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hukkelberg · 1 year

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very well. as has become tradition once I hit up a certain number of doc files...

a non comprehensive list of every bridgerton fic I'm writing

(writing is a very loose term)

ANTHONY/PENELOPE

the hour I wait for you. chaptered. forced marriage, accidental compromising, slow burn. set during season two through (what would be) season three. minor colin/penelope and anthony/kate.

The season he intends to marry, the Viscount Bridgerton approaches Miss Penelope Featherington with a request for her exceptional insight on the society ladies. In turn, he promises himself he shall find her an agreeable husband. His promise is turned on its head when he and Penelope are found in an extremely compromising position by none other than her mother—caught in Portia Featherington's schemes as a result of a wardrobe malfunction, the two have no other option but to marry in an effort to safeguard their good names.

Penelope is not the wife Anthony wished for. Anthony is not the Bridgerton she wanted to marry. And yet, once they get past the bitter taste of betrayal and injustice, they very well may become good friends. Anything else is, of course, out of the question.

with her at his mercy. one-shot. lady whistledown identity reveal, bit of a season one rewrite. obvious canon divergence. explicit.

Anthony should not toy with her. A proper gentleman, the gentleman he ought to be, would have stopped teasing the girl after a couple kisses. Only, it is simply so easy to take advantage, isn’t it? What with her at his mercy.

January, 1814. Anthony, Viscount Bridgerton, is a proper Rake and unlikely to stop being so any time soon. The only thing he is committed to is his own family and their legacy, certain Opera singers notwithstanding. One day, as he wanders the streets of London near dawn, he happens upon the figure of a pretty, little lady dressed as a maid and follows her, accidentally unearthing the truth behind the woman terrorizing the ever ebullient ton. Surely a few kisses are a small price to pay for the aiding and abetting of London’s biggest secret.

i do everything in tongues. one-shot. modern au. fucking the CEO basically. porn with like 20% plot. and like, inspired by that one jane the virgin scene. this was meant to be my smut practice.

Penelope Featherington is a freelance journalist who ends up working at the Bridgerton company's marketing division during a rough patch. To alleviate her stress and pass the time in the long hours in office, she turns to writing nasty erotica about herself in second person, something she'll never be able to publish and is meant for no eyes but hers. And Anthony Bridgerton's, apparently, since she accidentally forwards her latest document to him whilst saving. Anthony, a longtime family friend and the CEO of the enterprise, takes the whole thing in good spirits, they laugh about it and that's it. Except her detailed writing soon translates into extremely vivid dreams for Anthony, which plague him at every hour. She under his desk, him pressing her against the window, her arms tied at the headboard of his bed... it's driving him insane. Everything provokes him. She's literally just drinking water in front of him. Something shall have to be done about it, sooner rather than later, and who better to relieve his pain that the woman who's front and centre of all his fantasies?

BENEDICT/PENELOPE

everything we left the garden for. one-shot. the one that got away, in a way. more like not-lovers find each other again. grief. technically a kid fic.

The summer of 1817, in the height of their youth, Penelope Featherington and Benedict Bridgerton took a detour on the way to visit the new Lady Crane, and ended up in the famed blacksmith's shop in Gretna Green. What transpired there soon became clear, and had hard repercussions for them both: Benedict Bridgerton married Sophie Beckett, Penelope's maid, and Penelope was ruined. The scandal prompted a fallout between the second Bridgerton and the rest of his family, and he took off to the countryside with his wife and newly born little girl. Penelope, summarily disowned by her mother, stayed indefinitely at the mercy of Eloise Crane.

Now, almost twenty years later, Penelope has made a name and fortune for herself as the most prolific writer in Britain, a favourite of Princess Victoria's and the eager ton. Benedict, widowed and struggling, sends her a letter: his child is set to debut soon, and in absence of his family, needs the guidance of a sensible adult woman as she navigates the den of vipers they both know London can be. Penelope's acceptance soon has father and daughter living under her roof, but their stay provides unexpected challenges: the proximity of the other Bridgertons, the subtle scorn of the ton who still remember them, and these funny feelings that develop between them as they brave the world with only one another in arm.

an offer from a gentleman. undefined, probably a one-shot. crossdressing, misogyny, explicit. inspired by unmasked by the marquess.

Percival Featherington, third child but first son, was easily the most lovable man England had ever seen. Short and stout, with flaming red hair and a blinding smile, Percy had the most agreeable personality and the kindest heart. He should've taken London by storm. But he was dead. Drowned in a lake. Taken Father with him. And what were they to do, all four Featherington women, now bereft, with a gaping hole where son and brother had been? A plan is hatched in the night, before the bodies have grown cold. As twins, Penelope looks the most like him. She has the brains too, and the way to feign—already took most classes at Cambridge for him without anyone noticing. The sacrifice, at the end, is not very much at all. Penelope Featherington never amounted to much. But Percival—he was a loss the world may never recover from. All's well that ends well.

Until Benedict Bridgerton chances upon Percival Featherington in the middle of a bath and finds, instead of his friend, the most attractive woman he has ever seen.

i do not know what to do with my heart. one-shot. technically book canon but like, shoehorned into show canon? an extension of a particular moment, because i really wanted benedict to suffer.

“I am not going to marry your brother Benedict,” Penelope says tightly. “It doesn’t hurt his feelings when I announce that I am not going to marry him. Does it, Mr. Bridgerton?”

“Of course not,” he answers quickly. Only—

Only he does mind, a little.

Or: Benedict comes to learn two things that fateful evening. Firstly, Penelope Featherington is in love with his brother. Secondly, he may have some conflicting feelings about the fact.

you're lucky I'm a private person. one-shot. modern au.

Penelope Featherington has tried her best to keep her personal life and her academic life kilometers apart. Her family fallen out of grace due to her father's gambling, she has had to toil hard to get back up the ladder, into a good school, into just the right places to ensure a comfortable future. Long gone are the snotty people she rubbed elbows with during childhood, and she's better for it too. Save for the Bridgertons, she has kept no connections, and is determined to brave the way up her exclusive program with no help. But when she forgets an important notebook back home and Benedict Bridgerton is the only one available to deliver it, the worlds she’s tried so hard to keep apart finally collide.

untitled. one-shot. second chance lovers. first love. he fell first but she fell harder. also slightly a kid fic. also also technically borrowing the plot from when he was wicked, if you think about it.

At the end of her third season, upon receiving direction from her mother, Penelope Featherington marries the Marquess of Tenyham. Richard Crowley is 57 years old, a widower, and already in possession of an unruly ten year old boy when they meet. He wants her for no reason other than companionship, and perhaps a warm place in his bed. Penelope is not stupid. This is the best chance she'll get.

Except it's not, because Benedict Bridgerton has been in love with her near since the day they met. Stepping back in favour of his stupid brother, he has had to watch the woman he loves marry an old man, raise his son, and live happily away from him. But no more. Five years later, the Marquess now dead, Benedict will not lose this chance.

untitled. one-shot. forced marriage, accidental compromising. very light, I believe, a little crack-y.

What can he say? The bed was warm. He was well into his cups. The night was dark and he—well, he's stupid, isn't he? He thought they already knew that.

When Benedict veers left instead of right after a night of drinking, he slips into his bed to find a warm body waiting for him. Unthinking, he slides a hand over her hips, wraps an arm around the waist, and promptly falls asleep with his face in her neck. The morning after he awakes to a shriek and a slap, and a very frightened Penelope staring at him in her nightclothes. He wishes he could say he was only shocked. He isn't. Very visibly so.

the extraordinary adventures of intrepid eloise bridgerton. one-shot. isekai, technically, and reverse isekai too. not entirely sure I'll ever write this one out, but I've been pondering.

Having compromised the girl without intending to, and quickly developing very pressing intentions, Benedict has all of three weeks to woo his disgruntled little lady before she becomes his wife. That's all very well. The road to heaven is not without its bumps.

untitled (regency paper). one-shot. a mock historical article about penelope's identity as whistledown. this is meant to be like a scrapbook but in written form of excerpts from an alternative reality in which they're real.

A historical analysis of Benedict and Penelope's marriage through the eyes of several historians writing about her writings, his paintings, and the sentiments which inspired their work.

Penelope Featherington is the author of best selling children's series The Extraordinary Adventures of Intrepid Eloise Bridgerton. A huge commercial success despite it being a historical fiction about a little girl with a heart for fairness, Penelope has written about Eloise and her family for over a decade. She should know them all by heart. And yet, now that it's time to write the last installment, she finds herself stuck, staring at the blank page which will mark the end of an era. Her life's work. Perhaps that is the issue. How can she let Eloise go if she is all Penelope has?

Then, the answer to her questions shows up at her door. Quite literally. Penelope opens her front door to find Eloise Bridgerton staring back at her, ever the same as she ever was. Behind her, not that this offers much respite, is her brother Benedict. Eloise pushes past her, a blinding smile in her face. "You are a hard woman to find, Miss Author."

OTHER SHIPS/GENERAL

sweetness that she gave to me. gregory/penelope. age difference, technically book canon again, first love. very sweet. written entirely because I saw one too many mentions of gregory harbouring a crush on pen.

Gregory Bridgerton had declared his intentions to marry Miss Penelope Featherington quite clearly, he believed, at age nine in the Bridgerton drawing room. It is neither his fault nor his concern if no one, including his future wife, had taken him seriously. Very well. It should be fun to see her surprised.

the heart is the kindest homeland. benedict/OC (POSSIBLY sophie, if I like her well enough). possibly chaptered, but small ones. transmigration, magic, fish-out-of-water.

Eloise Bridgerton meets a witch in Bath and brings back some scrying salts to Aubrey Hall. What starts out as a bit of fun in the gardens ends up with Eloise soaking wet, and Benedict hauling up a strange girl from the future out of the pond. When Anthony offers the girl a position as governess to his children for the foreseeable future, both Eloise and Benedict protest. They have uprooted this girl's life altogether. The least they can offer her is a season.

waltz of caprice. colin/OC. lost in austen au. one-sided rivals to lovers.

In another world, the Bridgerton tales go like this: eight siblings, named in alphabetical order, take Regency England in storm in their hard won whirlwind tales of love. All, except two: Mr Benedict Bridgerton, and his brother, Colin Bridgerton, who vie for the affections of one single, pudgy, much overlooked lady. Penelope Featherington. The thrilling conclusion to this love triangle comes in the latest book, featuring, much to one fan’s distaste, Colin’s story. Penelope ends up with him.

Eliza Peña, Benedict’s #1 fan, is much disgruntled.

And then, Eloise Bridgerton pushes open a door. Eliza enters the world of Bridgerton, at the beginning of the book, and she will not let anybody stop her from achieving the rightful ending. Less of all damned Colin Bridgerton, of all people.

untitled. eloise/penelope. one-shot. yearning, first kiss, technically very trans.

Eloise imagines what life could've been if either she or Penelope had been born male probably much too frequently not to be worrying.

untitled. simon & penelope. one-shot. lady whistledown identity reveal. just a little friendship! what can I say!

At the first ball of the season, Simon Basset, Duke of Hastings, makes a most unlikely acquaintance. Penelope Featherington, a girl whom by all appearances ought to be encouraging his attentions, is quite intent on unmaking it. Yes, he thinks, she shall make a perfect ally.

#hukkelberg.exe has stopped working #the hour i wait for you #everything we left the garden for #with her at his mercy #i think that's all #and with all these tags we've got five sooo #bridgerton

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snarkwrites · 4 years

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17.12, kissing booth, sweetpea

Title: kissing booth

Theme: holiday carnival/fair

Fandom / Character(s):Riverdale, Sweetpea x OFC, Alyssa Andrews

Warnings: Swearing, Sweetpea being a smartass, Reggie being an antagonist, and floofy kisses.

Word Count: uhh.. 1k-ish?, roughly.

Look.. I blame my niece for getting sucked into this show and fandom to begin with. I guess I just have a connection and deep love for grouchy types, because when Sweetpea was first introduced I was instantly hooked on the character. This is my daily entry for @champbucks 12 days of Christmas. Hope you guys enjoy it. I had a blast writing it. I guess sometimes it’s just fun to write something that’s not purely related to a thirst I happen to have, who woulda thunk it, huh?

Also, again.. I made the banner for this. Don’t steal or repost.

TAGGING:

There’s actually nobody on my riverdale tag list. If you’d like to be on it, let me know on my main to add you or click the lil link below and add thyself.

[ about my writing | masterlist | multifandom tag doc ]

“Oh come on!” Cheryl pouted, tapping her foot impatiently because she knows full well that I’m the only person her demanding and bossing around doesn’t work on. In fact, it usually makes me dig my heels in even more.

“I said I’m not doing it. Why do you want me to take two hours at the booth anyway, Cheryl? We both know there’s probably no one in Riverdale who will line up to kiss me. Can’t Betty or Veronica take the extra hour?” I eyed her, a brow raised.

“Actually, that’s where you’d be wrong, Alyssa. I have proof that you’re the one they’d rather have in the booth for an extra hour.” Cheryl dug around in her backpack and produced a piece of paper. I eyed her and then it, taking it with an amused laugh. “Right. You totally just fabricated this. I’m not doing it, Cheryl. Nope.”

From nearby, Toni spoke up.

“Doing what? What’d I miss?”

Cheryl beamed and went into Toni’s arms, hugging her, taking the paper back from me to show Toni and the two shared a laugh.

And then both of their gazes settled on me expectantly.

“Ah fuck. Look, I said I’d do an hour. That’s absolutely it. I’m already going to spend most of that kissing freshmen or something, shit. That paper proves absolutely nothing, by the way.” I nodded to the paper that Toni was now holding in her hands.

“We don’t have time to argue this. Jughead took Betty home and your brother’s spirited Veronica away. Everyone else has gone.”

“So have I. And I’m still not over that sophomore with the Hoover suction. Do you know that little shit tried to cop a feel?”

“Waaaa.” Cheryl mimicked. Toni leaned in, whispering into her ear and then Cheryl muttered “Interesting.” as her gaze fixed on me again. As Toni walked off, I pinched the bridge of my nose and eyed the empty chair. The booth was on a break right now. The line was pretty small.

Riverdale High needed the money. Taking on a whole other student body recently had pretty much depleted the school’s funds. Everyone else on my team had already gone. I eyed Cheryl as I mulled it over. “Is anyone else going twice?”

“Actually, both Toni and I are. Cheek kisses only, of course.” Cheryl gave me a pleading grin as her words fell away.

I felt a little better knowing that I wouldn’t be the only one being offered up for sacrifice twice. I tapped my foot and dragged my fingers through long red hair, giving it a tug. “Fine.”

Cheryl hugged me and I laughed, letting her. Even hugging back just slightly. “I’ll go take my seat I guess. But I’m telling you, my second turn is going to be a total bust.”

I caught sight of Toni talking to Fangs and Sweetpea over by the hot chocolate booth and I bit my lip, my gaze lingering on Sweetpea for just a few seconds longer than it should’ve.

