine involved, I swear. It's on Lifetime.

But nevermind all that: I know I promised the fanfic movie to end all fanfic movies, but I'd forgotten I promised *before* that to talk about the next David Haydn-Jones feature.

So, last night (read: early this morning, and as of this writing so it may not have been last night at the time you read this) when insomnia struck (read: woke me out of a dead sleep to say HEY IT'S 2 A.M. AND SHIT'S KICKING OFF ON HALLMARK),  I groggily turned on the TV at about 15 after, and to what my wondering eyes did appear?

Hoo-boy. The look on his face says it all. 

Now, as you know, initially DHJ tried to dodge my investigation. It did not work. And I found him trapped between an over-the-cute-line-into-annoying cotton-topped child and Winnie Cooper in "My Christmas Dream" (Hallmark).

And sweet babby jeebus, did he carry this movie.

I like Danica McKellar in real life - not from having met her or something, I mean because she's a giant ol' nerd, she's a mathematical genius, legit (look it up, I can't do everything, I'm shouldering these movies, my brain can't handle it) and she *sparkles* in interviews. Having said that, she's got Claire Novak Syndrome. Put the actress who plays Claire (I can never remember her name, I've no idea why) in front of a camera and it's all dolly dead-eyes, one trick pony angst... and in everything I've seen her in, I've talked about it before, I won't rehash. Danica’s opposite in that she’s ooooooooverdoing everything. I would actually take some flatness. But it’s still Claire Novak syndrome because something fucking happens when the camera starts rolling and it goes unnatural and awkward to watch. Dunno what it’s about. Who cares, not why we’re here.

Anyway, I am only touching on this movie for DHJ purposes, otherwise I wouldn't bother, it’s not worth the time to watch or tell you about, truly. It’s not the worst, but even he seems to be phoning it in for the most part. So. She's a department store exec and he's an artist that's been doing handyman work, they hook up when his *incredibly* annoying child somehow gets to the store on his own to ask if his dad can work there, she gets him home, her car battery's dead, flirting ensues, blah blah biscuits, stir and bake til crispy, and it'll still be sloggy goo in the middle. It's just straight dumb. Don't waste your time. They have negative-integer chemistry, it's pretty embarrassing to watch, honestly.

1 out of 5 stars, and that 1 is all for DHJ.

.

That was short, let's pop off a couple more:

Marry Me At Christmas (I didn't note the network or the "stars")

Horrid hair gal meets sentient Ken doll-Archie Andrews hybrid whilst planning his sister's wedding on the fly. Small charming town. He's big city, Hollywood, specifically. Yes, it's the prince and the commoner tale but instead of a prince he's a movie star. Cue the blecccchh. As it's called Marry Me At Christmas, they kinda blew their wad in the title, the sister's wedding goes through as planned, so no drama ahead there.

I really can't say enough about how badly they did her hair. She's got super-curly hair naturally, and I'm not a hairdresser and even *I* know the answer isn't Weigh It Down With Product And Hard, Then Don't Even Finger-Comb It, So It Lays Flat Pancake From Scalp To Ear, Then In Creepy Porcelain Doll Spirals To Shoulders. She looks great when she's in a hat and it's an outdoor scene and it gets tousled. But it's distracting the rest of the time, is my point. Oh, then they inexplicably straighten it for the wedding - curly hair can look *gorgeous* in a formal updo. The one time they didn't leave it curly. 

Yes, this is the only thing worth discussing in the entire movie. Not even worth the bingo card. 1 out of 5 stars.

.

Speaking of hair:

Entertaining Christmas (Hallmark) - Jodie Sweetin, Brenden Fehr

Her hair, it's all I can focus on - it's this weird Southern mom bouffy thing when it's not pulled back somehow. Also distracting - and this is a lovely woman, if you've not seen her since she was a child on Full House - are the ill-fitting, unflattering clothing they've put her in. It appears Ms. Sweetin and I share an affliction of the stems, that being... (deep breath) ...hi my name is Nash and I have the legs of a linebacker. It's true. And not a ton of muscle definition, because when I do? Hoo-boy. Heavy-duty linebacker. Best they're left alone. 

Point is, if gals like us do skirts, it ain't flattering to go above the knee, it's just not, it wrecks the silhouette and makes our already chunky-monkey legs look even bigger. And dammit if they didn't do it to her, and not even bother to put her in tights. This woman has huge hooters and a tiny waist, they could've had her rocking some crisp black slacks or a pencil skirt that hit mid calf and a snug lil' cashmere sweater and BOOM, you're channeling Mansfield and Monroe. Bonus that she's a natural blonde. But no, let's put her in matronly above-the-knee shapeless polyester-looking dresses. Ugh.  

Okay, anyway - this is actually a decently inventive plot: she's the daughter of a Martha Stewart type, and she's "poised to be the new face of the brand" - problem is she suuuuuucks at all the cookie making and knitting and whatever. She's also of the thought that imperfections and unique family traditions are more awesome than the largely unattainable perfect-perfect blah-blah from mommy's magazine. I'll give them this: the mom is awesome and nice and kind and understanding, they were smart not to cliche it up and make her a hardass.

But even though it was a creative plot, it just slogs and is so bleh. If you haven't guessed the ending by that synopsis, I don't know what. It's, um... I mean... it's not great, but may appeal to some, so I didn't put it in the This Is A Horrific Attempt At A Nice Lil' Christmas Movie pile. Take that as you will.

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Let us end on a semi-positive note:

Christmas Pen-Pals (Lifetime) - Sarah Drew (who?), character actor you'll recognize immediately (for those of a certain age, it's the dad from Family Ties), other people you'll never have seen before in your life

This should've been called Christmas Cupids because it's about a thing called Christmas Cupids. The people behind these movies are *killing* me.

This one's good, and mainly because the premise is great, it's about secret santa in a potentially match-making way, but hey could also make a good friend. The set-up is that Drew chick is a total brain and she wrote an algorithm for a match-making app but it's so scientific it's boring and as her business partner at said app company put it, it takes away the spark. Which is kinda dumb, because you get the spark when meeting the other person, ain't none of these dating apps giving you in-person spark. Whatever, they're losing users so they need a kick. I missed the part about how she re-worked an electronic app into handwritten letters, but that's neither here-nor-there.

I'm not gonna tell you who she ends up with - you'll guess it nearly immediately, don't worry - but know that even though it's predictable, there's several really sweet and unique moments that I haven't seen in all these other 50,000 carbon-copy Christmas movies. The acting on the part of our leading lady is a little extra, and the other lead is a little flat, and the flow/cadence to the story isn't quiiiiiiite there, but I'm giving it 3/5 stars, so it's not on the rec list, but not a waste of your time.

.

And just to recap the rec list thus far...

(4 of 5) Every Other Christmas (Schuyler Fisk, Dee Wallace - Lifetime) (4 of 5) Operation Christmas (Tricia Helfer, Marc Blucas - Hallmark) (4 of 5) A Very Nutty Christmas (Melissa Joan Hart, Barry Watson - Lifetime) (5 of 5) The Christmas Ornament (Kellie Martin, Cameron Mathison, Jewel Staite - Hallmark)

We'll see about doing a rapid-fire round-up next time, and maybe doing The Christmas Fanfic Movie That Out-Fanfics All The Fanfics And The Christmas Movies, but I legit want to watch it all the way through (I only caught the last half) so I can make sure I'm reporting accurately to the three people who are reading these (not bitter don't care doing it anyway).

I'm not overselling this, by the way. I'm not. It is *deliciously* bad.

#8

Okay, as a reminder, the only movies which I've given over 3 stars/would actually recommend you spend your time on (and keeping in mind that a "5" does not mean it's a great movie, it just means it's not overly sad nor overly shmoopy, and doesn't hit a grotesque amount of recycled plots on the bingo card) are: . (4 of 5) Every Other Christmas (Schuyler Fisk, Dee Wallace - Lifetime) (4 of 5) Operation Christmas (Tricia Helfer, Marc Blucas - Hallmark) (4 of 5) A Very Nutty Christmas (Melissa Joan Hart, Barry Watson - Lifetime) (5 of 5) The Christmas Ornament (Kellie Martin, Cameron Mathison, Jewel Staite - Hallmark) . Those last two we haven't talked about yet, so I'll cover 'em at the end of this entry - first we're gonna shoot through the ones that aren't a complete waste of time and have recycled shtick, true, but aren't teeth grinding due to the acting or directing or whatnots.

And we're doing this because next update, I'm going to spend the whole thing on where you can find the Whyenne some of you love so dearly, you reblog her every chance you get. It's her. It. Is. HER. Every mannerism, every word, every---- well, I'm spoiling. That's for next time.

Okay, these are all in the 2-to-3 Nash star ballpark...