,, My fantasy kiss is not gonna happen. I can hang it up.”

That was my last thought before flopping into the chair positioned behind our booth. And nearly as soon as the few people waiting realized that the line was opening up again, they started to push to the front slowly. One or two walked away.

My phone buzzed in my pocket. Three times. Then a fourth. But I wanted to just get my second turn in the kissing booth over with because I’d pretty much resigned myself to the fact that like my first turn, I’d have mostly underclassmen in my line. Or friends of my brother Archie. Luckily my brothers friends seemed okay with just a hug and a peck on the cheek. I hadn’t had to actually… Lock actual lips with anyone.

XXX

Sweetpea watched as Alyssa took her seat at the kissing booth a second time. Toni wandered over, tapping her best friend’s shoulder and nodding towards the booth. “Are you gonna stare all afternoon or grow a pair and get in line, Pea?”

“I’m not taking part in… that shit.” Sweetpea nodded his head in the direction of the booth. Toni reached into her back pocket and smirked to herself while Sweetpea was busy watching Alyssa Andrews get settled into the booth for her second go. “Yeah? Well if you won’t.. I have a long list of guys that Cheryl has spoken to who all seem to say that they’re more than happy to.”

She unfolded the paper right as Sweetpea heard her and focused. He reached for the paper, snatching it from her hands. His eyes darted over the poll and sign up sheet and then settled back on the red-head currently manning the kissing booth.

When his eyes got to Reggie’s name on the list at least three times, his fists clenched tight. He tugged at the collar of his tee shirt. It wasn’t a secret that Alyssa and Reggie liked to flirt back and forth and frankly, it was something that annoyed Sweetpea continuously. To a point where lately, it caused him to stay constantly irritated.

Especially when she’d blow off their little gang of friends to go on drives with Reggie.. Or study. Or grab a milkshake at Pop’s.

“She’s only doing this because she’s part of that stupid cheer thing.” he said it to himself, mostly to keep himself from doing something stupid and crazy and marching over, dragging her away from that booth and telling her that the only guy she needed to kiss was right in front of her. And had been for months now.

“Actually, she volunteered. And she’s the only one people have specifically asked for twice.” Toni shrugged as she tried to stop the laughter. Sure it was a small fabrication in details, but Sweetpea didn’t know that, nor did he need to. What he did need right now was a nudge. Because for one thing, Toni was beyond done with seeing him mope over Josie and their little fling ending. For another, the tension in the room between Sweetpea and Alyssa lately when they were all hanging out was almost unbearable. And rather than stand back and watch her grumpy idiot of a best guy friend let a chance at actual happiness pass him by, she was determined that today was the day. She was going to give him that loving but firm little nudge in the right direction.

Because lately, Alyssa was starting to think that Sweetpea didn’t feel the same way about her as she did about him, hence all the dates with Reggie Mantle. Toni was also sick of watching Alyssa try to feign happiness when lately, she’d been down. Because every attempt she’d made thus far to tell Sweetpea how she felt wound up Sweetpea, bringing up Josie in conversation.. Or lately, with Alyssa just talking herself right out of it altogether.

Something needed to happen, otherwise someone was going to explode.

Reggie Mantle wandered over, getting into the line for the kissing booth. Sweetpea looked as if it were taking literally every single shred of willpower he possessed not to storm over and make a scene, especially when Reggie smooth-talked his way right to the front of the line almost.

“You know she’s only going out with him a lot more lately because the guy she really wants ahs made himself so hard to be around that we all wanna strangle him most of the time now.. Right?”

“You’re lying.”

“Yeah? Let me show you something.” Toni grabbed her phone and held it out. “Have a read at our text history, Pea. See for yourself.”

Sweetpea took the phone reluctantly. At first, he was skeptical. By the middle of the most recent conversation, about Alyssa blowing them off to hang at the quarry in favor of going to watch Reggie at football practice because he asked and Alyssa admitting that maybe it was time she… Moved on. Got over her huge crush on Sweetpea… He wanted to kick himself.

His eyes fixed on the booth and his jaw set firm.

He knew her well enough to know that she’d never own up to anything she’d admitted to Toni in the texts. And he knew that lately, he’d made it almost unbearable to be around him. Picking fights with her, grilling her about pretty much everything. Just purposely being an ass.

His pride was going to cost him a shot with her if he didn’t swallow it soon. And the thought was not a pleasant one when it settled in his mind.

“Nothing to say, Pea?” Toni teased, flashing him a smirk as soon as she managed to break through his thoughts and gain his attention for a second or two. Sweetpea dragged his hand over his hair, taking a breath or two. Reggie was just about to the front of the line. His gaze fixed on Alyssa, almost as if he were willing her to look at him. Catch him staring.

“If you really want her to know how you feel and not have any doubts, you know what to do.”

Toni’s statement had Sweetpea wandering over to the line for the kissing booth. What Reggie Mantle had in charm, Sweetpea made up for in sheer intimidation skill and a second or two later, Reggie scowled as Sweetpea wound up right behind him in line.

“The hell are you doing, Serpent?”

“I know what you’re not gonna do, Mantle.”

Reggie whirled around, staring Sweetpea up and down. “You think so, huh? Watch and see.”

“I don’t fucking think so.” Sweetpea towered over Reggie, his fists shoved safely inside his leather jacket.

From the front, Alyssa cleared her throat. “It’s,uhh.. It’s your turn, Reggie.” she bit her lip as she looked back and forth between Reggie and Sweetpea. Sweetpea caught her gaze and held it, biting his lip.

After a little digging, he found a badly wadded twenty dollar bill.

Reggie sauntered up to the booth and slipped a five dollar bill down, giving Alyssa a playful gaze as he leaned in for the kill.

And Sweetpea’s fists clenched even tighter in his pocket. He barely managed to bite back a growl. And after about five seconds, he cleared his throat and spoke up, addressing Reggie.

“You’re holding up the damn line, Mantle.”

“I paid, Sweetpea. What are you even doing in the line to begin with, huh? Didn’t we have a talk about this Friday afternoon?” Reggie was body to body with him until Cheryl hurried over.

“Break it up you two!”

XXX

I think when I saw Sweetpea wandering over, my heart fluttered a little and I tensed up all in the same breath. I honestly thought he was coming over just to start something. To heckle me for offering myself up to do this. He looked mad.

Or I thought he did, at least.

When he didn’t start with the heckling and instead, intimidated about ten of the guys waiting in line to let him go before them, I found myself having a harder time focusing on the task at hand. A guy named Ben who played basketball with Archie every few weekends came up and put a dollar into the basket, chuckling as I rose to tiptoe and gave him a friendly and slightly awkward cheek kiss. He pulled me into a hug and muttered into my ear, “The rowdier guys are still waitin, red.. If you want me to hang around… Hell, maybe I should. Archie would kick my ass if somebody got out of line with his kid sister.”

“Ben, I’ll be fine. I’m perfectly capable of handling things.” I explained, giving him a gentle smile and thanking him for the offer because his heart was in the right place. Reggie was next and I took a deep breath.

Truth be told, I was a little irritated because Reggie doing this made it kind of clear that Reggie was just going to try and find ways to skirt around any boundary I set. I got that this was in good fun, but there was a perfectly good reason I hadn’t really… Kissed him yet. Even when he’s tried to initiate at least two or three times now and each time, I’ve politely declined.

If this were a few months ago, I’d have jumped at the chance. I was shocked at myself when we were sitting in front of my dad’s house and he tried to kiss me the first time and I didn’t go for it then, if I’m being perfectly honest.

Because I’ve always had a soft spot for my brother’s friend Reggie. I guess that’s when it really hit me… After I met Sweetpea, a lot of things changed. And my feelings for Reggie just kind of slowly died.

The argument between Reggie and Sweetpea caught my attention and if I had any actual hope left of Sweetpea being into me like that, it would’ve grown as I listened to the words being exchanged back and forth before clearing my throat.

As I got their attention and for a few seconds, they glared one another down, I found myself kind of wondering what Sweetpea was up to. I honestly hadn’t even thought he’d show up at the carnival. I mean yeah, Toni most likely dragged him, but… He’s in line… For the kissing booth. And not just any line, my line.

My brain seemed to start working then and it hit me that in a few seconds, I was going to have to kiss Sweetpea.

,, I’ll give him a peck on the cheek. Because if I had my way and gave him a real kiss, things would get so awkward between us, holy shit..” the decision was made and I felt a little better.

Reggie finally approached the table and I bit my lip, eyeing him. I could feel Sweetpea’s intent stare burning a hole right through me, even as I pretended to be happy and interested in the kiss I was about to give Reggie.

Maybe knowing Sweetpea was watching was what made me decide to settle with a clumsy corner of the mouth kiss. Reggie muttered quietly against my mouth, “Red?”

“Sorry, I just.. I thought I could but I can’t.” I muttered so that Reggie could hear me.

Reggie gave an understanding nod and smiled, shrugging “It’s cool. Do you wanna meet up later?”. I shrugged and told him I’d text him when I left the carnival if I felt up to hanging out or going to Pops and he walked away from the kissing booth, leaving me frustrated at myself and panicking a little because naturally, Sweetpea was next.

For a few seconds, I felt bad about the half hearted attempt. Especially when I thought back on just how wrapped up in Josie Sweetpea had been and just how little I’d given him hell for it in comparison to how much hell he’s put me through for going on a date or two with Reggie lately.

I zoned out a little, mostly just trying to pull myself together and in that time, Sweetpea stepped up and smacked a 20 dollar bill down on top of the table, gazing down at me expectantly as he swallowed hard and dragged his hand over his hair.

I eyed the 20 dollar bill and eyed him. “I,uhh.. A kiss on the cheek is only a dollar.”

,, you seriously open your mouth and say that?”

“Obviously, that’s not what I got in line for, princess.” Sweetpea muttered quietly, licking his lips as his gaze settled on mine. I gulped and I swear, it felt as if all the air got sucked right out of the space between us. I dragged my hand through my hair and raised a brow as his eyes left my lips and settled on mine, locking me in a gaze.

“Is this a joke?” I muttered quietly, dazed.

“I believe somebody once told me I have zero sense of humor, so no. No it’s not, doll. You gonna kiss me or not? I paid.” Sweetpea’s tone took on a hint of teasing and I felt my stomach starting to flop lazily, just like it always does when he’s in the rare mood to tease and make it hard for me to tell whether he’s flirting or just being a teasing ass.

I usually play safe and put my money in him simply being a teasing ass, but right now, I wasn’t sure what he was up to at all.

The way he was looking at me right now did not feel like Sweetpea teasing. The look in his eyes was downright hungry.

“I..”

From the back, Reggie heckled. “What the hell makes you think she wants your disgusting Serpent mouth on her, man?”

I grumbled to myself quietly, frustrated because apparently, I was going to freeze up. “You don’t have to..” I trailed off. Sweetpea chuckled to himself and leaned across the booth, his hand tangling in the hair at the back of my neck, tugging at a handful as he pulled my mouth against his. His tongue trailed slowly over the outline of my lips and I whimpered quietly. The palm I had resting flat against his leather jacket wound up curling in it instead. His hand settled on my hip, guiding me partially over the table and halfway out the opening of the booth that we’d been leaning through.

I could feel my face heating up as people started to catcall and whistle and slow clap. When somebody said “Oh shit. Listen man, I don’t wanna die, I think I’ll just.. Wait for Cheryl to take over in a little bit.” I barely heard it, but I couldn’t help smiling into the kiss.

The kiss broke and I slowly raised my hand to my mouth, wiping the back of it across. I was beyond stunned at the moment. At a total and complete loss for words. But when Sweetpea leaned back in and pecked my cheek before whispering with a laugh, “Go on.. Finish working your kissing booth, princess.” and copped a feel, I bit my lip before pouting at him.

“What’s that mean?”

“It means, I’m gonna stick around. Keep these fuckin knuckleheads left in line from getting too much enjoyment, princess.”

“Oh, it does, hm?”

“I mean.. Unless you have a different idea as to why I kissed you like that, Red.” Sweetpea teased, smirking at me for a few seconds.

I eyed him and he muttered quietly, “Later.. We’ll talk, doll. The kiss was just something to think about.”

And somehow, god help me, I don’t think I’ll be able to get it off my mind for the rest of my time left to go in this booth...

#12 days of christmas #12daysofchristmas #sweetpea #sweetpea fanfiction #sweetpea fanfic #sweetpea imagine #sweetpea imagines #sweetpea oneshot #my writing; sweetpea #my fics; sweetpea #my oneshots; sweetpea #// gahhh. i hope this isn't wildly out of character for the guy #// i feel like it isn't but i have been wrong about a character before..

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thiswasinevitableid · 3 years

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Back in Time (Indruck superhero AU)

This was based on a prompt requested by several folks on the Indruck discord, and is set in the same universe as “The Thrilling Adventures of the Green Knight,” taking place some time after “Aww, Rats.” It deals with memory loss, so if that’s a no-go for you this is one to skip.

Duck Newton is proud of how far his boyfriend has come. How a man who was once, in his own words, “a hissing, scheming villain” now dedicates his life to protecting the city of Kepopolis, fights side by side with Duck to keep their home, their city, and their friends safe.

But sometimes, he wishes the self-preservation instinct that ruled him as a villain made more appearances. If it did, Duck might not be sitting outside the med bay of the hideout, jiggling his knee while he waits for news. Indrid might not have thrown himself in front of the blast from Dr. Amig Dahlias’ newest invention.

Duck might be unconscious in the med bay instead, but he’ll take that outcome any day.

The door slides open and Dani pokes her head out, “He’s waking up.”

“Oh thank fuck.” He rushes inside, takes Indrid’s hand as the silver-haired man groans and shifts on the cot.

“S’okay sugar, you’re in the base, everyone is safe, just take it easy.”

Red eyes blink open. Then stay that way, wide and scanning the room.

“I...I am glad everyone is safe. That is good. But, ah, I, I…” he turns to look at Duck, “I’m sorry, I do not know who any of you are.”

----------------------------------------------------

“Is it permanent?” Duck corners Dr. Octavius the minute he’s out of the room. The doctor is one of the best when it comes to dealing with damage from supers of all kinds.

“I’m not sure. That blast he was hit with dealt a massive blow to his memory; as far as I can tell, he can’t remember anything from his past. Not his childhood, not his time as a villain, not all of you. I don’t know if this was the intended result, but the blast also severely dampened his precognition; his powers are functionally dormant.”

“Fuck.”

Dr. Octavius sets a hand on his shoulder; they’ve known each other a long time, he’s been patching Duck up since his days with the Chosen Squad. Some childish part of Duck’s brain had hoped he could make Indrid better, the way he always made Duck.

“It may not be permanent, and I think the chances are good the memories are all suppressed, rather than gone. I’ll consult with some colleagues to see what can be done.”

“Thanks, Doc. Is he okay? I mean, uh, is he scared or anythin?”