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Dear Secret Santa (Tatyana Ali, Lamorne Morris) --> there's too much singing for padding the runtime --> you may like it more/find it more satisfying than Sandra Bullock/Keanu Reeves "The Lake House", and that's all I'm telling you plot-wise

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Kristin's Christmas Past (Shiri Appleby) --> it's exactly what you think it's about by the title --> there's a really cute, snicker-worthy scene near the start with her younger self, and part of it reminds me of the vibe of the rapid-fire convo in Mystery Spot

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A Twist of Christmas (Vanessa Lachey, and someone called Brandon Zub - I think - who is delightful) --> A dad and a mom are shopping for their kids and their bags get mixed up and blah-blah-blah ensues because they're opposites in many ways, but I didn't find it terribly grating --> it's an adorable sort-of snarky-sweet

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Road To Christmas (Jessy Schram, Chad Michael Murray) --> nice premise, he's a good actor, and she's... well... ::sigh:: --> this chick in everything I've seen her in... she apparently has one gear, and that gear is coked-up mouse that skitters everywhere with her barrel-curled hair vibrating around her head... but in this one, she chills as the movie goes, so it's tolerable

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A Christmas to Remember (Mira Sorvino, Cameron Mathison) ---> This aaaaalmost got on the rec list but I can't because the plot is weaksauce "Overboard" (80s movie, Goldie Hawn & Kurt Russell, it's hilarious)... -->...but it wasn't the worst, because these two are such good actors, they sell it, and it's sweet, and keeps good pace, so there ya go

Okay, to the goods - next time we'll talk about the ass disasters - and one specifically that I 100% guarantee the fluff fans amongst us will love, despite my ripping it a new one. Which I'm going to do. Because of all these I've watched, the one we'll talk about legit flabbergasted me on many levels.

A Very Nutty Christmas

I am slightly biased because Melissa is a friend of a friend (sister-in-law, specifically) and she is good people, a hard worker, and a smart (heh) cookie. She knows what roles she nails (sharp wit, no shmoop, strong chicks), so that's what projects she and her mother choose (they produce most everything Melissa's in), she stays in her lane, is my point, so if you agree with that assessment, then you're good to go, this is classic Melissa Joan Hart fare.  

She's a baker, but not some "Waahhh this is hard" sort, and there's no competition, it's nothing but what you'd expect - lotsa cookie orders at Christmastime, but again, she's not super-duper stressed, she’s got the appropriate level of “let’s go, people!”. Now, here's the cheese that I don't want to chase you away: her decorative Nutcracker comes to life (Barry Watson) and helps her out. 

I know, I knoooow. And listen, at the first scene with him, you're gonna think that Barry'll be working your nerves through the rest - I sure as shit did - but stick with it, he ends up being very charming. You may actually be wooed. The character is completely sincere in all he does and says, and you’re happy to see her have this sort of person in her life, because she puts a lot on herself, and boy is that totally relatable.

Other good stuff is you'll recognize all the secondary characters (their actors, I mean), with the exception of the ex boyfriend, but he's well cast, he doesn't play the smarmy too heavily. There's also a good song behind the (standard) montage for once, and smart smart smart is their limited usage of Tchaikovsky outside of the blip of the ballet that we see. And kudos for that, too, limiting the ballet's role in the movie.

The whole thing is tied up with a very satisfying ending. It's fluff done right....

The Christmas Ornament

....and here's angst done right.

This isn’t about an ornament being magical or something how you might think from the title, I promise. It’s significant, but not in some otherworldly way. The situation(s) are absolutely plausible, it’s a believable story, and there’s not all this exposition that explains the characters’ backgrounds, it all unfolds organically, and you’re honest-to-god rooting for them, no matter if the story has them together at the end or not - you’re gonna find yourself saying “I’m okay with this happening for them either way, whether they stay friends or if it evolves.” On that note, kudos to the writer: Cameron’s character is very empathetic and doesn’t push Kellie’s character, not even once - he pushes her to get “out there” and interact with people and be social more than she has been, yes, but in a good friend sort of way (and Jewel’s character is doing the same - it’s in the “we care about you” way).

And this movie looks *fantastic*. The cinematographer and editor gave it big-deal-theater-movie-level treatment, no kidding. Some beautiful shots, especially some lingering ones at the ice rink. Bless the music supervisors, too - no shitty distracting music, and no one (if memory serves) sang for an extended period of time, if at all (I really don’t think anyone sang). Jewel Staite is a treasure, and for once the side-friend was actually necessary to the story, she was well-used.

I also liked it because Kellie’s character is self-assured in many ways, fragile in some ways - in other words, she’s real and she’s relatable. I took issue with one teensy thing, I didn’t track with how it was she was the one to apologize for a misunderstanding, because she actually wasn’t far off base; what she thought made sense for (1) how he’d behaved toward her, and (2) what she’d seen, and (3) what she knew because of what he’d told her prior. In any event, that’s the only real “flaw” (and it could just be a Nash thing) that I saw. This one’s well worth your time. 

  #7

This entry’s about “Dear Santa” (Lifetime), part of the David Haydn-Jones quadrangle Christmas tangle. The plot sounds decent - cheese, but decent. I love Amy Acker, and I love DHJ, this should be a cakewalk.

[15 mins.in] Oh. Oh, my.

Yeah, I'm busting out the Cheesy Christmas Movie Bingo Card, it'll be at the end. Let's see if we can get a win. At a minimum, I think we're gonna be checking a lotta boxes.

Other than our leads, we have poor man's Sean Hayes as gay best friend (h/t @butiaintgonnaloveem) on the scene, and he's outfitted in hot pink chef gear - AT THE SOUP KITCHEN - so that everybody's clear he's a card-carrying member of The Gay. 

Shitty acoustic guitar riffs, cool.

Precocious child plays the flute... and shittily.

There's a homeless man whose shtick is that he won't come inside, never a roof over his head again, and I wanna know (do I?) where he's taking his dumps.

Related, the music continues to be shitty, and I mean toilet-clogging.

Ice skating "lesson", check.

Holy fucknoodles, two grown women are in a food fight. I do not get why Dollar Store Justine Bateman (the snippy girlfriend, the one that is so off-putting it is beyond the realm of possibility that this kindhearted and jovial man is even remotely interested in her despite knowing each other a long time) is so vitriolic, as she's known Amy Acker about five minutes. 

THIS MUSIC

Christmas wish, check.

The green screen effect behind rich mommy checking in from the Caribbean is such ass, I am shocked. You Tubers have better green screens. How do you fuck up a green screen? You're a goddamn cable channel whose focus is movies. TV local news manages to do it with weatherpeople multiple times a day.

Acker and Jones save this dreck. The kid ain't half-bad, either. But they are the types of actors that everything out of their mouths just flows so naturally, even when the plot is ass. I love this Angel-SPN match-up.

JEEBUS HAROLD CRICKET he just said that they are *five* *figures* *deep* in back rent on the soup kitchen and - I quote - "I guess the bank's out of good will".  DO YOU THINK?!

"I thought little girls loved to play the flute" is a line that was just uttered, and bless DHJ for actually getting it past his lips.

I forgot to mention, Acker's displayed some guilt a couple times now because earlier, there was a meet-cute (okay, apparently a near-run-over) incident with a mail carrier, a letter flew out, and - I *must* quote @butiaintgonnaloveem here again - then "instead of giving it back, she commits mail fraud and opens it." 

Now, the guilt is because it's the lil' tyke's letter to Santa, asking him for a new mommy (dead parent/spouse, check) and she's also feeling guilt over tracking them down (why? boredom? sure, that's gotta be the reason, because to remedy the letter situation, you glue that shit shut and stick it in a mailbox, it's just going to an incinerator at the mail station anyway), but it's this misplaced Christmas wish that perplexes me. It's not like she nicked a bill or a wedding invitation or something that's actually important.

I'M A GRINCH

Oh he owns a snowplow business? That name again is Mr. Plow (Simpson's song ref, google Mr. Plow, I'm sure it's somewhere). And it's the song I wish I was hearing, this music is eardrum-thumping. It is a slobbery wet willy. It is *achingly* bad.

He just stared longingly at her and licked his lips, FML.

Now Acker's acting like a snotface. I don't dig it. I'd be cool with her being sharp and not taking the shit from Justine but being classy about it, they've got her being balls-out bitchy.

Why is it taking so long for the wealthy girl to be like HERE IS CASH MONEY FOR YOUR SOUP KITCHEN YOU BEAUTIFUL CREATURE DAVID HAYDN-JONES --- like I get your charge cards or whatever are snipped, but go sell some jewelry or clothes from last season and shit.

She had the letter in her clutch? She's carrying it around with her? Why? WHY?!? I hate stupid  writing. I hate it. Worse is that it's lazy. HATE. Why was it in her purse? Because someone needed to find it. And there was no other possible way to accomplish that, than having one of your leads be an absolute fuckwit, right? GRRRRRRRRRRR that stuff just works my nerves.

The confrontation scene is good. Neither are over the top. 

Well how's about that? Her Christmas present check will cover the soup kitchen's debt!

Enough with the shitty guitar riffs, it's like I'm watching an SPN ep, and, no, that's not a compliment.

The longest montage for padding runtime is happening, and with another shitty song (but a tolerable one, despite the singer faking a lot of catches in her voice - I would know, I have a natural catch in my singing voice that I had to fight like a mofo for about six years in choir, but I've digressed, just tuck that nugget into your Nash file), showing Acker moping and DHJ sighing, then him running by the soup kitchen to sit in his snow plow and angst, and then....

....oh lookee there! She did the thing. Sean Hayes - in a sheer v-neck inexplicably over a long-sleeved cotton shirt like I'm presently wearing because it's what I lounge/sleep in, with a Coach neckerchief to top it all off (on god, I cannot make this up) - is now sassing DHJ, saying the letter thing was fate. And I mean... yeah, it was, right? Whatever, if DHJ was single and I had the chance, I'd be happenstancing my way near him as much as (and smoothly as, natch) possible.

I CAN BE SMOOTH SHUT UP

Smooches near the town tree square or whatever it is. And now we're back, and now the homeless dude has agreed to come inside, and we still have absolutely zero idea why he doesn't like being inside, and they have (checks time) less than 2 minutes to resolve it.  *see below*

Nope. That's it. That's how it ends. The homeless man came inside. Because that was the primary arc. 

No. It wasn't. 

It should end with us seeing him come in, sure (I'll ignore the boom of Chekov's Gun firing in the background), but we end NOT with the moment between DHJ and random homeless dude - which, again, let me be clear is *exactly* what happened - but rather with him coming in and all the rest of the homeless comrades and staff and Acker and Jones greeting them, then we see our two main characters and the kid sitting down like a family, pull back, we see them through the window in which Christmas tree lights are reflecting, pull back further, it starts to snow, cut to credits. 

Imma give this one 3 stars outta 5. It wasn't a total ass disaster, but it wasn't that great. It was okay. The Bingo card concurs, as it didn't get filled up, but it got damn close to being a 2/5 (in my mind, every bingo = a point off because it means it’s so unoriginal a damn bingo card could’ve written it):

Addendum:

Butiaint reports that "the homeless guy wouldn't go inside because the last building he walked into was a casino and he lost 'every last penny', so he could never 'just step inside ever again'," to which I, very calmly, replied --->

I'll do an addendum.... that still doesn't... I don't.... what? That's.... why not just say he can't make himself sit down for a homecooked meal because it causes him too much pain because his family died in a car wreck going out Christmas shopping and a dinner/meal was his last memory of them? It didn't need to tie into the money thing with her, that thread was fine on its own.... goddamnit I hate stupid writing

.

Back to quick round-ups and arbitrary ratings of a bunch of movies in the next one, once I get my notepad transcribed.

  #6

For some reason, this whole entry morphed into a recap of "Holiday High School Reunion" with Rachel Boston (Lifetime). You'll recognize this gal, she's been in others for Lifetime, and I personally recognized her for the pretty damn entertaining, sadly short-lived Witches of EastwickEnd series. It was a fan-frikkin'-tastic cast of awesome women, they made any sloggy scripts watchable. I digress.

I immediately empathized with this character because not even a quarter of the way into the movie she's (a) dreading her high school reunion, and (b) hates social media because she doesn't wanna have to justify/be asked about/etc. her life, as she's not where she wants to be. I personally would add onto that the distinct apathy regarding the details of everyone's life. It's either veneered in fabulous or dipped in drama-filled Debbie Downer. Blecchhh. I've digressed again.

There's been a brief funny daydream - if they do more, I'm in, it was pretty cute. And there's been a brilliant piece of screenwriting in this movie, and I want to share it for my writer buddies because it was a *pristine* show-don't-tell.

(Let me say here real fast, to paint you a picture,  that she's dressed casually - hoodie, and I think lounge-y pants or maybe pajama pants, or maybe just jeans, can't recall - because it's clearly way past end of workday, and the character I'm about to talk about is in a crisp white button-down and tie and suit slacks.)

Her father arrives to find her on a porch that's covered in strings of Christmas lights wound around the poles/pillars/whatever you call them of the railings, and around the trimwork of the house, and they're these great pops of vivid colors in the night, first of all. So we're seeing her standing there, smiling and happy to see him, and what's in the foreground is a series of bulbs along the window or door frame, and one of the bulbs is out.

Instead of truly greeting his daughter, first thing he does as they barely start chatting, and while she's speaking, is saunter over right into frame, blocking our shot of her, and give that bulb a twist til it lights.

My immediate thoughts: He's a dick. He likes everything just so. He enjoys perfection. He's not interested in effort, just execution. He zeroes in on faults. He actively ignores/doesn't care about the fact that his daughter is happy to see him. He doesn't consider her important enough to receive his attention first and foremost. He's a supreme dick. And he's gonna make her feel like shit for where she is in life, which is her biggest insecurity, which he should know, because that's how good dads operate. But he's not a good dad. Not at all. And I bet he's about to donkey punch her feels.

All that from a twist of a bulb.

And I was right: he proceeded to make her feel like shit by being snotty about her job and comparing her to his golf buddy's daughter. Then she still managed to sit back down at her laptop and focus on what she was doing and smile a genuine smile, and now I like her and feel for her even more. No one would have blamed her if she cried, or snapped at him, or slammed her laptop closed and had an Angst Attack, and those would be writing choices too. But the choice is for her to make the best of things.

We also know this because it is reinforced with another good show-don't-tell via actions (versus her announcing it ad nauseam or other people saying it ad nauseam), when red punch gets spilled on her white dress at the reunion and the snobs are like "Ohmigawd!" and gasping, she goes "Well I think it looks kinda cool!" She does snag a cardigan because she's aware it's an eyesore, so yeah, she's lying to herself. It's clearly a survival mechanism, her childhood must've been a dream with a father like she's got (rolls eyes).

And the lie(s) she tells is to avoid the drama of not living up to the "Most Likely To Succeed" superlative, and even then it's a relatively minor lie, she's not making herself super-duper fabulous because she doesn't feel super-duper presently. She's cheerful without being obnoxiously Pollyanna, and her dynamic with her best friend (you'll recognize him, too, he's the dude who dated Regina George and who Cady had a crush on in "Mean Girls") is phenomenal, they have great chemistry and I'll be honest, I see where this is going and I've got some faith in these screenwriter(s) that they'll actually pull it off smoothly.

There's been a dance/song routine and it is horrific and I hate it. I hate it hard. It's stupid and lasts too long and is purely for padding the runtime. But. It had a good point, albeit one that could’ve accomplished in less time. The three queen bees who were her fake friends in high school, and are her fake friends now, all remember this routine to a pristine degree, and of course we see our girl whiff it the more it goes on, she knocks over a prop, turns this way when she should've turned that way, and I feel her - high school is utterly forgettable. 

I’m about to digress, so skip the indent if it doesn’t apply to you - anyone reading this who is currently a senior? 

Enjoy it, it's your last year, enjoy being kings of the hill. I liked my senior year for several reasons but the biggest one was that I was getting the hell out of there. I was liked, I was decently popular and I made good grades and was in honors choir,  but I wasn't top-tier popular or the head cheerleader or the valedictorian or homecoming queen or always having a boyfriend, none of that, and what I was? That stuff I just listed?

None of it matters. I've not been to any reunions, because I don't care to reminisce. Not that it was horrible or something, it was... *shrugs*. I'm still friendly with the people I went to high school with, ended up going to college with a couple of 'em, matter of fact, and I like who we are as adults tenfold vs. who we were in high school. Because as grown-up as you feel? You're a child. You're all children. I was a child. We were all children (even the couple of gals who, um, had children/were preggers before all was said and done and diplomas hit hands). We were. It just is.

So I assure you: the people who still wistfully think about high school, the ones who "peaked" in high school? There's something mentally still childlike about them, and I don't have the time nor the inclination to deal with man/woman-babies. I'm a grown-up. So believe me when I say that life is about to open up like a motherfucker. And if you did happen to peak in high school? Leave that behind, too. Resting on childhood laurels won't serve you well, because other than some of those accolades getting you into college? Nobody - and I mean nobody - in grown-up world cares about that shit.  