“Mainly confused, which is understandable.”

“Yeah. Yeah. Thanks.” He waves as the man departs, then grabs his phone. Maybe there’s someone else who can help.

Dr. Mwangi arrives a half hour later; she’s Indrid’s therapist and, like Dr. Nelson, the vet, she’s one of the few people in Kepopolis whose office is neutral territory. She helps supers of all alignments, and Indrids’ flashbacks are more easily handled since he started seeing her.

“Just...do you think there’s anythin I can do to help him remember?”

“Any photographs, items of emotional significance from his past or present, those might help bring some memories back to the surface. Maybe taking him places that he’s fond of, or where important things happened. And I agree with you all that keeping all the super hero business quiet for now, as it could be completely overwhelming. Other than that, all we can be is patient. Is he staying with you?”

“Yeah. Our place is the safest, thanks to all the security he installed, so if word gets out where we live or that he’s incapacitated in some way, no one’ll be able to get in and hurt him.”

“That’s good. But I was more concerned with the need for him to be with someone he trusts. Even if he doesn’t remember you, I suspect he’ll feel safe with you.”

Duck looks into the other room, where Indrid is chatting with Aubrey (“I have a niece? That’s wonderful”).

“God, I hope so.”

----------------------------------------------------------

“You are...my boyfriend?”

“Yeah” Duck is fighting to keep a gentle smile on his face, to not crumple at the lack of recognition in Indrid’s eyes, “we been together almost two years.”

“You seem very nice. And handsome. I must be very lucky.”

“Here we are.” Duck flips on the lights, shuts the door and arms it, “home sweet home.”

“This is love--OH, oh hello.” Indrid smiles as Chicken runs up to them, demanding her dinner, “who is this.”

Duck’s heart twists with disappointment for the three-hundreth time that day; he keeps hoping the next thing they encounter will be the one to jog Indrid’s memory.

“That’s Chicken.”

“She’s so charming. I had no idea cats could be hairless.”

Duck nods with a tight smile, is digging out the new bag of cat food when Indrid chirps with delight.

“Rats! You have rats!” His face is pressed to one of the boxes of Ratopia, his mischief of five scurrying up to greet him, “I love rats, they are so clever and resourceful.”

“They’re, uh, they’re more yours than mine. They missed you, see?” He opens the nearest door on the enclosure and five furry little bodies run out, squeaking for treats and attention. Void clambers up Indrid’s body like a black comet, letting out indignant noises when he finds Indrids coat without it’s usual special pocket for his “heart rat.” Indrid scoops Void into his hands, studying him.

“I am sorry, little ones. You seem to know me, but I don’t know you. I would like to, though.”

“You, uh, you wanna spend some time with them while I get dinner goin?”

“Yes, please.”

Duck starts water on the stove, pulls down the box of pasta, when Indrid speaks from behind him.

“The same applies to you, you know. I do not know you, Duck Newton.”

The box crunches in half in his hands

“But I would very much like to.”

------------------------------------------------------------------------------

It’s been three weeks, and Indrid’s memory shows no signs of returning. Duck tries to hold onto hope, tries looking on the bright side, but it all turns to rubble when he feels the empty space beside him in bed, makes a comment or reference only for Indrid to blink in confusion.

There is one bright spot, which is that Indrid insists Duck starts their courtship over. He’s adamant that he wants to build up to dating Duck again, that he clearly has met someone wonderful and is not about to let a little bout of amnesia get in the way, thank you very much.

So Duck takes him on date after date, finding some happiness in watching Indrid experience things he enjoys for a second-first-time. They get Gelato, Mrs. Nguyen shooting Duck a puzzled look when Indrid asks to sample several flavors, rather than ordering his usual Blue Moon with marshmallow sauce on top. They go to the movies, the zoo, to one of Aubrey’s magic shows, and all the while Duck keeps his hands glued into his pockets; Indrid is still learning to be comfortable with him, and he will not so much as brush a hair from his face unless he’s sure it’s what he truly wants.

When Indrid takes his hand as they’re walking out of a movie, Duck tears up with embarrassing speed.

Today, they’re in the Monongahela, Duck taking Indrid on the lake loop. As they round a patch of reeds, the taller man points out onto the sparkling water.

“What kind of ducks are those?”

“Wood Ducks” he replies softly, then laughs to himself, “you must really like ‘em, they were one of the first things you ever, uh, ever asked me about.”

“Really? I suppose that makes sense, their coloration is stunning.”

“Yeah.” Duck watches the two birds paddling on the water; he can’t be certain, but he thinks they’re the same mated pair that fascinated Indrid two years ago. The memory of Indrid, voice curious and shy rather than taunting, asking Duck what the bird was over the phone makes him ache down to his neurons.

“I’m sorry, Duck. I know this cannot be easy on you.” Indrid is watching him through his slightly tinted tortoiseshell glasses, “to have to wait for me to fall in love with you again.”

“‘Drid” Duck takes him by his shoulders so they’re face to face, “I can’t lie for shit, so I ain’t gonna say I don’t wake up everyday hopin you remember me. But what I want outta all of this is for you to be happy, to have whatever kind of life feels right to you. Even if we don’t end up together in it or I, uh, I ain’t in at all.”

Strangely, Indrid smiles, soft and bright, as the admission hangs between them. Then he cups Duck’s cheek and leans down, kissing Duck so lightly that it’s only the sensation of too-cold hands on his skin that let’s Duck know he isn’t dreaming.

“Wha-”

“It just felt right.” Indrid smiles wider, and holds a little tighter, wondering if this is it.

His phone rings, the tone that signals “shits going down, suit up.”

“Fuck.” He grabs it, brings it to his ear “go for Duck”

“It’s the fucking White Star boys again. They’re threatening to set off a bomb from the top of the GreenBriar Mall and are causing a major scene downtown.” From the sound of it, Barclay is driving as he talks.

“Fuck, okay, lemme get Indrid somewhere safe and I’ll be right there.”

“Somewhere safe? Duck, what’s going on.” Indrid pulls his sweater around himself

“Long story, swear to fuckin god I’ll tell you later, now come on.” They run back to the car and Duck floors it out onto the highway. The nearest safehouse is close to the mall, so he can drop Indrid there, change, and go help his friends.

This plan goes up in a literal cloud of smoke as cylinder hits the hood of the car, releasing a black cloud and causing Duck to careen into a fire hydrant.

“Guess we’re closer to the whole mess than I thought.” He grumbles, grabbing his spare mask from the glove box and ripping off his shirt to reveal his hero garb underneath, “you okay?”

“Not really, as we just crashed and there is a lot of yelling happening outside.”

Duck takes his hand, “It’s probably obvious, but I’m a superhero, and a bunch of dipshits are tryin to blow up innocent folks. Stay close to me, I’ll try’n get you somewhere safe and come find you after this is taken care off.”

Indrid does not look convinced, holds onto Duck’s hand like he’ll be sucked up into space if he lets go.

“It’ll be okay, ‘Drid. I promise.”

----------------------------------------

He focuses on Duck’s hand as they run, as if the link between them is enough to keep him safe. The chaos around them, the shouting and dust and disaster in the air, it all feels familiar. Then again, of his boyfriend is a superhero, maybe Indrid’s been in this situation before.

Duck’s fingers are ripped from his own as the hero is tackled by a bulked-up man with a white star on his back. They two grapple on the ground, rolling out of sight in the surrounding smoke. Before he can call out, pain shatters through the back of his head and he hits the ground, pavement scraping his hands. He flips over, finds another starred man sneering down at him.

“There you are. We all had bets going on whether the good doctor killed you with that ray.”

“I” Indrid scrambles back on his hands, head ringing too hard for him to stand up, “I don’t know what you mean.”

“Don’t play dumb, Cold. Everyone knows where the Knight is, you’re right behind him like some weird fucking shadow.”

“I’m not, I swear, please, I have no idea what’s going on.”

The man hits a button on his belt, and a short staff, covered in what looks like sci-fi barbed wire, springs into his hand.

“Let me tell you, then: you’re a pain in the ass, and I’m going to enjoy killing you.”

“Wait, please” his hand connects with something cold, and his fingers tell him it’s a bit of broken pipe.

“Oh yeah, it’s gonna be fun to squash you like the bug you are.”

Indrid watches him raise the weapon. His fingers curl around the pipe.

And he lets instinct take over.

----------------------------------------------

Most of the mob scatters as soon as Aubrey gets the smoke under control, but some of the more determined White Star Boys put up a fight. Duck throws one off of him, turns towards the commotion of two more fighting-

Oh fuck.

“Indrid!” He runs towards the melee, then skids to a stop as his boyfriend takes one down with a skilled, precise blow to the head. The lands a cut on his cheek with a Bowie knife and Indrid snarls, whirling to break the offending hand and knocking the man’s head to the side with the lead pipe he’s using as a staff.

The man goes down, hands weakly covering his face, and Indrid hits him again. And again.

“Moth, for fucks sake, stop! He’s down, you don’t gotta kill him!”

Indrid locks eyes with Duck, tilts his blood-spattered head to the side.

“You have the wrong villain, hero. I am The Sword. And you are in my way.”

Indrid lunges and Duck braces to take the hit that never comes. There’s hissing and cursing from above him, and he looks up to see Indrid trapped in red light.

“I came to help the Lady Flame” The Quell regards Indrid with sorrowful eyes, “but it seems we have a far worse problem than those little power-mad stars.”

-----------------------------------------------

“He’s much quieter than his brother” Stern stands outside the Pine Guard holding cell with Duck, while Indrid sits calming inside, eyes shut as if in sleep, “The Flame monologues whenever he gets a chance.”

“Of all the goddamn parts of his life to remember” Duck clonks his head into the wall.

“I called every specialist on our roster; the consensus is that one of the white star boys must have attacked him. In moments of that kind of intense stress and fear, sometimes people revert back to what they first learned. In Indrid’s case, it was his training to be the perfect villain.”

Duck grunts in acknowledgement, keeps his head on the wall so he doesn’t have to look at the man he loves reverted to his worst instincts.

“I promise we’ll take good care of him until our next move becomes clear.”

“Thanks, Joe.”

The agent takes a final look through the glass, “We’ll get him back somehow. Come on, I’ll walk you out.”

They’ve just reached the parking lot when alarms sound and lights flash, Joe’s communicator ringing like mad. He looks at it and blanches.

“Are you fucking kidding me?”

“Indrid got out?” It’d be the perfect, shitty cap to a perfectly shitty day.

“Yes. Do you want me to call in back-up?”

Duck shakes his head, “No. I was real good at huntin’ down the Moth. Think I can find The Sword the same way.”

He doesn’t add, as Joe wishes him good luck, that he has a horrible feeling he already knows where Indrid is.

Unlocking the apartment door, he takes two steps before his own SmartWhips close around his torso and arms. Indrid steps out of the hall, grinning at him.

Duck sighs, “Yeah. That’s why I figured.”

---------------------------------------

Indrid studies the trapped hero, wondering if he should ask him the main question on his mind, which is whether this location they’ve been pretending is an apartment is Indrid’s hide-out or his. He’s been searching it for twenty minutes and even with his foresight back he cannot tell. He did find his staffs, smart glasses that are confusingly red rather than silver, and a set of wings he knows are based on a prototype of his.

But that is not the most important question to his mission.

“Where is The Flame?”

Duck shakes his head, “Not tellin you. You were the smartest villain I ever faced, Indrid, and I don’t doubt you could bust him out no problem. But you and I both know you don’t want that.”

“It is my duty to free my partner. It is for the best.”

“Is it really? You honestly tellin me you wouldn’t be happier far, far away from that brother of yours?”

Indrid forces his face to stay calm, but his guts twist; how could Duck know how often he wishes Apollo would go on a mission and never come back, or just leave him be for a few days so he could do something, anything other than villainy.

“You know nothing of my brother.”

“The last time he saw you, he tried to blow you up, tortured me, and then tried to kill in some weird trainin arena. He’s a cruel, egotistical dipshit.”

“That...that sounds exactly like him. Very well, maybe you do know what you are talking about. So tell me where he is, and I will not be forced to get the information from you another way.”

Duck squirms, afraid, but stays silent. Indrid hauls his to his feet.

“Tell me where he is.”

“No. Let him rot, it’s what he deserves.”

“What he deserves is immaterial. What matters is he will get out one way or another and if he does it without my help he will-”

Duck gives a knowing look. Indrid huffs, drops him back to the ground.

“Nevermind.”

“He’ll hit you with that lightning rod of his? Or threaten to drown you, like he did that time in, uh, in Kansas City?”

“Would you kindly shut up so I can think?” Indrid turns on his heel, begins pacing. Duck knows a great deal, which means Indrid must have confided in him at some point, likely before he lost his memory. Maybe he was interrogated by him? But even then it doesn’t make sense; Indrid can withstand any kind of torture. Well, almost any kind.

Why on earth did he tell the hero those things?

He spots the rat run, the little black one (Void, that was what Duck called him) sending demanding squeaks his way through the plexiglass. Indrid leans down, touching his fingertip to the glass to mirror the placement of the rat’s paw.

“I wonder if I could take you with me. Doubtless you would make a skilled minion.”

“‘Drid, the scariest thing he’s ever done is wear those glasses that make him look like a giant monster rat to scare off intruders.”

“What part of ‘shut up’ was unclear, chivalrous one?” Indrid glances over his shoulder, finds the hero sitting up with a hopeful expression.

“That nickname. ‘Drid, it’s the first time you called me that since you lost your memory. Do you remember anythin’ else about that name, about why you call me it?”

He thinks, gets flashes of images that he’s certain are the past, not the future; Duck, the Green Knight, throwing him out a window, chasing him from warehouses, trapping him in those blasted SmartWhips. Oh yes, he remembers him now.

“You. You are my nemesis.”

“Uh, I was, but-”

Indrid laughs, high and sharp to cover the disappointment in his chest, “Oh that is diabolical. I lose my memory and what do you all do? You put me in the hands of my nemesis, convince me that I had a life with someone who cared for me as if that could change my nature. Not even I could concoct a plan that cruel, chivalrous one.”

“Indrid, please, you gotta remember the rest.”

“I do not need to do any such thing. But it does change what I do with you.” He stalks forward, wrenching Duck up by his hair.

The whips close around his wrists, trapping them together.

“Let me go this instant!”

“No can do, sugar. I ain’t gonna fight you, but I ain’t gonna let you hurt me, or anyone else.”

“You” Indrid sees the explanation coming, “you stole one of my smart picks! You are as bad as Apollo is!”

“Trust me, I ain’t.”

Indrid tries to hurl him against the counter, but Duck holds fast, causing the villain to simply unfurl the whip some. The hero giggles, quiet at first, then growing louder.

“Christ, it’s like fuckin deja vu, you and me bein like this. At least I did it on purpose this time.”