Oh christ another song. And a daydream (pseudo-flashback? hard to say, I was getting a snack). But again, more reinforcement of how high school doesn't matter to her but super-matters to others, in this case how she (former head cheerleader) didn't place give much memory real estate to how she'd broken off things with high school boyfriend (former quarterback), but it's like the first thing he asks about as soon as they're alone.

"Wow well... that was a long time ago," she says, starting to think back, then ultimately says - "I thought you were cheating on me."

He totally was, I don't even need to see a flashback, hundred percent, he's scum.  Whoa shit, speaking of - another flashback whilst kissing him, but whoa shit part two, it went to a fun, happy memory with best friend. Not subtle, this movie - of course she'll end up with him.

The divas are now in the bathroom gossiping about her and don't know she's in there. Again, the not caring, this time more blatant - "She ruined the routine!" - "It's like she doesn't even care" - "Can't believe she broke up with him on prom night" - "He deserves better".

One of these bitches was the one he was cheating with, no doubt. They also talk about how one of them called around, found out her job wasn't what she passed it off as, that she's a wardrobe assistant vs. a right-hand-(wo)man to this swank designer. The Queen Bitch calls her "nobody", and the minor bitches are saying how they're her best friends and wondering why she wouldn't tell them the truth. Hey, cheerleaders: Gimme a D! Gimme an E! Gimme an L! ....fuck, this is gonna take too long.... Gimme a USIONAL! What does that spell? DELUSIONAL! *pom shakes* *high kick* *herkie* *round-off-back-handspring*

Oh lord why is she doing a weird impromptu cheer routine.... best friend jumped in to support and encourage and some people seemed to get into it but... the fuck? These screenwriter(s) are either on point or left field, jeebus.

Speaking of field, she and best friend are out lying on the football field, and they're talking fun memories - as in, the only ones that are vivid in her mind are the ones involving him, and vice-versa. I will give them this: the flashbacks are cute and short and don't derail the momentum. They're really well done. The songs are the whiff.  

Now the queen bees are discussing their next routine. THE !!FINAL ROUTINE!!! AND SHE HAD A SOLO! (Why the shit are they performing routines at their reunion? I've heard tale of slide shows and videos and stuff like that, but fucking stage shows? Damn I hope that punch is spiked.) One of the minor bitches - the sweet ditzy one - is weeping loudly when Queen Bitch says our gal's officially out of their glee club. But she says "glee club", as in... they're the only 4 members? No other members are in attendance at the reunion? Looks like it was a big-ass graduating class.  ????  Got me.

Our gal's mom - who is MARILU HENNER DID I MENTION THAT and has been woefully underused thus far - has overheard. Commercial break. I need a Mountain Dew.

We're back. Marilu is completely opposite of Dick Dad. Now we're in a random B story where one of the bitches is flirting hard with the principal.... and the mic's hot. But she ain't embarrassed, says she'll meet him wherever someplace at midnight.  Oh and I forgot that best friend's not-really girlfriend flew out to join him as a surprise and he'd been like "Wha..." and she serves no purpose. Even now, when she gasps and squeals excitedly "Oh you're in love with her!" She ain't mad, and good, because nobody cares. And she's all pumped because she's made lots of friends with these people she'd never seen before in her life.

Fucknoodles the !!!FINAL ROUTINE!!! is bad. Now the solo. Our girl's taken the stage and Queen Bee didn't put up a fight, just stormed off. And here we go: she's making a speech about how she's not yet lived up to the Most Likely To Succeed, but their votes meant a lot to her, and she's not giving up. It's good shit.

And then they start chanting her name (it's Georgia, btw).

And then she starts her O Holy Night solo.

*sigh*

This movie is well-written but there's *so* much unneeded padding to the runtime. And she's on key and there's nothing wrong with her voice but it's nothing special. So what? Lots of people can sing in tune. I don't get it.

Flashback. Yeah, totes cheating, and he admits it - which, if she remembers, then that contradicts the earlier conversation when he denies it... huh? - and now she's in the gym, where she's bummed about the breakup. Best friend rescues, gets her up and dances with her for the last dance.

Have I mentioned that everyone looks identically the same? And we're supposed to be ten years out? Seriously. Hair and everything. Except for - and I don't know why - the bitch trio. (Dear Wardrobe and make-up departments: WHAT.)

So yeah yeah yeah, they share the last dance at the reunion because the whole thing was a fucking talent show-prom do-over (reunions are just not like that, y'all, I know I haven't been to one but my mother has - helped plan one, matter of fact - and they aren't Prom Part Deux, nor are there glee club and cheerleading routines, nor are they scheduled around major holidays. Dear Writers: ALSO WHAT.)

Ending is rushed and is stupid. Holy shit, they whiffed it. They actually ended on the totally unneeded B plot of the prinicpal seduction (which, by the way, consisted of a whopping 2 scenes... possibly 3, clearly it made no impact). This is the stupidest thing, they ended on such a bad note it leaves an icky taste in my mouth for this movie.

This one gets 2.5 stars out of 5. It had 3.5 for most of it, and then when we hit that first routine at the reunion, man did the points start coming off. This was classic fanfic: a ridiculous premise, sure, there’s things you have to overlook out of the gate (like, say, how nobody sane would plan a farging high school reunion at Christmas, at least not if they wanted actual attendance) but the execution’s great for the first half and then something happens and brains melt and it swerves into oncoming traffic and gets hit by The Trope Bus. ::sigh:: Ah, well. 

Ermahgerd, "Christmas Shoes" is coming on *warning lights flash* * dives for remote, goes to safety of Hallmark Movies and Mysteries immediately *

Next entry: part one of the David Haydn-Jones Christmas movie trifecta. Finally caught one. It stars the chick that played Winnie Cooper.  And holy jumping Jiminy Cricket, was it bad.

#5

Candace Cameron will star in any movie that’s Christmas themed and I am determined to watch all of them. She’s typically cursed with a snoozeville co-lead. The Alaskan doctor one isn’t bad. The executive who’s there to examine the lodge one is absolutely snore-worthy. The one about the saving dad’s business with nutcrackers one is pretty okay. I am actively avoiding the newest one about magic shoes. Christmas shoes never ends well.

Double feature with someone I vaguely recognize as being from a CW show in the early aughts, but clearly not one I actually watched, or I’d remember. Anyway, broad strokes: one is from a couple years ago, she’s a single mom and there’s this locket with a nautical star on it that’s literally, um, locked, and..... it’s not brought up again til the end. You’ll know the movie because you’ll think to yourself “This doesn’t know what it wants to be” - is it about the locket and how it was a gift from her mother and she lost it and it was somehow pivotal to discovering who her birth father was? Or is it about the custody battle with the asshole ex-husband and her losing her job and being evicted? Or is it about the meet-cute then “crossed wires” recurrent situations with the shop owner’s grandson? I have no idea. But there’s precocious kids and a bakery. It had potential, and that actress is good and so was the co-lead, but script = hot mess.

Second one is about a poinsettia farm and stars Bo Duke/Jonathan Kent, depending on your generation. She’s from the big city and she’s a-comin’ home to save the family business! I assume she meets someone at a bakery, I wasn’t pulled in at all, my remote finger got real twitchy, but when I flipped back toward the end, surprise! She’s a-stickin’ around, she’ll run the family business, don’t sell the farm, screw her life at the other place with the things! 

I actually have another recommend: “Operation Christmas”

Solid script, and hella fine acting by one Ms. Tricia Helfer. I have loved her since Battlestar Gallactica, SPN fans will know her as the lady ghost on the road who doesn’t know she’s dead. That chick. Killa actress. You wanna talk about a good crier on camera? Top tier, here. My cold, black, shriveled heart actually giddy-up’d and I possibly got misty when she bursts into tears in this movie. Also stars Marc Blucas, who Buffy fans will remember as Riley, and I like him, too. 

There are precocious kids, and this coulda gone cheaply exploitative with the military angle, but it sticks the landing with only minor wobbles, it hits heartwarming vs. cheese. There’s an odd fixation on singing in the back half (several characters singing solo at various points), and it’s awkward to watch (and hear, because of the distinct shift your ears will detect between the “on set” and the “in recording studio” audio) because with the exception of one, when they blend it into a professional singer whilst slipping into a wee montage of Christmas tree delivering - or unloading, I can’t recall, who cares - the songs go on Way. Too. Long. 

Except.

What they did during the talent show during the Silent Night number? That sing-a-long? Now, that I wish had been a little longer. A+ job, screenwriter(s). The very-very end was saccharine, but it was short, and that’s what counts because I realize you were trapped, this is Hallmark Christmas movie we’re talking, you had to do it, you’d been steady through the rest of the script, they wanted their shmoop, no one blames you.

Something called “The Sound of Christmas” has just come on, and there was so much exposition dump in the *first* *three* *minutes* that the titular sound is actually gonna be the click of my remote control. Oh lord looks like the lead male is poor man’s Ray Liotta who’s a high-powered blah-blah-blah. And seems it’s precocious child: petulant teen edition. I’m out.

David Haydn-Jones continues to elude.

#4

Pattern detected: Plot--->

The conflict must be saving family business/home from certain doom

Business = service industry (store, bakery, gardening/plants/farm, lodge/hotel)

Female protagonist supes busy with her stuff and such in the big city; has to leave; returns; likely plans to stay forever

Precocious child, standard

Execution--->

One lead must be a notably better actor than other; neither may be on-point overall; if both are something, that something is teeth-grinding to watch and/or listen to

Exposition with (admittedly) necessary facts must come early on, and in dialogue dumps, preferably just one big fatty, and preferably between two people who already know this information vs. to someone who is not privy to this information

Character introduction/pertinent background must not trickle out organically over the first act via showing their actions and other characters' reactions; just throw in with that plot exposition dump

A big gun was pulled out last night - Patti LaBelle was briefly in one, watched some of it, was glad to see an original plot (mostly; see above, re: female protag mold) but then I thought better of it, googled, and yup, based on a book. Ah, we meet again, Not Original Story. This morning, tangentially related, something-something-rich-dude-reg-chick, and they were named Mr. Darcy and Elizabeth Bennet #fml #gag #stay away #get Austen out of your mouths  

Presently playing is one whose plot sounds suspiciously like The Parent Trap: Christmas Edition, Nashville Style. Sort-of, I mean, we start there, then I'm not clear on where they drive to, but it's still Southern, and props to the filmmakers for not going nuts on the snow, someone actually did some research. I will also compliment them for only letting the folks who have some form of natural Southern accent/Southern cadence use it, the rest speaking in standard North American accents.

Now, two things: I love the Lohan version of P.T., a lot a lot a lot, and I'll hear nothing bad about it. Secondly, I'm going to refrain from commenting on shite Southern accents in movies in general, this one and elsewhere, such as in the Kellie Pickler Graceland-set Christmas one that aired yesterday that I could only tolerate in five minute increments as I flipped back and forth to Law & Order SVU frequently for palate cleanses #Mariska sorbet

But it got off to a good start,  the opening credits were creative and unique, and I recognize the lead actors. Kids don't seem terribly precocious. Hmmm.

I shall give it a chance.

[time passes; returns to draft]

It's not Parent Trap, summary was garbage, it's not about the precocious kids, and no one has a high-powered career, no one is filthy rich, and both lead actors are really great. The chick is Sissy Spacek's daughter, I've seen her in other stuff before, have always liked her, I think she's talented. I recognize the lead dude from something I've seen before, too, he's a bit of poor man's Paul Rudd, but good. There's a somewhat difficult grandma, but she's not unlikable, you kind of get where she's coming from, and it's because it's Dee Goddamn Wallace, the queen of playing mothers (youngsters, google her, you'll likely recognize her, leave out the goddamn when you do).  

The background music isn't overly country-fied nor syrupy-shmoopy twinkle-bells. The dialogue is actually decent and delivered believably by all parties. The kids aren't annoying. The side characters are just that, left to the side, there's no best friend/sister taking up screen time. The leads have an easy, natural chemistry. Holy fucknoodles, I might recommend this one to you. I'm actually watching this one. I'm legit watching it.

[time passes; returns to draft]

What I said above continued, then there was horse-riding and acoustic guitar and even a classic car. The chick wasn't the one leaving to go back to what-the-hell-ever. Nobody was pining for anybody, and the conflict at play was completely realistic. Okay, yeah. Recommend. Hundred percent. This is the angst-turns-to-love with a dash of domestic life AU fic many folks keep trying to write and not quite getting there (Hi, I'm Nash, and I'm supes blunt when I'm under-the-weather), then your bonus that it's set at Christmastime.

The exposition on backstory was done pretty dang smoothly, but better was that we weren't told who these characters are/were, we were shown. *And zero flashbacks* There's several great, snappy, shot-across-the-bow lines. There's a religious element that is pitch-perfect and appropriate and not overbearing. The ending song is a smidge too long, didn't need to hear the whole thing, but it's kept simple and the lyrics are sweet without being cheese, so I'll give it that. Pacing overall is a little wobbly, they probs could've trimmed a good ten-to-twelve minutes of runtime, and there's a side character who blips on the scene that was poorly cast as his lack of prowess sludges up the vibe (charismatic, he ain't, maybe he's somebody's spouse *ahem*), but this one's pretty solid, y'all.

It's called "Every Other Christmas", starring Schuyler Fisk, on Lifetime Movie Network - it just premiered the other night, apparently, so with rebroadcasts you should have plenty of opportunity to catch it.

Okay, back to the shmaltz.

#3

My dearest:

[cue old-timey, slightly depressing instrumental courtesy of rickety fiddles; narration by Ken Burns]

Exposition anvils continue to drop from the sky with abandon, though I’ve not succumbed to my injuries, have no fear. 

Alicia Witt was lovely in something about a novelist who was rejected by both successful novelist boyfriend and publisher, but then meets very successful other novelist who is hiding the fact that he is such. I only caught the last quarter. Disappointed in lack of fanfic about novelists. I tire of writing “novelist”.

Our regiment (myself, General Pup, and Lieutenant Pup) is currently surrounded by a tale of a stewardess who has gotten entangled with a dude whose daughter she was in charge of because unaccompanied minor on flight. Dude is the lead from “That Thing You Do”, he was the next Tom Hanks before Colin Hanks got old enough to fill that role. I am saddened this dude has not gotten mucho awards. None of this matters.

I am more of the sads that the flufferfic-ers have not stalked and mauled and chewed on the carcass of the premise of Whyenne being a flight attendant who captures Dean’s heart when she captures his vomit during a flight to wherever to do something. Or, scratch that; she magically cures him of his fears with her enchanted hoo-hah, because that’s how phobias work. And assuming there’s plot, the hunt for the whatever can take place on the plane, like that Harrison Ford movie or that Jodie Foster movie or that Kurt Russell movie. It would have to be a big-ass plane. They could still bang in the bathroom, even though there’s plenty of places to go.

I have no more plot to give, I am exhausted and according to the thing, you know, the thingy that tells what’s on next, there’s no restorative Candace Cameron in the near future. I may have to settle for one of the Duff sisters.

David Haydn-Jones remains elusive.

General Pup is barking orders. I must end here. Ever yours - Nash. #send vodka

[Transferred 2nd post]

#2

Report from the front line:

There’s been a Denise Richards bakery-related jam. Also a Lacey Chabert - who is a baker - jam. The first had a Christmas cookie contest, the latter a gingerbread competition. Not to be confused. Something with people I’ve never seen before in my life just started, about a big CEO and a bakery. Candace Cameron was in another one, and though it’s bakery-free, those are all starting to blend together.

Send rations.

[Transferred 1st post]

#1

I have felt like garbage and been homebound for two days, and then today (oh blessed event, and I am dead serious, I love it) the onslaught of Fanfic Movie Time has begun, a.k.a. Totes Ridiculous Christmas Situation Lurve-Conflict-Lurve Movie Season on Lifetime/Hallmark/that other network I can never remember the name of, and due to foggy brain I got sucked in. There was a king and ice skating, something about Louisiana with JDM’s wife where everybody’s hair looked horrendous, and then another one with Candace Cameron in Alaska. It was great. Legit. I haven’t laughed as hard. It helped me cough up disease. #bless you Candace

[i-d0nt-even-kn0w]

SPN Season 14 (and a little bit of 12 and 13) Critiques

Listen, I dislike when people hate new seasons of a show just because “the old ones were better” with no actual excuse, so I hope this post does not get perceived that way, but Supernatural’s writing and directing has decayed over the last few years, and season 14 episode 1 really just did it for me. I tried to ignore season 12′s mess of a storyline because the new characters were well done (in my opinion, of course--and Mary is excluded from this because although the actress is wonderful, I cannot get into her being back in the story for over a season. I’ll go more into that later), and season 13 had Gabriel and Rowena to pull me through the alternate universe plot and Jack who--as I’ll go into later--was another big punch in SPN’s writing integrity, but this one episode from 14 literally had me in shock.

So, with no more introduction, the list of critiques I have based of season 14′s ONE episode. I may pull in a bit of 12 and 13 too because they are where a lot of the issues started. There will be some things I liked about the episode too! But very little lol.

Spoilers ahead! Also opinions ahead--feel free to disagree with me, and I actually would really like to see what other people think! 