The villain is about to snap that there’s nothing funny about being trapped with one’s nemesis. Then the memory comes, he and Duck taken from enemies to allies in an instant as they tried to undo the malfunctioning smartwhip trapping them together. The night, about a week later, when Duck sent a spy B.U.G just to make sure Indrid wasn’t too badly hurt from a fight.

The Green Knight, looking after the Moth as if he was a friend, not a villain.

The Moth. He’s the Moth.

He surges forward, slamming his lips against Ducks mouth. The hero gasps, bound hands gripping the front of Indrid’s black shirt.

“My love, my love, Duck, I’m sorry, I am so sorry, one moment, I can get us unraveled.” He kisses him again, his mind and body registering the full weight of almost a month without his hero’s touch.

“Please tell me this means what I think it does” he mumbles into Indrid’s mouth.

“It does my love. More or less. Things are not coming back in a linear fashion, but it feels as if my memories have all awakened and will be in order eventually. I, I feel like myself, my full self, again.”

“Thank sweet baby christ, fuck” Duck huddles close, shoulders shaking, “didn’t know how much longer I could stay calm, you’re fuckin terrifyin when you want to be.”

“Oh, oh dear, apologies” The whips drop to the ground, “I did not remember, I, I was more lethal, more willing slash and burn when I was The Sword, I never wanted you to be on the receiving end of that, oh goodness, I’m so sorry, my sweet.” He holds Duck to him, buries his face in his hair when he thinks of what he might have done.

“You’re back.” Duck presses a kiss to his neck, “you’re back. That’s all that matters, fuck, I missed you so much.”

Indrid shuts his eyes, holds fast to the man who makes his mind sing “home” with every beat of his heart.

“I missed you too, chivalrous one.”

----------------------------------------

Dr. Amig Dahlia prowls towards her laboratory. The Pine Guard brought her latest scheme crashing down, and it’s high time to make them all into blank slates, the way she did with the meddlesome Moth. At least he’s still nowhere to be found.”

“Hello, doctor.”

Seated directly in front of the memory ray is none other than The Moth. He stands, patting the ray, “this is a very clever device, and had it not made my life, and the lives of others, miserable, I might applaud you for it. As it is, I am here to demand you disable it, and turn yourself in.”

“Last I checked, my ray didn’t damage your intelligence, so that idiotic idea must be all yours.”

The Moth cocks his head, “Is that a no?”

In answer, she steps forward, pressing in the sequence to arm the device.

The hero stays put, right in it’s path, “firing on me will not end well. I modified your device while you were distracted by my teammates. It will backfire when you pull the trigger”

“Nice try,but you’ll need a more convincing lie to get out of this one.” The lights on the side of the ray turn green.

The wide smile changes, all ice and edges, “Before you make your choice, consider this; Because of you, I almost hurt the man I love.”

She rolls her eyes, touches the trigger, and white light explodes all around her.

-------------------------------------------------

“What did you do to that ray?” Duck stands next to him as they watch medics help a sobbing Amig Dahlia into an ambulance.

“In addition to reversing the direction of the energy, I changed how it interacts with memory; instead of blanketing them over it pulls certain ones out and plays them on repeat. Namely, it pulls out those memories one would most like to forget.”

“Jesus.”

“Believe it or not, the futures show this being an exercise in empathy. The effects are not permanent, and when she comes out of them she will swear off villainy and move to Key West.”

He does not add that this seems a fitting quid pro quo for the fact recovering from her device means memories of his childhood appear without warning more than they usually do.

Duck is no longer beside him. There’s a metallic crack, and the hero drops the two halves of the ray on the ground.

“Just to be safe.”

“A wise idea, chivalrous one.”

They finish up at the hidden lab, and the Moth and The Green Knight disappear into the Pine Guard base. Twenty minutes later, Indrid Cold and Duck Newton step inside their home. It’s warm and comfortable, bustling with love and promise.

Just like Indrid remembers.

#indruck #indrid cold/duck newton #superhero au #Angst with a happy ending #memory loss

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sisterspooky1013 · 3 years

Text

Work: The Night We Met

Author: SisterSpooky1013

Rating: teen and up

Words: 1219

Read it on AO3:

Summary:

Each work in this series is inspired by a song. I recommend listening to the song before reading.

Set post IWTB

Work Text:

“The Night We Met” by Lord Huron

I am not the only traveler

Who has not repaid his debt

I've been searching for a trail to follow again

Take me back to the night we met

And then I can tell myself

What the hell I'm supposed to do

And then I can tell myself

Not to ride along with you

I had all and then most of you

Some and now none of you

Take me back to the night we met

I don't know what I'm supposed to do

Haunted by the ghost of you

Oh, take me back to the night we met

When the night was full of terrors

And your eyes were filled with tears

When you had not touched me yet

Oh, take me back to the night we met

I had all and then most of you

Some and now none of you

Take me back to the night we met

I don't know what I'm supposed to do

Haunted by the ghost of you

Take me back to the night we met

*********************************

Virginia, November 2010

She stood in the doorway of his office, leaning against the frame with crossed arms, surveying the scene. The newspaper clippings, the dog-eared magazines, a dozen dirty cups and mugs, a pile of sweatshirts worn briefly then discarded for a fresh one. At the desk sat a shaggy haired man, wire thin and unkempt, hunched over a pile of photographs with a magnifying glass. He hadn’t left the room or acknowledged her since she arrived home from work three hours ago. She’d showered, cooked dinner, ate, cleaned up, and still he remained here at the desk, his back to her both literally and metaphorically. She’d put on a little makeup and slipped into the white cotton shorts he’d always expressed an affinity for, despite the snow on the ground outside. Her breasts were pushed up beneath a V-neck t-shirt, perfume dusted over her chest, her long hair untied and hanging loosely down her back, as he liked it best. She’d felt embarrassed as she gussied herself up like this for a man she’d been with for 10 years, known for 17. She felt invisible in his house with him, or maybe it was him who was invisible. They never seemed to exist in the same plane anymore, and some nights she tried her hand at luring him back into her orbit with her body, her mind, her touch. At first it had worked, and he’d return to her for a few hours to kiss all the places on her neck, belly and thighs that ached for him night after night, only to disappear back into the depths of his mind in the morning. In the early days, as he started to slip away from her, she tried to stifle her cries of mourning, reserving them for the shower or her drive home from work, but at some point she realized that he didn’t hear her, and she didn’t need to try to hide herself; she was already hidden from him by his own demons. She wept openly now, often sobbing in their bed at night, a bed he hadn’t slept in in months. There had been a time when he was so in tune with her needs that she didn’t need to speak them; he could sense her mood from a sigh or a shift in the way she held her body. He would attend to her with words and touch, his eyes saying more than his lips ever could, his devotion to her never under question. She had counted on that devotion lasting the rest of her lifetime, and it was a rude awakening the day she realized that their bond was not, in fact, unbreakable.

Taking a deep breath, she cleared her throat, altering him to her presence. Poised with hip popped and chest pushed forward, she hoped to draw him in by way of his carnal needs.

“What’s up, doc?” He asked, not looking away from his photographs.

“Are you coming to bed tonight?” She worked to make her voice sultry, not nagging.

“Uh, yeah, in a bit. I just have some things to finish up here.”

She knew that meant no. There was always something to finish up. Her lip quivered slightly, preparing for the rejection, again.

“Mulder?” Her voice cracked a little despite her best efforts.

“Hm?” His head was still bowed over those stupid pictures. Probably shitty big foot fakes, knowing him.

“Will you please come to bed?” She knew her tone had devolved into begging. She hated herself, hated him for bringing her to this place.

He sat up a bit straighter, perhaps registering her pain. She felt a flicker of hope that the man she once knew would die to be with her was still in there, somewhere. Then with a huff of breath he deflated again.

“I haven’t showered today, Scully.”

“So take a shower.” Tears were welling up in her eyes, and she blinked them back. Crying was not sexy.

He turned then, his chair swiveling around to present him in his disheveled state. He looked awful, a shadow of the man she fell in love with, but she still loved him. Still wanted him. Wanted them. His eyes flickered over her almost imperceptibly fast. If she had any affect on him, he wasn’t showing it. They came to rest on her face, and the hollowness behind his hazel irises was a punch to the gut. He pursed his lips, searching for words.

“I’m sorry, I’m just…I’m not really up to it, Scully.”

Now the tears did break loose, sliding silently down her cheeks as she contemplated whether she should just sit down right here to have her daily breakdown. Maybe if he had a front row seat he’d understand how much pain he was causing her.

“Up to what, Mulder? Being with me? I’m not asking for sex. I just want….” Her voice caught and she stopped to swallow against the lump in her throat. He stared vacantly at her while she composed herself. When she spoke again, it was a near whisper. “I just want you.”

He closed his eyes against her, choosing not to see her anguish. Shutting her out, as always. She waited and he stayed there, eyes closed, until it was eventually clear that he wasn’t coming back. He’d withdrawn from the conversation. She went to her (their) bedroom, slammed the door, and sobbed uncontrollably while she packed several bags. She held out hope that he’d open the door, come to her, try to make things better, even though the past couple years told her that he wouldn’t. As she walked past his closed office door and loaded her bags into her car, she thought about the first case they’d worked together in Oregon, and how he’d opened up to her, trusting her even though his instincts told him not to. Through all they’d been through together, all the loss and pain and hurt, she’d never once wished she’d made a different choice; it all felt worth it when she was safe in his arms. That night, for the first time in 17 years, she wished that she’d walked away while she still had a chance at a normal life.

#the x files #txf #gillovny #sculder #msr #fox mulder #dana scully

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meibemeibelline · 4 years

Text

part 3 (FINAL) of highlights from that 32k word doc i wrote when i marathoned gazette songs (2012-2018)

PART 1 | PART 2

once again:

This is a combo of thoughts on music, lyrics and other random things I wrote while listening. Not every song will be featured, sorry.

I sometimes directly quote translations and when I do, I’ll specify whose it was. Here are the masterposts of lyrics by Heresiarchy , Defective Tragedy and Trauma Radio

I will write song titles for which there are warnings in bold and all caps

So this part will be a bit different because mental health and The Band became really prominent themes in their music in a way it wasn’t really before, so rather than simply writing about songs as they come, I do (attempt to) connect some dots between songs and albums

Also this is REALLY LONG (~5k words)

If you read any of these posts, thank you <3

CONTENT WARNINGS: murder (In Blossom), reference to abuse (In Blossom), suicide/suicidal thoughts (Kagefumi, Deux/Blemish), reference to PTSD (Incubus). Overall LOTS of discussions about mental health.

buckle up folks it’s gonna be a long one

So I listened to Division according to the limited edition version where the songs got split into the ‘story-like songs’ and the ‘hype songs’. Just while we’re on that, I like to think that Vein is the story part because these songs (the blood) are meant to go TO our hearts, while Artery, which is the ‘raw emotion’, is the heart doing the talking and supplying the oxygen that will do its thing. LIKE HEADBANGING.

“Ibitsu is not the first song they’ve written about changes in the music industry, but it’s quite different from others like 13Stairs[-]1 and Dim Scene. They were quite angry about the state of things, lamenting it. But here, Ruki is writing his and the band’s place in all of that. It’s like in the other two songs he’s like, “wow look at all this rubble. This sucks.” But in Ibitsu he’s writing about how he’s also in that rubble and thinks about what HE feels about it in relation to himself and the GazettE. And I find that quite interesting. Also hell YES imagery – skies as ideals, the world around them collapsing into ruin, the band as a flower amidst the rubble that can’t reach the sky. It sounds like he’s trying to navigate how he’s supposed to move forward when his ideals and what’s happening in the industry oppose each other quite a lot. He doesn’t reach an answer in this song and ends by asking whether it is actually in ruins or whether he’s just afraid of change, I think.” - interestingly, he uses this same imagery in Kuroku Sunda Sora to Zangai to Katahane to write about anxiety and not feeling good enough.

Quick disclaimer on KAGEFUMI: I do want to say first that I’m talking about this purely as a piece of art. Not as in, like, “this is peak romance”, but just as an artwork I can have Opinions™ about, even if they’re possibly in disagreement with that of the creator. “The shadow tag metaphor for a couple committing double suicide meaning that they’re ‘becoming one’ and being together in death is A Lot. There’s an incredibly strong belief in an afterlife where they can be together makes (what Ruki describes) this stronger bond between them that literally lasts or even transcends the boundaries between life and death, rather than a tragic end (unlike Tokyo Shinjuu). Musically, I love this song and think it’s gorgeous, the way it’s sad yet hopeful. We over here with that bittersweet stuff again but lyrically it’s a WILDLY different route than others before it.”

“Yoin is such a heavy end to disc 1. The ending lines, “The sea of loss / Understanding of helplessness / That day we grieved” about the Tohoku earthquake/tsunami and the nuclear disaster is just so ……. And not only that, but how even though people still struggle to survive, people are moving on like it’s a thing of the past. It’s SO heavy.” (Cr: Defective Tragedy)

“I think [Derangement] is about a massive internal struggle between wanting longing for the past, knowing it won’t come back, but also wanting to destroy the past out of self-hatred. There are aspects of the past, perhaps ambition and drive for example, that are good, but other parts that are not. It’s almost like a continuation of Remember the Urge but like…angrier and with more hatred towards his own past rather than only the longing of it. Which is also really interesting.” – this is definitely one of the themes that comes up A LOT from now, ESPECIALLY in Ninth. We’ll get to that.

“IS KAI GOOD??? That man is NOT human. I swear to god his drums in Required Malfunction are INSANE. ANYWAY, this song is about how people cannot be perfect and we all have flaws, especially in the context of relationships. I like that even though people argue and butt heads sometimes, there’s that Japanese verse where he sings “Let’s send a song without stains / to that innocence without lies / so you can swallow those wounds” and the last lines “Because you are always here, I can advance” to mean like…them being together can ultimately make them better and it can be a good relationship (if they work on it, imo). Also, I love the language he uses here – viruses and malfunctions and inputs – a very non-human way to write about human relationships.” (Cr: Trauma Radio)

(Dripping Insanity) “Solitude drenched in red laughs / in the insanity dripping in silence” is SUCH a good line yes hello I appreciate this. (Cr: Heresiarchy)

“EYYY HAVEN’T HEARD FORBIDDEN BEAVER IN FOREVER. At first I was wondering if this might be judgmental but honestly? I think this is satirical, especially from the line “May the truth you spew on taboos going frantically around / Shred the rhythm of high society”. Like the fact they’re gossiping about a famous woman who has a lot of sex and just TARNISHING her name bc of it, to Ruki, is a load of bullshit. Also, some of the lyrics in the chorus are funny coming from Ruki – “She has a sex addiction / Bang! Bang! / Cute luv machine” – like he does NOT ever write like this and this song is just a huge satirical joke I’m YELLING.” (Cr: Heresiarchy)

“The transition from Malformed Box to Inside Beast >>>>”

“[Inside Beast] is definitely about having a ‘beast’ inside you that’s like all your demons and ugly feelings and to let them all out. He wrote about demons in Derangement, but the way he writes about acceptance is like…empowering and freeing. Not necessarily through words but through the music and just how hard this song slaps.”