1. Filmography

That fight scene in the bar says it all. There have been some god awful editing of the footage since 13 (that Michael blue eyes zoom in at the end of 13? Unless they were trying to make a thriller joke, it was wack), but this one episode, like I said before, sent me into shock. The zoom ins, the shaky camera filming like we’re in the Office, the out of place music that does not really fit the Supernatural theme--I could go on. That fight scene had flashing lights, zoom ins, and more jump-cuts than a youtube video to the point we’re I had no idea what was going on. My brother watching with me literally was speechless for the entire fight, which felt like an eternity.

It felt dramatized in a Riverdale way. No shade to Riverdale, obviously, because that works for that show. But in Supernatural? It’s the Teen Titans Go effect--popular shows on a network influence older shows and, in my opinion, make those shows worse as a result. This leaks into my number 2...

2. Theme

It’s the 100. The theme is the 100. The show is the 100. (This is a joke I have never watched the 100, but when did Supernatural adopt a dystopia mood for their show?)

3. Wait a minute....... Who ARE you?

The centric theme of Supernatural is family and freewill. Sam and Dean are supposed to constantly be the centers of the show, but exceptions are made, and often have been really well done. I thought Bitten was a great episode, and episodes where Sam and Dean are separated are also a great way to look at the brothers from a different viewpoint. Even if you didn’t like Bitten or those type of episodes, however, that was okay. Why? Because they were one off episodes, if not maybe two or three. Dean being gone is fresh, and could be done well, but when the centric theme of family, aka people Sam and Dean trust and love like Cas, Bobby, Jo, Ellen, etc, is suddenly ruptured by extras (that are usually super fun in a one-off hunting episode, maybe a reoccurrence now and then) becoming apart of the brother’s daily life and the viewer’s weekly watching, it’s uncomfortable. Not because I or others hate change, but because it goes against a major theme of supernatural. Dean, Sam, and Cas are suddenly extremely close to people they don’t necessarily consider family, and that is very odd for the show.

In case you cannot tell, I care a lot about Supernatural’s themes. I don’t care if they shake things up, but the show’s values are important. They need to stick to them for it to be, well, Supernatural.

4. Not-Bobby and Mary

If they become canon, I’ll actually sink into the pit. You can pair together whoever you want--this one is very much so just an opinion. But in terms of writing, this just comes off as so wrong for many reasons. Maybe it’s because neither of them should be on earth in the first place.

Mary was such a wonderful and powerful character. Then they brought her back to life, which drained meaning out of her. She could have had a realization she does not belong on earth and go back to heaven at the end of 12, which would give Sam and Dean closure and actually be kinda nice. But nope. She’s still here. And what’s the point if the only available female character isn’t dating someone????? (she said, sarcastically)

Not-Bobby is just a way to keep Jim Beaver around, which yeah I get it i love him too, but why not just have some episodes like where Bobby helped the boys from heaven. That was fun. That was also real Bobby. If we were going to have Not-Bobby, I would at least like him to establish what Not-Charlie established (I liked her so much more)--they are not who the Winchesters knew in their universe. Not-Bobby gives off too much of an actual Bobby feel, and God knows I don’t want actual Bobby and Mary together... eeeee...

5. The alternate universe plot-line sucks in the context of Supernatural as a show

Speaks for itself.

6. Jack

Fellas. I’ll get hate for this (if anyone reads this, lol), but he’s a bad character.

He’s fan-service. Fan-service isn’t always bad, mind you, but it is when that is the bases for the character. A cute, younger boy (back to the Riverdale/the 100 teen drama throw in a more adult-centered show) who is reminiscent of all the things fans loved about quirky Castiel back in seasons 4 and 5. Jack was super over powered too, which made me struggle all throughout season 13 to not hate his character for what was just a writing death sentence. Now that he doesn’t have powers they’re finally trying to give him... depth? Pro tip: If it takes a whole season to give a character depth, it’s bad writing.

I’ll admit, though--I do love the dad Sam scenes. Not too much the dad Cas scenes because they’re often poorly written and unlike Cas imo. But eh.

Jack is like an OC. Sounds fun until put into practice.

Why couldn’t they have just... not killed Kevin and had him be the son-character he already was to the boys? Or not kill Charlie and let her be the little-sibling character she was to the boys? Why couldn’t either of those two very important characters become titular main characters instantly after being introduced, like Jack was? Maybe because they’re not white or a dude, respectively? Or because the show didn’t need to fill in the hole Mark Sheppard left for a main character until now? Hmm... 

In all realness, Jack is just too poorly written in my eyes to like, but I know people totally love him so please know that’s valid and I get it. I do love the actor, so there’s that.

7. Maggie

WHY DID SHE COME ALONG ON THE TRIP?? SHE COULDN’T USE A BLADE, BUT THEY PICKED HER TO COME ALONG?

I get the quirky humor, but SURELY there were other capable people they could have asked. Maggie is cute, but a throwaway for humor. I was trying to like her because, again, the actress was great and I love some comedy, but not at the expense of reason.

Also, again, no offense but I cannot deal with the parallel universe people and the storyline in general.

Now for some positives mixed with negatives!

8. Nick

Ohhhh boy. Nick could be the one good thing about this season IF they do not make it a “it was me, Lucifer all along!” cheap shot (which I know they will do, hence the negative). I think it would be a bigger plot twist if Nick WASN’T Lucifer. Sam could bond with a guy who went exactly through what he went through, we could have an established character back instead of these random new ones (like the vampire Michael brought in at the end with no context... like, I put Supernatural higher above other drama shows because it actually establishes a character and who they are before making them apart of the plot, like Gabriel being the janitor before he was the trickster, and the trickster before he was Gabriel. Cheap introductions with dramatic music in the background? Pass). 

I wanted Missouri back, she died. I wanted Gabriel back, he died. Nick will either be Lucifer or die, but I will cling onto every good old character there is until there are none left. There are good new characters too, sometimes, but they keep dying too (Eileen) so miss me with that argument.

Also there’s no way Nick could have survived. Jimmy died, why wouldn’t he? It’s Lucifer, but if it wasn’t? It’d be better. And also this totally is another cheap shot to keep Mark in the show, like with Jim. I love Mark, but we all know it.

9. Kip

I was SO pissed for most of the episode, because I thought that the show was actually trying to replace Crowley (you know the writing is bad when you expect SPN to pull something like that). I actually LOVED it when that show was self-aware and Kip was actually putting on a show--TRYING to be Crowley but miserably failing and being a pathetic knock-off. It was good, it was interesting, I was ready for the plot-line of Crowley’s irreplaceableness and how demons would deal with it.

But Kip died. Why wasn’t Asmodeus’ death that quick? He was an actual poorly written villain with nothing interesting to him.

In conclusion, this is why I nearly died watching the first episode of season 14. Will I stop watching? Not yet. SPN is a show I have loved since I was little--I watched it with my big sister, and now my little brother watches it with me. Does that mean the show is still good? In my opinion... no. 

I think the writers should stop pandering to the audience so much. I watched “Live Free Or Twi-Hard” after 14x01 to wash my eyes out with old SPN, and I remembered how much the show used to laugh at over-done trends. SPN was different and fun because it didn’t care, it did what the creators wanted, and it worked. It doesn’t feel like that any more. The show made fun of Twilight in that episode, yet “Wayward Sisters” had total Vampire Diaries narration (no offense to the pilot, but I have to admit... I didn’t like it. It could definitely be a good stand-alone show, and I did want it to be picked up, but it was completely out of place in Supernatural as a show. Again, because of the themes and shameless pandering to the teen audience).

Supernatural fans fell in love with Supernatural, not a teen CW drama. That does not mean fans can’t love those too--love all the TV teen dramas you want, I like those shows too--but the tropes for those type of shows fits in those type of shows. I can admit Supernatural is not a masterpiece, and it is a drama, but it’s not what they show has become now. And 14x01 makes that perfectly clear.

But that’s just my opinion, a Supernatural opinion! Thanks for reading!

[why-this-kolaveri-machi]

Notes on SPN 14.02

So! I saw 14.01 yesterday, which was for the most part, surprisingly, a blast, and since I have a bit of free time today I thought I’d keep a hold of the momentum and watch and liveblog 14.02 as well. I’ve heard it’s one of those Buckleming plot-a-paloozas, but I’ll try my best to provide semi-reasonable commentary instead of incoherent ranting.

Right. As always, typing this post up as I watch. SPOILERS for the episode ahead.

1. We start with a recap of last season’s finale, and Show, do you really want to remind us this many times about that wire-fight?

1.25. Show’s lore regarding possession has been dizzyingly inconsistent, but the more I think about it, the less sense it makes to me that Nick is alive? Because Nick couldn’t actually house Lucifer for very long in s5—he was deteriorating, which was why Lucifer needed Sam so urgently. The last we saw of Nick, he was dead/dying in a dingy room in Detroit, when Lucifer jumped ship to Sam. Even if Lucifer assumed Nick’s visage in the Cage and afterwards when he was brought back, Nick-the-person with Nick-memories and Nick-feelings isn’t there anymore.