“I really love the lyrics of [Until it Burns Out] and its whole thing about valuing the time they have as a band and to be together making music precisely because it’s going to end someday, and it’s going to be their last shot at living their dreams, which is to make music and perform TOGETHER as the GazettE. Like that’s so meaningful, and powerful in the way they just…grab it by the fucking throat. Breaking down the walls that hold them back, TOGETHER, towards the future in which they see their dreams. Like they’re not letting this be the end. They won’t allow it. UGH. UGHHH. The middle eight is so beautiful and I love the lines “The light that colours this irreplaceable scenery / burns the significance of standing here into me / Until the last” like they just love performing SO MUCH UGGGHHH FEELINGS”. (Cr: Trauma Radio)

“[REDO] IS SO GODDAMN SENTIMENTAL I’M IN MY FEELINGSSSSS. Kai being the composer, I can’t help but feel this is him paying homage to jazz, which is the music his mother plays and he loves her so so much. I’m probably reaching but THAT’S JUST HOW I FEEL.”

“EVERBODY SHUT UPPPP IT’S LAST HEAVEN TIMEEEE. It’s so gd gorgeous and sweet. I’M GETTING REALLY EMO WHAT THE FUCKKKK. BRUH. BRUUUUHHH. THIS IS SO BEAUTIFUL //THROWS. SHUT UPPPP. TOO MANY SKY, STAR AND FOREVER REFERENCES FOR THIS TO BE OKAY BITCH. This is Ruki’s love song to the cosmos, wishing to be eternal like the stars but acknowledging that all he can do is chase it knowing his life will end, BUT THAT THEY DON’T HAVE TO GRIEVE BECAUSE THEY WILL MEET AGAIN IN THE AFTERLIFE BECAUSE IN SOME WAY WE /ARE/ ETERNAL. IT’S LOVING AND INNOCENT AND WISTFUL. This song is the goddess to all the GazettE love songs. THANKS FOR COMING TO MY TED TALK. “The distant sky, this infinite moment / I now wish from the visible stars / in this youthful merry-go-round / that continues to turn endlessly / I want to be eternal like you” – is just…such a beautiful image. “Let’s stay like this, having dreams we cannot reach / Long road which leads to the calm hill / I go, leaving my sadness behind / Good night…my beloved / Last heaven of mine” – it’s yearning but it’s the yearning for LIFE. And to leave behind sadness…Ruki very rarely writes about pain like this. And to call the ‘beloved’ his last heaven, the last thing in his life that’s just THE BEST THING THAT’S EVER HAPPENED TO HIM AND THE THING HE WANTS TO BE ETERNAL WITH goodbye………GOODBYE. “Love without shape changing day by day / Close together / we become / one shooting star” – AAAHHH AAAAAAAAAHHHHHHHH. Also, for him to say ‘memento mori’ which means “Remember, you must die” in the middle eight of a song about wanting to be eternal just gives the entire sentiment a new meaning ;-;” (Cr: Trauma Radio)

“There’s a particular sound to Division and Beautiful Deformity (but more in BD). It sounds like rushing water. Loss in particular sounds like this. Like, the sound isn’t just ‘dark’ and ‘heavy’, it moves A LOT and there is sooo much emotionality in the songs on this album. It’s really dynamic.”

“The Stupid Tiny Insect revisits the theme of inner demons. Specifically, in this song it sounds like negative internal self-talk. It’s interesting though, the way that Ruki writes it as an entirely separate being to how he writes inner demons and whatnot in other songs, where it’s either another entity within a person that is part of them OR just…themselves. Here, they are VERY separate, and that probably allows him to feel and express rage instead of helplessness or confusion. I also love the reference to pretending to be okay – “I get high on delusion / And act as if I made them die out / ‘Just like a summer moth to a flame”.” (Cr: Heresiarchy)

“IN BLOSSOM is pretty fucking brilliant lyrically imo. It reminds me a lot of 32 Koukei no Pistol in that a protagonist who was abused/neglected by the parents kills them, and in the latter’s case only, also themselves. Some other differences: In Blossom is WAY angrier (and a lot more loaded) and the protagonist is trying to ‘make their own life’ (even if the way they choose to do that DOESN’T WORK), whereas the narrator in 32 Calibre Pistol was mostly lamenting that they’ve ‘lost their way’ and deep-down were wishing for their family to be happy together. I can’t say WHY that is. But it’s interesting that in In Blossom, the abuse just…DESTROYED their concept of family that they used to believe in entirely, and the fact they cannot separate themselves from their abusers neither by dying nor killing them is A Lot. So, they try to free themselves and ‘get hope’ by killing their abusers as revenge (“Die away, along with these wounds I’d counted”), but it doesn’t bring them happiness or heal them (“Even if I slash so much it’s unparalleled by the wounds I’d counted, it still starts to ache / It doesn’t even fight off the decay, much less heal me”). It’s very much saying that despite pain, revenge is not the answer. I also love the line “They adorn vividly – have blossomed beautifully / The sun that has started to set makes sure of it” to describe the wounds as the narrator kills their abusers and their loss of sanity as they do so.” (Cr: Heresiarchy)

“To Dazzling Darkness is about that moment when a concert is over and the lights start to come on. It’s so gorgeous. This is sort of like, the other side of Until it Burns Out. If UIBO is about the band then TDD is about the fans, and the band’s place in the world. I love the imagery in the first verse – darkness is usually associated with bad things, but here darkness is peace, escapism and unity that are part of the happiness of a concert, while the light symbolises the continuation of life. The scenery here is the same scenery in UIBO, which is the scenery of a concert that this band cherishes. There’s also the acknowledgement that time is fleeting and nothing is forever. Like, this is really the other side of the coin and I love it.”

“Dogma defines their new (2015) sound so well, which is HEAVY AND DIRTY AS FUCK. Like, it is SO conceptual and experimental and the painting is just GORGEOUS. I love the harpsichord in this song – as the predecessor of the piano, it was used in a lot of churches and religious music in the Baroque period (1600-1750ish), so using it here in a song where the band is likened to idols (the religious type) is super cool. And to combine it with these really low and heavy guitars just gives the DARKEST image.

And there’s so much going on in the lyrics – MANY MOTIFS, MANY MEANINGS. They bring back the concept of darkness as a symbol for escape from harsh life and of unity during concerts. As for death, Reita has an iconic quote where he said something along the lines of: “we often say in lives ‘to die’, but what we actually mean is to live. Live and be free”. I see death for GazettE as a kind of transformation – and end, yet also a beginning to become something or someone new.

Ruki hasn’t really mentioned god since Ogre in Dim, in which he basically wrote “idk if God exists but I don’t really care – all I need is me”. But here he likens the band to an idol of worship. We as the fans worship the GazettE, and they are also gods to us, their followers, in the sense that they provide us with life and unity (referred to here as death and darkness, respectively). The GazettE as a band brings darkness and death to the world (with their own meanings, of course).

This is also a song about the band breaking away from current gods and dogmas of the music industry, and from its greed. I also love the line, “The rite I must face is cloaked in darkness and isolation” – this process of their journey to finding their truth is lonely, and no one but them can do it for themselves. To do so also isolates them from everything they once knew. It’s them navigating what is expected of them by the masses and those they work with vs doing what they want without getting shunned for it.” (Cr: Defective Tragedy)

“DAWN IS ABOUT REDISCOVERING THEMSELVES. I love the number of metaphors he brings back in this song – 13 stairs, death, merry-go-rounds and again dogma. Death here is about the transformation of them as a band, which occurs at the top of the 13 stairs to the gallows. And I find that so interesting because he uses the image of gallows (eg: 13 Stairs[-]1 and Forbidden Beaver) as like…an actual Death that means the end of a genre or a person’s reputation, but here it’s a place of transformation. In Last Heaven, the merry-go-round is a symbol of life – it comes back here but this time it’s red instead of blue (youthful) and is paired with the image of a mad banquet with emotions running wild (ie concerts). Basically, this is about the band’s life and, like, their life being about concerts. My favourite part is “Overcoming a period of confusion, I took those stirring emotions / And hung them up high on the 13 stairs” because there’s also the line “I’ve already had a lethal dose of misfortune / The ruined gallows towers above me” -> WE WENT THROUGH SOME SHIT BUT WE FOUND OURSELVES AND SURPRISE BITCH, BET YOU THOUGHT YOU’D SEEN THE LAST OF ME.” (Cr1: Heresiarchy, Cr2: Defective Tragedy)

Not from my notes directly but I feel like the difference between Bizarre to Juuyonsai no Knife (ie the only two songs about Real juvenile criminals) is a REALLY good representation of how Ruki’s lyrics have changed over the years. He went from taking perspectives of people who perpetrators of violence (to write horror stories, imo, but also to generally Explore their minds through art) to making comments about society and how systems affect people in real life. Not to say he doesn’t write about killers anymore or that social commentary is NEW for him, but just…a big change in what’s PROMINENT.

“Interesting that Wasteland is next, which is about Justice on the Internet. I know Ruki has always been really critical of the internet and the kind of social processes that occur online (see: Nakigahara) and here it’s about morality and justice, but more importantly the way it’s about crowd mindsets and CONTROL. And he just summarises it SO WELL in the first verse: “The thousand eyes that can kill even God / Transform into rebels that lust for control / If the time comes when right and wrong disappear / It will all end with a blood-red moon”. There’s also the line “Innocence gives way to sinful judgment” ie the innocent go along with their ways or it’s the innocent (the weak, as he says later) that are scrutinised. And I think about this a lot considering…some other fandoms I’m in >.>” (Cr: Defective Tragedy)

(INCUBUS) “The song is a lot of wondering what they did to deserve their trauma and how they want the dreams/nightmares to go away. I do like that at the end of the song they come to the conclusion that they cannot change what happened and decide “fuck the why”, accepting they didn’t deserve it. Even though the narrator is still stuck in the maze (of trauma), the letting go of asking why it happened is like, a really important step in healing. Because it’s the end of self-blame. So, I hope narrator can heal :( “

(DEUX) “My dumbass never realised this but the music of Deux itself has DUALITY. Metal with solo piano. IT REALLY TOOK ME FIVE YEARS TO REALISE THAT HUH. It’s about two conflicting selves (which to me sound more like intrusive thoughts, considering Blemish’s VERY LOUD “These days I’m better dead”) and the effect that has on like, your emotionality and how it leads to loneliness. His use of nightmares in this song is fascinating – the Japanese word he uses (sakayume) is like…a reverse dream, like if a child has a nightmare you tell them it’s a sakayume so it means what happened in their dream definitely won’t happen AND something good will happen instead. And this is something Ruki prays for.”

(Ominous) “The imagery is really dark in this – “A prayer crushed under wreckage / Reflects in your eyes as you start to fly / I see you in the sky thick with shadows / Spinning around with nightmares” – there’s a desperate attempt to fly and get better and do Well but still they’re surrounded by darkness and nightmares, unable to escape. “Don’t forget that a heart cannot die / Don’t forget that dreams aren’t predictions of the future” –There’s hopefulness in a heart not dying yet a very strong despair when he says dreams don’t predict the future, not even reverse dreams. “It steals away my still-unformed future, and whenever I step forth / I can’t see a thing in that shadowed sky / My screaming can’t save anything / when I’m killing myself with sadness” – oh that hurts, that hurts A LOT. He wants to fly but he can’t. This is just SO MUCH. And they didn’t even have an instrumental outro, IT JUST ENDS WITH ACCEPTANCE OF HOPELESSNESS AND DEPRESSION.” (Cr: Heresiarchy)

“The drums in Goddess uggghhh UGGGHHH. AND THE GUITAR TOOOOOO. Lyrically, this is really a mid-point between depression and healing. It’s A Lot. He writes about his suffering, wanting to make something of his mistakes and his sins and actually WANTING TO LIVE. But it’s so sad that in the end he still feels really helpless – the subtle changes between “I want to become the stars that fill the silence” vs “I can’t become the stars that fill the silence”. But I think that on some level he knows what the next step is. He wishes in the last two lines, “If only I could share my grief that can’t be put to words / If only I could face reality and live accepting my crippling despair”. THAT’S THE FIRST STEP!!!! THAT’S A STEP!!!! TO HEALING!!!! “These bleak thoughts are my sacrifice that will one day begin to thaw into a selfless, smiling heart” – this line is fucking LOADED. Like, he sacrifices his bleak thoughts by expressing them and by making art out of his pain in hopes that he will be able to acknowledge and accept his suffering and his pain as a means to heal, as a way of allowing him to have a selfless and smiling heart. Like, this is SO much of what his art is about and what it has been for SUCH a long time it makes me so emotional that this is what he’s saying about his own lyrics.” I realise too that the goddess is likely the same goddess from Blemish. I’m still unsure what to make of it because Blemish ends in Ruki writing he doesn’t wants to be reborn, and not abandoned. But here he ends with wanting to heal. Wanting to move on and live.

WHICH BRINGS ME TO UNDYING.

“WHEN HE BROUGHT BACK “SLEEP, COUNT ME DOWN AGAIN” >>> God, this song is so powerful. THERE ARE SO MANY CALL-BACKS TO DOGMA. I SHOULD’VE KNOWN THIS BUT STILL. BITCH WHAT THE FUCK. It’s a direct continuation of Ominous (“I won’t arise from this”). I think in this song he’s becoming that figure that is flying in Ominous, and the one that is surrounded by nightmares and shadows – the first verses are about how the future is drenched in misfortune yet we must continue to live (and suffer, but WE CAN AT LEAST BE A BIT HOPEFUL). Ruki says this YET HE IS STILL DREAMING, EVEN AS THE END COMES (“My heart starts to disappear along with the spirit of my words / And though it knew the end was near / It dreamt of things it shouldn’t want / And even now I am still—“). There’s also his mentions of sins again that he continues to drown in :( But overall, this song is really about living despite all the pain, which is really meaningful after Dogma ended on such a note of hopelessness. There’s so much power in this song.” (Cr: Heresiarchy)

“Vacant doesn’t necessarily sound like a romantic relationship breaking down as much as it is about making a mistake and being unable to fix it between you and someone else (or other people), even if Ruki said he wrote it with a band’s image in mind. But the gist is is that there is yet again a struggle within the self (“Self-condemnation distorts the answer / And I lose sight of what I should be / Because of those unconscious actions / I can’t even dream”). The line “In the pain of not being able to tie back the undone thread / The traces left by stopping time keep piling up” really got to me – being stuck in time and constantly wishing for something that was and being hurt by the fact it’s gone is something I personally relate to. But even as the narrator is stuck in time, their grip on the past is loosening – they are forgetting, memories fade, and they lose their strength (“Vacant, you are withering”).” (Cr: Heresiarchy)

(Faling) ““Together, embracing the same pain: it’s only temporary / Don’t forget that this is not the end / So come on, let’s open our eyes and fall / We just believe in ourselves to die / Sometimes it’s okay to be broken” THIS MEANS SO FUCKING MUCH AFTER THE AMOUNT OF TIMES RUKI ENDED DOGMA SONGS WITH HOPELESSNESS AND AT BEST “WE HAVE TO KEEP LIVING AND SUFFERING AND BEING IN PAIN” BUT IN FALLING, PAIN IS TEMPORARY. PAIN IS TEMPORARY. WE WILL HEAL, BITCH. WE WILL GET BETTER, BITCH.” (Cr: Defective Tragedy)

Can’t find my notes bc it’s somewhere else in my Tumblr drafts but basically: I consider Mortal, Utsusemi and Sono Kore wa Moroku like a Depression Trilogy™ in Ninth. Mortal is about depression, loneliness and loss but like, tying it to a singular person or event in which the narrator felt grief. Utsusemi is about loneliness and depression as well, AND RUKI USES THE CICADA SHELL METAPHOR, WHICH IS THE SAME AS CRUCIFY SORROW (ALSO ABOUT DEPRESSION, BUT SOMEONE ELSE’S). But then, Sono Koe wa Moroku is THE turning point and where he first mentions (in this album) and actual DESIRE to heal and like, ON HIS OWN. IT’S ABOUT BEING STRONG FOR HIMSELF AND THAT MAKES ME SO EMOTIONAL. And as I mentioned before, Falling also ends on a hopeful note about sadness not lasting forever – it’s like he’s prefacing the album with the fact sadness IS temporary and that there IS a turning point.