1.255. So what does this mean? Like, if this was explained away sometime over the last two seasons--I’m very sorry, I really wasn’t paying a lot of attention to large chunks of them—please let me know. If there’s no explanation, then has Lucifer disappeared inside a Nick-construct? Did he use a loophole to escape the worst of the Archangel Blade right at the moment Dean plunged it into his side? Lucifer was “human” for a while in s13, iirc. Did he have enough “human” to hide behind and recover? And has he filled that human with the memories/personality of one of the humans he knew best? Is it because he spent centuries assuming Nick’s body in the Cage that he’s most comfortable being him here?

… I don’t know. Maybe I’m missing something obvious, but, hey, it’s fun to speculate.

2. We start off with people artfully tied up in an artfully derelict church illuminated artfully by artful lightning.

… *groans* I hope we aren’t getting a torture scene already.

2.25. Well, Michael’s certainly chirpier than he was last episode.

2.5. Is he trying to make new angel minions, is that it, by feeding them blood and his grace? Leaving aside the lack of creativity in the mechanism, the whole thing kind of makes a weird sense. Michael is looking for those with purity of purpose—among religious leaders (and refugees, apparently), angels, and then finally monsters—and rejecting those ‘poisoned’ by nuance and experience and supposed sin. After all, no being whose wants are even slightly more complex than ‘food’ is going to be a perfect follower.

It also plays into his assholey, self-righteous personality and, well, god-complex.

(Dean would’ve appreciated this quest for pure purpose.)

3. There’s a kind of sitcom-y vibe to this little expository scene: Bobby talks shit about angels only for Castiel to walk in with a quirked eyebrow; the group talks about Jack and Lucifer only for Jack to walk in and go, “hey, you talkin bout my father again?”

(these are the tiny ways I feel SPN is at cross-purposes with its own theme of ‘found family’. Everybody’s obsessed with blood relations, to the point that Lucifer and Jack are constantly referred to as ‘father and son’ when there is no need to bring that relationship up. Last year, even Castiel referred to Jack while talking to Lucifer as ‘your son’ without any prompting from Satan. Words are so powerful, and so revealing.)

3.45. Castiel “as you know, Bob”-ing is hilarious. Oh, Buckleming.

3.5. Um, not to dismiss or compare Castiel’s considerable trauma at the hands of Lucifer, but is anybody going to acknowledge even once that Sam, who appears to have taken the brunt of caring for Nick so far, is also going to have trouble looking into his abuser’s face??

4. Nick continues to make no sense to me.

(I like little touches like Castiel telling him that he needs to remind himself to eat.)

4.5. I kinda like this scene, sue me. It makes sense to me that Nick would obsess over and over again about how he could’ve let himself say yes to Lucifer, although Lucifer is as old as time and had all the power in that situation. The ‘monster’ bit is a little too on-the-nose for me, but I like it. Really drives home what an intimate, horrifying violation possession is and how scarred and twisted it can leave the survivor who spirals down a well of undeserved guilt and self-loathing.

I wish Sam was the one talking to him now, or was at least present. He’d talked in the previous scene about how Nick was only ‘housing’ and deserved a chance to rebuild his life, and that hard-earned generosity of spirit would’ve been a balm to all three of them, I think.

5. ETA on the TOD, Bobby? *sporfle* Seriously though, I love this role-reversal: usually it’s Bobby who’s rolling his eyes at SamnDean’s eff-bee-eye shenanigans.

5.25. Ah, but where this Bobby has become an expert now is in telling the difference between smiting patterns!

5.5. I wonder if trying to appear non-threatening is just Sam’s default whenever he meets with, uh, ‘civilians’.

6. I really, honestly hate that the Bunker just happens to have ‘lore books’ on whatever the hell random question they’re having that day. I just kinda hate the Bunker in general, now that I think about it.

6.25. But doesn’t that ‘human component’ (lol) make a Nephilim strong enough to take down even archangels?

6.5. As pep talks go, that wasn’t bad. A few notes:

a) there’s an earnestness to the words that I’m sure that Castiel learned from Sam.

b) I think this is the first time that Castiel—or anybody—has referred to the events of 8.23 as “The Great Fall”. It’s interesting that it’s already gotten a name among angelkind and that Castiel would call it that, given how close he was to the events that led to it.

c) I want to both laugh and cry at Castiel’s assertion that Sam and Dean were there for him after he lost his grace. He was mostly left to fend for himself, obviously, but there’s no space for that in a pep talk.

d) Sometimes it’s easy to forget that Jack is actually just only a year old. Asking him not to dwell on something so… immediate is a tall ask.

7. Ok, so that was a nice snappy little counterpart to Lucifer-talking-to-Sam-in-the-mirror from the s5 finale. I like how Michael is blunt and matter-of-fact while Lucifer relished in the moment, bragged about how he’d had Sam’s number all his life, and seduced him with violent revenge. This is nice.

I don’t know, guys, I’m really enjoying this episode so far!

8. Sooooo Lucifer is residing in some subconscious layer of Nick’s mind? Is this PTSD shaped by his possession? Is Lucifer bleeding through his own construct? Are we going to find that it was actually Nick who killed his own family? (I think we are.)

8.2. Castiel looking for residual Lucifer in Nick reminds me of when he was doing the same for Sam re: Gadreel, and that reminds me of Dean’s ‘teen mom’ joke from that episode and now I’m pissed off.

8.5. Nick is fascinating, but is he fascinating enough that I care about his little revenge sub-plot? Eh. Jury’s out. Plus I just can’t stand the actor anymore

9. Sam’s just kinda there to move the plot along. Give him some more character moments, episode!

10. Michael reminded me of Dean in the scene with the werewolf. I’m really not getting a capital P personality from Michael, though that may be due to a personal choice. Or maybe because Michael was never a distinct character to begin with, and this is far more noticeable when Ackles plays it and ‘Dean’ threatens to take over any minute.

Or going meta for a second—maybe Michael’s deliberately infusing some Dean into his persona. Possession isn’t simply putting a thing inside a box: both entities are influenced and informed by the other, but only one has all the power.

11. … ok, so my interest in this Nick subplot is rapidly decaying. Nick did it. He killed his family. It’s not a mystery.

11.5. The emotional dynamics of this scene… checks out, actually. Of course Nick is projecting all his rage on Castiel. And of course Castiel regrets destroying Jimmy Novak’s life the most. More than toeing the party line and being instrumental in almost bringing the Apocalypse about in s4; more than releasing the Leviathan; more than trusting Metatron in s8; more than killing his brethren, who’ve tortured him back and tried to kill him on more than one occasion. But Castiel has been both angel and human—both possessing and being possessed—long enough that he’s intimately aware of the devastation it leaves both within and without. And there are no excuses for the way he and other angels have done that damage—so carelessly, so casually. Even the most well-intentioned angels are deceptive and manipulative and give not a second thought about their hapless vessels. It’s a sign of Castiel’s growth and compassion that he recognises his responsibility in this and that he invokes Jimmy’s name with both reverence and regret. In all this shouting and crying that Show doesn’t acknowledge the deep-seated trauma of possession survivors, this is actually a great moment.

12. That werewolf leader looks familiar. Has the actor been on SPN before? He kinda reminds me of one of the leads on Suits.

12.5. That’s a lot of clunky dialogue, but Michael is basically confirming what I speculated in point 2. Cool.

13. How Jack managed to get away and find his grandparents is never explained, but that’s a familiar Buckleming trope—characters are put together in a scene without any regard to how it might connect to other scenes or how/why those characters might’ve gotten there.

13.2. That said, it’s kinda poignant that Jack, having lost his angelic powers, is now trying to understand the human side of his heritage. He’s trying his best to adapt to his situation; this one year old kid is more well-adjusted than most of the adults on this show.

13.5. Well, holy shit, Jack talking about Kelly to his grandparents is just… making me feel emotional in a way this show hasn’t made me feel in a long, long time. This Calvert kid is good.

13.6. It is bizarre that Kelly’s parents are mostly ok with not knowing Kelly’s whereabouts for over a year—I don’t think we ever found out what position exactly Kelly held in the President’s office, and I can picture them in a bit of denial by telling themselves the reason they haven’t heard from Kelly is because she is in the middle of super-secret government work. I don’t know! But it’s just about handwave-able though, and their scene with Jack is worth it.

14. Honestly, Castiel, how did he travel so far and for so long without you noticing? So much for “Don’t worry, Sam, I will babysit this defenceless creature.”