“Babylon’s Taboo is interesting…so apparently Babylon is a figure of western imperialism and capitalism in the Rastafari movement (an afro-centric anti-capitalist and anti-imperialist movement from Jamaica). The narrator is COMPLETELY aware of the oppression and injustice that goes on around him but confesses to doing nothing. I interpreted this as complacency to violence, which Ruki has written about before. Also, he describes a starry sky (which I presume represents wealth and happiness) as a lie, and that they are actually black eyes that watch and look down upon you. In the context of anti-capitalism, my interpretation is that the ‘guaranteed fate’ he writes about is the life-long struggle to attain wealth and happiness – we are doomed to dedicate our lives to this, futilely, to no end. and there’s nothing we can do about it. Another line that stood out to me most is “all I need is sanity but uncertainty will do”. this, along with the rest of the song, implies that the narrator is PRETTY DAMN SURE that we’re all fucked so like....HAHA COOL.” (Cr: Defective Tragedy)

(Two of a Kind) Okay so…another motif I noticed in this album is an I and a You. And I know this sounds weird considering almost EVERY SINGLE GAZETTE SONG uses first and second pronouns, but mental health is SUCH a prominent, overarching theme in a way no album concept has been before, hence why I’m saying this. Two of a Kind is really solidifying this for me, but they appear in almost every song (but the You is known as ‘she’ in The Mortal). This pair are connected in an extremely emotionally intimate way. For one, they share pain and understand each other’s pain. Secondly, the narrator falls into depression after they’re gone. A part of me thinks it could be a past self and a current self, considering Ruki’s said this album involved the Most introspection from him and Falling writes about sins and past mistakes again. So, it could be a way of separating a past and current self – a past self that was perhaps lost, and made mistakes, but ultimately creates his current self.

But it could also be another person, as this You figure is also a source of light – someone Ruki shares his wounds with, in Two of a Kind. If it’s another person, it may also make sense that the depression and loneliness written about in The Mortal and Utsusemi is triggered by someone extremely close leaving him. Either way, it is this understanding and connection between the I and the You that also bring hope for the future and I REALLY love the way that hope is conveyed in the chorus of Two of a Kind. There’s so much light in it compared to the parts of the song where ruki calls himself filthy and ugly, and when he writes about negative feelings that never go away and bleed into this other person. but i think this other person understands it, and that’s why he can move on.

“Abhor God is a REALLY dark and heavy take on MOVING FORWARD. Like there’s so much rage in the way he writes about killing his lust, pride and anxiety and stringing up his nightmares in a noose, yet so much power in how he moves forward and sings victory with his music and his art. This is likely connected to Ninth Odd Smell and Uragiru Bero - where he writes about the band’s history and his imposter syndrome as an artist despite the band never going to die just because of that. He contrasts ‘too fast to live’ and ‘too young to die’ like, he’s really in a sort of purgatory where he’s constantly making too many mistakes to be happy but has too much to do for him to give up. So it’s here that he chooses to keep going no matter how weak the beat is. Imagery-wise this feels like.....continuing to live not because you have happiness to look forward to but just out of sheer willpower. Like it’s just so angry. Angry at the world, at yourself, but carrying that anger to try to be better and move forward.”

“And Unfinished is about the fans being his reasons to live and IT MAKES ME VERY EMOTIONAL THAT THIS IS HOW THE ALBUM ENDS!!!!!!! WITH HOPE!!!!! AND MOVING FORWARD!!!!! THEY LITERALLY ENDED THEIR ALBUM THAT’S ABOUT THEM ‘MAKING THEIR MARK ON THEIR WORLD’ WITH LIGHT AND HOPE AFTER LIKE TWO STRAIGHT ALBUMS OF /DEPRESSION/. EVERYBODY GO HOME WE LOVE HEALING IN THIS HOUSE.”

AND THAT’S THE END FOLKS!!!! if you made it here thank you so much for reading my ramblings and i appreciate u so so much <3 i hope you learned something new about the gazette’s music (i sure did - it’s why i went on this marathon in the first place!!) and again i have a list of posts i might write (which will definitely be shorter than these) so! yeah! anyway!! it’s past 11pm and i have no more brain cells. thanks again love ya have a good day/night <3 <3

#the gazette #gazetto #ruki #uruha #aoi #reita #the gazette kai #kai #the gazette ruki #the gazette uruha #the gazette aoi #the gazette reita #why am i tagging this #anyway i just want to say #i tried to stream bts' new song while putting this together #but i physically COULD NOT #the dissonance was too much #anw i love dynamite it's such a great serotonin boost haha <3

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charliejrogers · 4 years

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The Karate Kid (1984)

Being a fan of pop culture in the 2010s has meant a lot of things, but one of them has definitely being subject to boat loads of 80s nostalgia of which I have none. There was a Ghostbusters revival, a Star Wars revival, those commercials that recreated significant portions of Ferris Bueller and E.T., the very existence of Stranger Things with its infinite call-backs to E.T., Aliens, Indiana Jones, etc. But as a big-time fan of How I Met Your Mother, I was subject to endless references to 1984’s The Karate Kid. Between HIMYM and that episode of Community where they recreate the entire movie as a play, I feel like I had already seen this movie before, and frankly I wasn’t too excited. I’ve been told “wax on, wax off” so many times in my life it had practically lost all meaning. After so much build up for what seemed like a silly teen movie from 36(!) years ago, I expected to be disappointed.

I love when my expectations are wrong. This movie fucks. If I were a kid/teen in the 80s, I would absolutely be a Karate Kid fanboy. Yes, in plot it’s not too different than the first Rocky movie. A challenge is put forth to our underdog protagonist (here Daniel played by Ralph Macchio) and the movie focuses on his training alongside an old, cranky man (here Mr. Miyagi played by Pat Morita) as he gets ready for the big fight with which the movie closes.

Like Rocky, Karate Kid too focuses on issues of class. Daniel and his single mother live in a slightly dilapidated apartment complex and drive a car that often requires a (quite literal) running start. Meanwhile, seemingly the rest of the high school Daniel attends lives in mansions and attends social gatherings at the local country club. But where I felt Rocky was rather one-noted in terms of its themes, this movie isn’t simply a rich vs. poor story. Nor, like Rocky, is the final fight simply a way for the protagonist to gain glory. This is a coming-of-age tale, one in which training is less about building muscle and more about find balance (in more ways than one). And it’s a film whose script is in countless subtle ways filled to the brim with heart.

Every character is a fully rounded individual whose backstory is filled with sadness, sometimes made obvious to the audience, sometimes merely hinted at. Much has been said (sometimes comically, sometimes not) about how the film’s primary antagonist (the snobby, entitled, rich kid Johnny Lawrence played by William Zabka) is unfairly portrayed as a villain. While I find these arguments largely facetious, I admit he is far more than your average movie stereotype of a bully. He’s subtly nuanced with real motivations beyond the plot’s need to have an antagonist, especially since Daniel is far from an innocent victim and does much to provoke the conflict between himself and Johnny.

But take Daniel’s mom (played by Randee Heller). We never hear “boo” about Daniel’s father. We don’t know if the two divorced, if his father passed away, etc. What we know is that this is a woman for whom her child is her world. She will do anything to advance her station to give him a better life, but she is not embarrassed of who she is. Yet her heart breaks (and ours with her) when she sees her son’s black eye or sees him throw his broken bicycle in the dumpster. She cares so much that her son fits in and that he has friends, that she blames herself for anything that goes wrong, seemingly giving little thought to her own sacrifices, that she too moved across the country for the promise of a job in tech only to end up working as a hostess/waitress in a local restaurant. All these details are plain and out in the open, but never fully dwelled upon, which is appropriate. This movie isn’t her story. Yet these small details are crucial. They build a realistic world in which Daniel operates and heightens the drama of his situation. He’s not just fighting to get back at bullies. He’s fighting because he’s too young to fully appreciate what his Mom has done for him. He just sees that his Mom has always made him an outcast socially (it’s not the first time they’ve made a move like this), that she dropped into a new school environment, and he now turns to violence because presumably because no male figure has been there to teach him any other way.

All this makes his relationship with Mr. Miyagi so beautiful. On his sixteenth birthday, it is Mr. Miyagi that Daniel chooses to celebrate with over his own mother. Only in the 1980s could films pair teenage boys with old men with no questions asked (see: Doc Brown & Marty in Back to the Future). But the two fill a void in each other’s lives. Multiple times Daniel asks Mr. Miyagi how he learned all the various things he knows about life and karate, and every time Miyagi answers that it was from his father. Daniel replies that Miyagi’s father must have been something special, and we can just hear the pangs of regret beneath Daniel’s words that he wished he had such a man in his life. And on the converse, in that unforgettably emotional scene where a drunken Miyagi openly grieves his wife and newborn child who died in a Japanese internment camp forty years prior from likely preventable complications of childbirth, in front of Daniel, we learn how Miyagi was denied the opportunity to pass on that incredible Miyagi family wisdom to the next generation. Surrogate father gains surrogate son; what could be more beautiful?

There are other small thematic touches I enjoy. I like how the two karate trainers are symbolic of how American vets from differing eras transitioned to civilian life. The Cobra Kai dojo where the film’s antagonist Johnny trains is headed by John Kreese, a highly militant Vietnam vet who treats his dojo like training camp. Orders are barked out and push-ups expected for the slightest infraction. It is not enough to defeat the enemy: they must be destroyed, shown no mercy. This Vietnam vet never fully transitioned to civilian life. He fought in a war that America never won, and therefore never really ended. In an effort to gain control and respect he creates new enemies and uses brute strength to subjugate them.

Miyagi on the other hand has no interest in violence. He tells Daniel how he was always scared to fight, which at the time in the film seems to mean that he is scared when he has to fight out in the streets, but after we find out about his military service it instantly speaks of his time fighting the Germans in WWII. He fought and risked his life, scared that he would never again see his wife, all for a country who didn’t care about him, who let his wife and child die. He won his war, was likely celebrated as a hero, but what price glory? Victory gave him nothing, which likely informs his final advice to Daniel before he tries to return to fight Johnny despite Daniel’s broken leg. Miyagi asks Daniel what’s the point of fighting since he made his point and gained the Cobra Kai’s respect. The fact that Daniel insists on fighting goes against Miyagi’s deeply rooted life philosophy to not use karate in an aggressive manner. Yet he compromises because he loves the boy and to do otherwise would break his heart. The ritual laying on of hands is obviously little more than placebo, but it means the world to a boy who places his utmost love and faith in the man.

Probably the weakest aspect of the film is the love story but that’s not to say that Macchio and Elizabeth Shue aren’t cute and don’t share good chemistry throughout the film. They are and they do. Really it’s more just that this movie is a product of its time and largely views Shue’s Ali as an object to be “won” by either Daniel or Johnny. That said, she is a fairly strong character who is more than capable of standing up for herself, but overall doesn’t have a whole lot of personality other than having a good heart.

But a weak love story does little to drag this movie down. I’ve spoken little of the film’s cinematography but there are many beautiful and expertly crafted shots. I loved the way that the shadows of the Cobra Kai loom large behind Daniel as he hurries to ride his bike home without being pummeled at the beginning of the film. And all of the shots from the beach contain stunning shots of water and sun. But the reall winner is incredibly smartly crafted script that refuses to overplay its action. In fact, there is really little action throughout the film, which makes the ending karate tournament montage set to “You’re the Best Around” a genuinely exciting sequence. Overall, its emphasis on character-building scenes over muscle-building training sequences help this to rise above the crappy movie this could have been. I was not expecting to be brought to tears by The Karate Kid, but with one of the all-time great characters in Mr. Miyagi, it’s hard not to be won over. Don’t fear the hype, this movie really is one of the best around.

***3/4

(3 and 3/4 stars out of 4)

#the karate kid #ralph macchio #mr. miyagi #pat morita #william zabka

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nnegan13 · 5 years

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Okay, so the Boat Scene (as I am hereby calling it): chock full of symbolism and metaphors and it’s making me yell, quite frankly.

Given that this is a period romance, each interaction between designated or potential love interests should be looked at with a Romantic Lens, which is how I drew these metaphors. I am no expert at script writing or directing or filming or anything involved with TV production, plus it’s really late and my brain isn’t working super well anymore lmao. Forgive me for not being the most coherent I’ve ever been.

I’ve written a transcript of the dialogue as well as actions I find significant to the scene. It can be found here, along with where I use it in this meta. The video of the scene can be found here (ok it’s not working in my drive but I'm leaving it there in hopes that I'll remember to come back to it in the morning). also bc tumblr hates me I've put this all in a doc that has the original formatting I used if you want to, like, not be as confused as the tumblr formatting of this meta will make you lmao.

now to the meta. @viviansternwood thanks for being my excuse to do this lmaooo <3

The scene occurs in four shifts: rowing, rivers, boats, and rowing again.

Shift the first: rowing

Charlotte: It’s a little over an hour until the race Mr. Parker, I’m letting all the competitors know. Sidney: Thank you. What do you think Miss Heywood, do I look ready to you? C: I’m no expert. S: Neither am I, regrettably. I haven’t picked up an oar in years. Sidney picks up the oars. C: I’m sure it will come back to you. S: I wonder. Sidney heads to the boat. Charlotte picks up her own set of oars and walks to the boat as well. She hands him the oars S: Thank you.

The dialogue is innocent enough, but the metaphor can be drawn looking at this line from Sidney:

S: Neither am I, regrettably. I haven’t picked up an oar in years.

In years should immediately draw attention, given that Sidney also hasn’t been in a relationship since his with Eliza, years ago. With this connection, the metaphor that rowing skill is romantic skill is established. The scene reads much differently now:

Charlotte: It’s a little over an hour until the race Mr. Parker, I’m letting all the competitors know. Sidney: Thank you. What do you think Miss Heywood, do I look ready to you? —> Do I look ready for a relationship? I mean, in your opinion? C: I’m no expert. —> I don’t know, I’ve never been in a relationship before, I’m no expert on them. S: Neither am I, regrettably. I haven’t picked up an oar in years. —> I wouldn’t say I’m an expert on romance either, I haven’t been in a relationship in years. Sidney picks up the oars. C: I’m sure it will come back to you. —> *thinking about the fact that his last girlfriend is back* I’m sure it won’t be a problem for you to work it out again. S: I wonder. —> *thinking about everything that’s gone wrong with Charlotte rather than Eliza in any capacity* I doubt it. Sidney heads to the boat. Charlotte picks up her own set of oars and walks to the boat as well. She hands him the oars S: Thank you.

Now for the oars. I’m real big on word definitions so:

Oars are specifically used to propel boats through the water. Sidney takes a set, Charlotte takes a set, they both end up in the boat. Onto shift two.

Shift Two: the river and philosophy

Since the romantic lens is already applied to this scene, we can just look straight at the dialogue without establishing the romantic connection.

Charlotte begins to turn back to the tent. —> Sidney sees her leaving and immediately calls her back. Like literally look at the video I’m gonna attach to the end of this and just scream. As soon as he sees her turn around he launches into this concept like, Sidney, dude, you’re not being subtle. S: A man cannot step into the same river twice, you ever heard that? —> I don’t think I can get back together with Eliza. Do you understand why? Both sets of oars are now placed in the boat. During the last line, Sidney put Charlotte’s oars down as he spoke. —> think of the definition of oars while I hold you in suspense for Shift the Third C: He is not the same man and it is not the same river. —> You are not the same and neither is Eliza. Sidney smiles. —> Damn you understand me better than I understand myself. C: It’s Heraclitus. —> I have to cite my sources that aren’t my personal investments in your romantic life. S: Yes. Of course you’d know that. Well— —> The fact that you know that pleases me to absolutely no end.

Metaphor established: the river is Eliza and Sidney’s relationship, Sidney can’t step back into it because he is a different man.

According to this neat philosophy website, Heraclitus’s original quote is more like

Which apparently means something like this:

Which in the context of our dear Sidney and Charlotte means that over the years, since personalities are not stagnant and people do change, Sidney “stepping into” Eliza would prompt not Sidney and Eliza getting back together, but Sidney turning toward Charlotte instead.

Here’s the mental math bc I’m still a little confused (I’m not a philosopher, clearly):

River = Eliza River also is the same according to Heraclitus Heraclitus also said “not everything is changing, but because some things (ie, Sidney) change, other things come into existence (ie, Sidney and Charlottes relationship)

So, basically, the Heraclitus quote on the surface level is saying that Sidney and Eliza are two different people, so their relationship won’t work anymore, and on a deeper level (ie, fucking looking up the context of the Heraclitus quote for a meta about fictional characters) it’s saying that because Eliza hasn’t changed but Sidney has, Sidney and Charlotte’s relationship sprung into existence rather than Sidney staying the same with Eliza.

If you don’t get the deeper level, it’s cool bc I also don’t really get the deeper level. The surface level works just fine for this conversation lmao.

Shift the Third: boat

Now, the third metaphor drawn is that of boats. Our Romance Lenses are on.

Sidney unlashes the boat. —> It’s already been established Sidney is Looking for Romance through the line “do I look ready to you?” Him unlashing the boat is him establishing that he’s trying to enter a relationship. He himself is unsure of exactly what he’s doing, but the fact that the scene is happening with Charlotte instead of with Eliza is pretty telling. He’s more unsure of what to do that who he’s doing it with. If you can’t tell, I have zero doubts about who Sidney has feelings for and who he doesn’t have feelings for. S: —I need a second person to balance the boat, would you mind? —> *Sidney, knowing that his relationship with Charlotte has been touch and go, realizes that he needs to be clear through all of this and establish that he does want her* I can’t exactly have a relationship by myself, do you want to do this with me? He offers her his hand to help her get into the boat. —> before this he looked away, which is where I got the idea that he realized the undertones/my meta of the situation as it was playing out. Gotta look away to compose yourself before asking the love of your life if she wants to get in a relationship with you, amirite? C: I’m not sure if I — —> Sidney, you confuse the ever-living hell out of me, I don’t even know if I’m the person you want to be with— S: Come on. —> Charlotte, please, I want you. Charlotte, unsure, gets into the boat, grabbing one of Sidney’s hands. His other hand goes to her waist. She rushes a little, and rocks the boat. He does not let go until the boat is steady again. —> The rocking of the boat is tell-tale of Charlotte’s character, she often rushes into situations without thinking them through, similar to how she gets onto the boat in a bit of a rush and it rocks. Sidney doesn’t let go of her waist until the boat steadies. Even with my interpretation of what Sidney said, Charlotte’s uncertainty means Sidney needs to be more explicit. S: Careful. Sit down behind you. —> It’s okay, I’ve got you, I’m here for you, it’s not just you here in this thing, I’m gonna be with you the whole time. Sidney pats her hand before letting it go. He sets an oar in place, pushes them off, and starts rowing. —> He gives her a reassuring pat on the hand before letting her go. He lets her know where the best place to sit is, essentially reassuring here that he’s there to help her. The oar’s purpose is to propel the boat, Sidney sets the boat in motion.

Jumping out of that last one to collect my thoughts. Since the boat is a metaphor for their relationship, Sidney is essentially asking Charlotte to enter into a romantic relationship with him (“I need a second person to balance the boat” meaning he can’t be in a relationship by himself). The entire way into the boat, Sidney is there to reassure Charlotte she isn’t going to fall into the water: they grasp hands, he takes a hold of her waist, he waits for the boat to stop rocking, directs her to where she can sit, and then lets go when they both know she’s not going to fall.

Finally to the oars. Oars are meant to propel the boat forward and steer it through the water. Since the boat is the relationship, the oar is a metaphor for the effort put toward propelling the relationship ahead. Sidney first rows, as we can see from 1.06 and other bits of 1.07: he asks Charlotte to come to the ball with him, he stays by her side for the beginning of the party and only leaves when he has to help Tom. I assume once he was done he went to find wherever Charlotte went, and immediately asked her to dance. “I don’t want to dance with anyone else,” “I might wait for you downstairs if you don’t mind” (into 1.07 territory, now) C: you’re not nearly as unfeeling as you pretend “Well, if that is the case, I would ask you to keep it to yourself, I have a reputation to uphold.” (the fact that Charlotte is the only one to know he’s a big softie,,,,,,the implications of it all, also he’s establishing a teasing relationship with her here), plus everyone’s favorite from the end of the episode that I’m including just because it’s my meta and I want to lmao “I believe I am my best self, my truest self, when I’m with you.”

He’s been doing the metaphorical romantic rowing (and for good reason, Charlotte’s been the one all season to fix their misunderstandings with one another, so he needs to step up lmao), and so he puts in the oar first and rows first.

Shift Four: rowing, again

Now that rowing has been established as a metaphor for the propulsion of their romantic relationship, the undertones of the physicality in this shift come out just as much as the undertones of the dialogue of this shift do.

S: May I ask you something, Miss Heywood? Why is it, that when I finally have a chance at happiness, I cannot accept the fact? —> Literally the girl I was going to marry is back and yet I can’t get myself to date her C: What is it that you cannot accept? —> I want to die low-key over the fact that we’re talking about your ex, but I’m a good person so I’m going to help you talk through this. Also I want to know what you’re thinking. S: I had convinced myself I was destined to remain alone, that I was ill-suited for matrimony. —> I thought I was gonna die alone but now I have trouble believing that? And coincidentally that trouble started up when I met you C: I don’t believe that anybody is truly ill-suited to marriage, not even you. —> It hurts that you think you won’t get married because look at your face. Also I’m taking a jab at you because that’s how our relationship works. Also what the fuck do you think ill-suited means? Marriage isn’t a job that you have to have certain qualities for. Sidney laughs. —> I’m gonna get into the difference between matrimony and marriage below okay? Prepare yourself. Also Sidney has a thing for teasing big time. C: I supposed it’s just a question of compatibility —> Ill-suited doesn’t even mean what you think it means, you’ve got to try at marriage Sidney and just because your ex dumped you and is back now doesn’t mean you automatically have to get back with her. Destiny isn’t real. Marriage is about finding someone you work well with, not fulfilling some fairytale, destiny, fate thing. S: Yes. I supposed you’re right. Now, its your turn, give me your hands. —> I’m in love with you, just a little bit. Now let me teach you the art of metaphorical rowing. They start rowing together. Both watch the progression of the oars to make sure it’s going smoothly. —> Rowing has been established as propulsion of the relationship, Sidney is showing Charlotte that he wants her to row, he wants her to be a participant in their boat of a relationship. S: Roll/row your hands. Good. —> Sidney has seen here that Charlotte’s rowing works with his, he’s telling her that her rowing is working for him and for their boat. Charlotte takes a moment to watch her rowing. —> She’s looking to see what he’s seeing. S: That’s it. Yeah, keep your back straight. —> More reaffirmations that what she’s doing is working for him, that this is what he wants and that she’s doing great. Also an excuse to touch her because they’re both repressed horny on main this is a period romance and all touching automatically charges a scene both for the audience and for the characters. Sidney wants Charlotte to get that this is romantic. Sidney touches her waist, she readjusts herself, he smiles. They’re both smiling wide, Sidney is laughing, Charlotte looks sure of herself for the first time in that scene. Camera cuts wide to show them on the boat together. Sidney lets go and Charlotte rows by herself. Eliza enters the scene and when it cuts back to the boat, they’re both rowing together again. When Sidney looks over when she calls, he’s smiling. Eliza looks unsure of herself. —> got slightly carried away on that last little bit but imagine the stuff about the waist touch down here. Now that Sidney’s reassured her, Charlotte’s uncertainty disappears, she looks sure of herself for the first time in the whole scene because Sidney has given clear indications that he wants to be with Charlotte which is what makes the entire scene with Eliza and Lady Susan later that much more heartbreaking she’s finally been given indication that her feelings are returned, that she’s not foolish for feeling as she is. When Sidney lets go, it’s an indication that the next batch of romantic rowing (beyond the end of the episode) is going to be done by Charlotte because of his declaration at the end of the episode. The camera cuts to Eliza but when it cuts back to the boat, they’re rowing together again, indicating that they’re together in what they’re feeling and that their relationship and feelings are strong. Sidney is fucking smiling when he looks over at Eliza on the shore because he was smiling at Charlotte when Eliza called to him. If their feelings weren’t strong, why would Eliza be looking so worried about the race she only entered because she knew she would win?

Okay I kind of got carried away explaining in that last bullet point but you get the picture. Sidney rows first because he initiates the romantic development of their relationship (as in the development that can be looked at in universe, not just by the audience, as romantic), them rowing together is an affirmation that they’re on the same page (for the moment, soon ruined by the appearance of Eliza and Sidney’s loyalty and politeness to meaningful people in his life), and Charlotte rowing by herself is an indication that in the end, the decision is hers to add to the propulsion of the boat (ie decide whether or not she wants to be with Sidney), because the boat can’t be rowed by a single person.

Now into the discussion of matrimony versus marriage.

The definition of matrimony focuses on the ceremony of being wed, whereas marriage focuses on the partnership and relationship aspect of being wed. Sidney says he didn’t believe he was suited for matrimony, as in the ceremony. He focuses on the formal action because that’s what it’s meant in his life. The one woman he wanted to marry left him for someone with more money, clearly teaching him that marriage is a business transaction, not something romantic. Charlotte uses the word marriage, which emphasizes the actual relationship itself and being with another person, because she’s a romantic. She’s shown time and time again her belief in love throughout the season. Sidney doesn’t think he can participate in the business of matrimony, whereas Charlotte believes he can experience marriage and romance as long as he finds someone he is compatible with. Lads,

Harmony brings us back to balance (“I need a second person to balance the boat”). Together brings us back to the rowing.

Other thoughts/observations outside the shifts

competitors: Stringer and Sidney, Eliza and Charlotte

“Neither am I, regrettably. I haven’t picked up an oar in years.” —> call back to their conversation in 1.06, Charlotte calls him unfeeling, he says his life would’ve been easier if he was unfeeling, the romantic metaphor of the rowing shows that this line also means that Sidney regrets, at this moment for reasons we as the audience don’t know yet Charlotte, wishes he’d had romance in his life between when Eliza left him and now.

“Of course you’d know that.” —> in-conversation kicking himself for underestimating her

The rowing is a test of their compatibility. Idk if I got that in during all of that up there, but it’s late so I don’t feel like checking atm.

He’s so gentle with her throughout the entire scene. He knows being abrasive is just going to get both of them angry, and while that can be productive for their development (try to tell me it’s not, please), it’s not at the moment because it involves pushing away before coming to a better understanding. He wants to skip the pushing part, and also Sidney is just Soft™ deep down, especially with Charlotte when they’re not at odds.

Also the balancing, their entire development throughout the season has been about them balancing their extreme characteristics

In conclusion

The entire boat scene is a metaphor for Sidney asking Charlotte to be with him and Charlotte being unsure because his ex-fiancee is literally here (and he literally was the one to bring her to Sanditon) and Charlotte and Sidney’s relationship has always been a bit rocky. If Eliza hadn’t shown up when she had, I’m sure that boat ride would’ve ended with Charlotte feeling a lot more confident with where she stands with Sidney.

Since Sidney was confident with his feelings the entire time, he feels comfortable enough to make the Heraclitus joke/reference in conversation with Charlotte later, but Eliza hijacks it and turns it from a nice moment between Charlotte and Sidney into a moment of competition, which sours the conversation in a similar way that Stringer and Sidney’s conversation after the boat race is soured when Stringer brings up “the prize he wanted.”

Even though I’m annoyed that Eliza interrupted their boat ride, I think it was necessary so that the conversation later could go as it did (also this meta about that convo is great) and so Stringer and Sidney’s conversation could go ask it did and because it allowed Eliza to think she had “won,” so to speak, and prompt her to talk to Sidney. All three of those interactions influence how Sidney was feeling and ultimately culminated in Sidney going to Charlotte that night and saying “I believe I am my best self, my truest self, when I’m with you.” So while it sucks that it was interrupted, it was ultimately necessary for Sidney to confess and put Charlotte in the position of choosing (ie, rowing by herself) next episode.