(Speaking of Sam, wheeeerrreee’s Saaaaammmm)

“I suppose there are worse ways to be human than to be kind.”

“Have you heard from Sam?”

I LOVE YOU, JACK.

14.5. No, actually, Dean wouldn’t want it any other way. He said as much when Gadreel took over Sam completely back in s9.

15. Shoo, Nick.

16. FINALLY MORE SAM. With only like 4 minutes of episode left. What, Show, did you think you spoiled us too much last episode with all that glorious, glorious Sam content?

16.25. And finally a bit of action! The rapid-fire editing is making my head hurt, though.

16.5. Soooooooooooooo Dean’s back? Obviously Michael is playing a long game here, but it says something about the show that they can’t keep Dean away for more than two episodes without getting the shakes. I honestly miss Sera Gamble and her desire to rattle the status quo: in s6, she kept the so-called ‘real’ Sam away for half the season, which gave us imo some of the best storytelling, characterisation and acting from both Padalecki and Ackles in the entire show. In s7 she took away all the Winchester markers: the Impala, weird motel rooms, Bobby’s house. Of course, after she left the show settled back into a familiar rut (substituting Bobby’s house with that thrice-damned Bunker). I wish the show would take risks with these two again. s9 and the beginning of s10 were so very promising but there was no follow-through.

I guess they want to MotW fillers for a few episodes and that would be weird without SamnDean SamnDeaning it in the Impala, but Show, why don’t you just say ‘fuck it’ and try weird on for size? What do you have to lose? I mean, seriously?

17. Nick’s the murderer—called it!

18. This wasn’t terrible, you guys. 95% of the episode was just people sitting around having conversations, the dialogue was clunky, ideas derivative, scenes progressed without any rational links between them, the pacing was wonky, and there was too much exposition. But the emotional beats were solid and the set up is reasonably intriguing. I’ve seen far, far worse BuckLeming episodes.

Pacing is a real issue in this season, though. And Michael is not remotely intimidating as a threat.

[whispersandwhiskerburn]

Angel, the Writer: An Interview

This is a post about my writing preferences and habits (my name is Angel, it’s not a show-based pseudonym). 

Why? Because my bestie tagged me in her version. And I love @waywardjoy​ bunches and bunches.

And since I’m a wordy bitch, I’m going to add a read more after the second question.

1. What inspires your work most? (The show it is based on, the actor who portrays a certain character, maybe the character itself? It could even be an experience.)

Can I say all of the above? The complexity of Dean Winchester’s character and my habit of (and training as an English teacher wouldn’t let me stop) analyzing his character led to writing about him, and he wouldn’t have any appeal hardly if he weren’t brought to life by the gorgeous and talented Jensen Ackles. The variety of the show, the ever-changing plot lines, villains, characters, etc., means that even though I’ve always been a loyal-to-canon girl, I never run out of ideas to write about. And then, most importantly, there’s the experience of writing on tumblr--the amazing feedback I’ve gotten from the readers and writers of fanfic on tumblr has been humbling, intoxicating, and it inspires me as a writer more than they probably realize. I do it for you all... and because every time I get a compliment it makes my day. :)

2. What is your favorite fandom to write for?

Supernatural. *See above answer.

3. Which point of view* do you prefer writing in? (First-person, third-person) *I changed perspective to point of view, because I’m an English teacher, and I care that this kind of thing is correct. :P Perspective is who is telling the story. Point of view is the narration style used. Message me if you want to understand this in better detail.

When it comes to fanfiction, I write almost exclusively reader-insert. In that format, I prefer reader’s perspective and 2nd person point of view: “you hugged Dean close to you, as tightly as you could, worried about what would happen if you let go of him.” In that format, I use “Y/N” only during dialogue. When I’m doing the story from Dean’s perspective, I usually do third person limited and use Y/N a lot more. I have experimented with all of them.

In my non fanfic writing, I prefer alternating third person limited. (I know the thoughts of one character at a time, and I switch between characters in different chapters.)

4. Do you prefer writing reader fics or OCs?

Before fanfic, the idea of writing reader insert had never occured to me, so for more that a decade and a half of writing actual stories, I only had OCs. I LOVE the freedom of writing reader-insert, and my audience seems to prefer it. :)

5. Do you prefer writing longer works or one shots?

Almost everything I’ve written for tumblr has been one shots simply for time purposes--both times I’ve done a series (at the 1/3 mark of one right now) it takes me forever to finish it. 

I like longer stories; as I mentioned earlier in this post, I’m a wordy bitch, and I live for character analysis. Longer fics allow you to do that. But one shots are more realistic with my adult life being so busy and wanting to post more frequently than once per three months.

It’s also easier to write a smut fic (which most of mine are) if you know you can conclude it after the orgasm without worrying about the morning after awkwardness--probably the same reason my usual spn character Dean likes one night stands. 

6. Do you take requests?

Not anonymously. If it’s a friend asking for me to write something, I’ll add it to my to-write list. Sometimes I do a request type celebration when I hit a new follower count goal, and new followers with whom I’m not friends yet can certainly join in then...or just get to know me. I think I’m pretty friendly, and the message box is always open. If you like SPN and/or my fics, then we already have a topic to talk about, so let’s chat!

7. Do you enjoy getting random Asks?

Yes, with one exception--the tag others things. Most of them are sweet: “You’re one of my favorite bloggers and you bring sunshine to others. Don’t let this stop with you! Copy paste this message into the asks of 5 of your favorite blogs!” 

Those bug me. I delete them immediately.

I don’t like being told I’m kind/beautiful/smart etc. if the only reason I’m being told is because the person who sent it was passing on a chain message. If you value your followers, think of a nice message of your own, preferably a personal one to either yourself or to your intended recipient, and go put it in their asks.

I LOVE THOSE SO MUCH!!

And they do exist. I can point out several I have received, and I have a policy where I go send between 5-10 to different followers with genuine individual-related compliments and love when I see a bit of anon hate reblogged. It’s my way of spreading some positivity.

Random asks about me I’ll answer depending on how personal they are. I have to keep my anonymity on here because of my real-world job. Random asks about my writing I will always answer.

The ask box is open.

8. What inspires the names for OCs (or extra character names) in your works? Do you pick them from real life or just select them at random? A mix?

Nothing is really random in my fics--writing, analyzing writing, reading, etc. that’s my legitimate career, and that carries over to my fic writing. 

I am a HUGE canon nerd. My supporting characters are usually characters from the show, whom I try to bring to life accurately. Even my AU series is only peopled by characters from the show and my reader. 

I usually give a little bit of backstory and characterization to my reader persona, so I guess they are partial OCs, and those are tailored to fit the individual fic (an antiques dealer in a cursed object case, a rodeo arena manager on a case where I wanted a cowboy!Dean fantasy, etc.) with a bit of personal flair thrown in--an accent, a habit of mine, a favorite music, etc. 

My only real major character OC I’ve ever done was an invented archangel named Sariel, and I got his name from researching angels and archangels online--it hadn’t been used on SPN, but he had an interesting biblical history that I could mold to my purpose for his motivation in the plot of my first series. I gave him an entire backstory drabble where he actually tells the reader his history and plans. His tone and voice were meant to help characterize him.

9. If your story(ies) have OCs, are their appearances based on real people or celebrities? If so, who?

Oops, I think I answered this in the last question.

10. How long have you been writing fanfiction?

I posted my first full one shot on this Tumblr account on March 13, 2016. I think I’ve been writing fan fiction for a lot longer than that though; I can remember as a child trying to write my own story with kids who could shape-shift into animals (thank you K.A. Applegate and the Animorphs series). I definitely tried my hand at a Nancy Drew-esque story in my preteen years. As a young teenager I plotted out an entire fantasy series that was in large part original, but also took a lot of inspiration from my reading of the Lord of the Rings. From late teens through college it was sometimes-paranormal series romances (like the paperbacks I read constantly, and even Twilight when I eventually caved in and read it my senior year of college). 

I’ve always been inspired by the fandoms and works that I obsessively read and analyze, and they show up in my writing. Legitimate fanfiction though, where I use the characters and work of another writer and put my own spin on it? That didn’t happen until I made my first tumblr account. Fanfiction sucked me in and intrigued me in early 2015, but I didn’t write any. Then I discovered the smut fics with Spn after I started watching the show in 2015. I wrote a few 100-300 word blurbs for fun on my old account before I decided to write a smutty one...which required the creation of a new account for privacy reasons with my career.

Hello whispersandwhiskerburn. :)

Sorry if you read all of that--I told you I’m a wordy bitch. I’m not going to tag anyone, but if you’d like to share your own answers to these questions, feel free to grab them, create your own post, and do so! I’m sure your readers would love a peek into your writing brain. :)