And I guess the conclusion to this conclusion is that the Boat Scene was fully of heavy romantic metaphor and symbolism, Sidney is a hundred percent into Charlotte and Charlotte only and he was even when Eliza showed up, he just needed time and a few gentle kicks to the head (Eliza being rude about Charlotte constantly, seeing that Stringer is interested in Charlotte, seeing Charlotte’s uncertainty about his feelings) to shake off the residual feelings for an ex-fiancee that your family won’t let go about you guys being destined to be together again, and Charlotte gets to choose if she wants to be with him next episode. And I’ve got a feeling she’s going to decide she wants to.

#sanditon #charlotte heywood #sidney parker #charlotte x sidney #sidney x charlotte #sanditon meta #this took me so fucking long and it's so late I'm sorry if it makes no sense #I'm coming back to this when I'm coherent and adding to it/fixing it #see you all in like 48 hrs once I've fixed my sleep schedule again

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sometipsygnostalgic · 5 years

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Assessing writing in homestuck: The difference between appealing characters and well-written character stories.

i was rambling about this to /u/cookiefonster in the discord earlier

theres a big difference between what qualifies as "good narrative" and "good character", even when the narrative youre discussing is focusing entirely on that character.

lets give you a couple of examples:

Terezi:

Terezi's a character who has a kind of fucked up storyline that just constantly loops back in on itself; she spends all of act 5 deciding whether to deal with Vriska or not, then gets in abusive relationships in act 6 after not being able to cope with her death. Terezi ends up with massive self esteem issues. Following from THIS, she dies, and retcons the story to undo her mistake and try to prevent the collapse of her self esteem. Sounds like an epic resolution to an arc, right?

Nope - post retcon, they brought Terezi's self esteem issues back but didn't give her the time of day to properly interact with other characters about it. She was unconfident around Vriska and insecure about her altself. Then she has a bit of a breakdown, unlocking some of the potential of her seer of mind abilities, and having a realisation of who truly is. You'd think, wow, Terezi after Remem8er is going to be interacting so much more with the other kids and FINALLY overcome her battle with depression, RIGHT?!?!

uhhh..... she doesnt say anything again until after the comic is over. then shes seen travelling through space.

When the epilogues drop she's interacting with John, they're building on top of their already amazing chemistry, they seem to understand each other like nobody else does in the entire fucking saga. Then Terezi nearly "dies" but another John finds her and they have a heart to heart before Terezi decides it's time go home.

WOOOOOW, you think, Terezi is FINALLY LEARNING TO LOVE HERSELF?!¬?!?!?! an interaction with a HEALTHY PERSON?!?!?!

Then John dies. Then Terezi hates Earth C so much and is so isolated from everybody she knows that she doesn't hesitate to join the villain in space. And it's implied Vriska texts her but she never reads those messages insofar as the canon material ends.

Overall, a rather anticlimactic story about a character whose arc is constantly recycled, not allowed to be given closure at any stage, falling into the same tragedy pit. It's like an art form of cockblocking.

So, why is Terezi as cherished as she is? How come even in the face of the ending, the epilogue, where it feels like Terezi has just been going round in circles, she is probably one of the most loved characters in homestuck?

There's a few factors:

Humor - Being able to make your audience laugh in a genuine way will put you in their favour. Terezi's dark humor, which works in tandem with her general naivete, has always been delightful.

Relevance - The part where Terezi's popularity might have actually struggled would be during Meteorstuck where she was pushed on the sidelines. Every moment she's been around after GAME OVER, however, she's been one of the most active character pushing the plot and generating excitement for whatever thing she's going to do next, even if it does become a loop. Killing John>Killing Vriska>Killing Gamzee>Retconquest>Remem8er>Finding Vriska>Finding John>Leaving with Dirk to save John>??? - she's always on some sort of mission which means if you're thinking about the plot then you might be thinking about something that ties into her storyline.

But most importantly, Authenticity - Terezi's dialogue is actually very well-written, in that she's one of the least wordy characters, but she gets exactly what she's feeling across whenever she talks about it. If you look at all the conversations she's had with Vriska or John or even Dave then you can tell Terezi feels very strongly about whatever she's feeling, and is either trying to disguise that feeling or is trying to put it to words she's struggling to find. Yet even when Terezi can't describe what she's feeling, the audience knows, because her condensed dialogue is expressive enough for us to be able to tell. It also helps that Terezi is one of the most invested in the other cast members, being - if not more righteous - then more analytical of her friends, taking in why they behave the way they do. It doesn't matter that arc-wise she goes in circles, because you can tell exactly how it keeps happening.

I feel like if Terezi didn't have that factor, if there wasn't so much weight to her emotional presentation and if the audience wasn't able to "feel" for her, then she would probably be significantly less popular. I guess that’s why many people feel it’s better for her to still be stuck in the “plot” of homestuck, to lack closure, because maybe closure would feel forced in this universe that’s taken so much from its kids? How can you “forget” what happened and just act like you never entered the game to begin with? Some of the other characters have this issue and it harms them deeply.

Let’s get into that!!!!!

Lord English and Calliope :

I feel so bad for Hussie. He clearly put a lot of thought into the relationship between Calliope and Caliborn, how their characters intertwine throughout this epic story. Yet despite them being the narrative fuel for the entirety of homestuck, and having an awesome thematic ending to their tales, it feels like the "cherub wars" part of homestuck never stuck its foot too deeply in the public consciousness.

Like, let's describe their narration: Two people born in the same body, one good, one evil. One is predestined to rule over the other.

In one universe the cherubs are left in their natural state. The Just cherub, Calliope, predominates... but because the universe is rigged, she is forced to be put into obscurity, residing for billions of years in a hidden dream bubble until the time is right. In another universe, there is intervention - Gamzee introduces the cherubs to humans, and they start to imitate their concepts and feelings. Because of this, Calliope becomes a softer being, engaging happily with the humans. She even wants to take mercy on her brother! But Caliborn takes on human ambition and grows determined to stop his sister from predominating, taking advantage of the human concept of “cheating” in order to beat her at their own game.

Caliborn defeats his sister, and is thrown into a session where he’s forced to overcome seemingly impossible challenges. He succeeds, and is given the ultimate power. Caliborn can will the universe to how he sees fit.

Caliborn’s given just desserts by getting trapped in the juju by the alpha kids but not before the monkey’s paw of trapping all the (alternate) beta kids for millenia, and in becoming trapped, he ends up becoming Lil Cal and Doc Scratch, who manipulate events so that he will rise again as an adult.

But the one thing that drives Caliborn more than anything is the desire to destroy his perfect sister - Calliope. A never ending thirst for her death. For predomination Caliborn never predominated normally so he never gets over it. This is part of why he’s so obsessed with showmanship and art too, to one-up her character. He circles the universe destroying all that is irrelevant, all that is obscure, in the hopes of demolishing all versions of his sister, having the primal fear that she will one day catch him out.

Our predominated calliope meets with the ghost of her alternate self, who tells her that her purpose as a softer human version is to just live her life. To be free. To appreciate all that humanity offers her. Whereas the Alternate Calliope’s role is to commit the ultimate sacrifice, to put an end to her brother’s ego. She absorbs the Green Itself into a catastrophic black hole that erases what is left of the universe.

You think that is the end, but Calliope is reborn in a new form, rewarded for her hard efforts, and becomes a full narrator for the story itself, protecting it from the evil of the Prince. She’s an active guide for the characters of Homestuck, wastching over them. She destroys her brother once and for all, absorping him inside herself.

Wasn’t all of that FUCKING AWESOME?!?!?!??! “Wow”, you think, “Calliope sounds so hardcore!!! I’m sure she’s an amazing character to have such a conclusive storyline like this!!”

Wrong, wrong, wrong. Literally nobody on the internet sees Calliope as their favourite character, except for maybe Past!Shelby Cragg who was her artist. And while Caliborn has his fans, nobody is a big fan of Lord English either. In fact most people tend to forget about the Lord English part of him because it’s just not that engaging!

Basing this on the above analysis about Terezi, what is lacking in terms of these characters?

Humor - Caliborn is a hilarious character, absolutetly no doubt about that. He’s so stupid and the way he sees the world is hilarious. It’s almost Terezi-ish even, except far more exaggerated in terms of his vulgarity and naivete, since he was locked in a fucking cage all his life. Caliborn makes us laugh pretty much every time we see him... but this character is lost entirely in Lord English, who does not wish to engage with the audience at all. Lord English is entirely a machine at this stage, just acting to destroy. As for CALLIOPE, she was never that great in the humor department. I’d be surprised if the original Callie knows what “jokes” are. Alt Calliope was also a stooge until the Epilogue where she trolls Dirk, and yes those parts are delightful and boost her in my eyes significantly, but in the core part of homestuck she is incredibly serious all the time.

Relevance - After reading me narrate the entire Cherub plot and how impactful it was on the entirety of homestuck you’d think I’m a fucking idiot for trying to argue that Calliope and Lord English are irrelevant, right? Well Too Bad!!! That’s exactly what I think. Doc Scratch was relevant to what was happening to our core cast of characters, manipulating them behind the scenes, taking advantage of them and fuelling their personal drama for his greater gain. This is why we love Doc Scratch so much and can even enjoy Ultimate Dirk for doing the same thing. Caliborn had a reduced impact on our main cast, but Lord English’s impact is pretty much nonexistent outside of the first time we see him in Caliborn: Enter. Once again, he’s literally only there to destroy the fucking universe, but when our main characters are either enjoying themselves in the new Alpha session or in Earth C, you have to ask why you or they should be interested in what LE is doing? Dave says so himself, that LE has not done anything wrong to him so he’s not hyped to go kill him. Calliope, meanwhile.... Her relevance is split in two, and neither is too substantial to what our main guys are doing.It “makes sense” as she’s such a passive character, but Calliope’s struggle with relevance doesn’t take me as impacting her too much, and I’ll get onto that in a second. Only one alpha kid ever thinks about her, she doesn’t think about anyone except herself, and while Jade has some kind of relationship with Alt!Callie, it isn’t a personal one by any means. Calliope’s impact on the emotional arcs of homestuck is so minimal that she was erased from the epilogues which she wrote herself. Even Calliope can’t think of anything to do with Calliope!!! How about that!!!

Oh, and of course, Authenticity - Caliborn feels like an authentic character because he deals with actual struggles. Caliborn finds it tremendously difficult to do things other characters might have an easy time with, like drawing, thinking in anything OTHER than straight lines... but he perseveres. Caliborn faces his impossible and brutal tasks head on to claim the Ultimate Reward. He’s fucking EARNED that ability to destroy everything in reality, and by god he’s let us know!!! This is why Caliborn is such a cherished character. Even though he’s evil as fuck, he feels like a real kid somehow. It goes without saying that although Doc Scratch has a different kind of authentic creepiness, Lord English has nothing on him that makes him feel real. He’s just a machine, as said before. CALLIOPE’s authenticity.... The alpha Calliope is a character who became “so nice” and so “perfect” that she ended up losing her fight against her evil brother just because she was that good a person as to let him get the better of her. Nothing that ever happens to her is her fault. She never gets in any conflicts with any character ever, except for that one time she yelled too loud in Candy but nobody told her off for it. Calliope is perfect at art, a fair enough writer. The closest thing to a “flaw” she’s ever had is getting so excited about her friends that she writes creepy fanfic about them, something that is parodied in Candy, which has been implied to be narrated (or at least retold) by Calliope herself in Meat. Simply put, Calliope is... a mary sue. A flawless character. There is absolutely no authenticity and no way to relate to her. Alt Calliope.... she’s a martyr? But why does she want to be a martyr? What does she care about the human characters? She’s even less authentic. It is badass to watch her tear down Dirk, and the story takes advantage of how unreadable she is by making her intimidating as fuck, an all knowing force to contest - no, overpower - that of Dirk or even Hussie himself. Alt Callie is more knowing in her fakeness, she has a better struggle as well what with having to escape from obscurity and overcome her brother, and therefore is a better character, at the end of the epilogues, than the original.

TL;DR: It’s not just about making interesting things happen to your characters. It’s making sure they have interesting reactions to what is going on. If your character becomes someone who things just “happen” to, and who does not respond to those things in an authentic way, then nobody is going to care for them no matter how important or existentially poetic their arc is.

#long post #homestuck #terezi pyrope #calliope #caliborn #doc scratch #lord english

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storytimefromthecreed · 5 years

Text

Vigilante AU: Sonny Carisi

It couldn’t be. (Y/N)’s fists were raw, the perp was on the ground, and she heard the unmistakable click of the gun aimed at her back. “Hands in the air! Turn around slowly!” Not here. Not now.

“You know I can’t do that, Detective.” Her voice came out deeper thanks to her mask, but she raised her hands anyway. Her hidden blades sliced back into her wristlets. “You can let me go right now, Detective. I don’t want to hurt you.”

“Vigilante.” The man’s tone dripped with authority and trembled with uncertainty. “You’re under arrest. Keep your hands where I can see them.” Footsteps crunched the pavement behind her. He would use his right hand to cuff her and tuck his gun to his left. He was habitual.

Energy bunched her muscles, kept her tense and pent up, and when he touched her wrist, her elbow blasted backwards and caught him in the ribs. The detective choked on his breath, and she twisted around him, disarmed him. A swift kick sent his gun away, and grabbed she took his cuffs. He thrashed his head backwards and nearly got her nose, but she kicked the back of his knees and toppled him to the ground. The cuffs made a metallic sound as she cuffed one of his wrists to a grate.

“My apologies, Detective.” Her robotic tone sarcastic. Blue eyes glared up at her, and she bowed with grandeur. There was a certain level of showmanship the people had come to expect from The Vigilante, and she aimed to deliver. “’Til we meet again.”

“The next time I see you,” he swore, “you’ll be behind bars!”

“I’ve been outsmarting you for months, Detective. I think you like running into me.” Before he could retort, (Y/N) escaped.

....

“I’m telling you, Lydia, I felt bad for him.” (Y/N) got her tea from the barista and went to station in search of honey. “I know I do this to myself, but I’ve never seen him that mad before. I know, I’m the worst. Yea, yea,” Honey, honey? Where was that damn honey? “I know, but I’m telling you he was mad enough to kill me. The next time I see him, I’m gonna-”

“I’m so sorry!” The honey dropped from the person’s hands and she was about to knock over her drink before he steadied her and caught the bottle at the same time. “I’m so clumsy. Are you ok?”

“I’m fine. Thanks-” Blue eyes gazed at her, and her heart froze. They looked pretty without hate in them. The detective returned her drink with a smile.

“There. Saved your drink." His smile grew and her heart finally restarted. She clutched her drink and began to walk around him.

“I’m fine. We, we’re fine.” She pushed past him, but tripped and dropped her tea. Green spilled over the ground and she looked for the object that caused her to trip. Confused and finding none, it dawned on her that she had tripped on herself.

“I’ve got you all mixed up. Here, let me help.” The man reordered her drink and helped her clean up her mess. “Are you sure you ok?”

“I’m-I was just spooked. I’m sorry.”

“Don’t be,” He laughed, “it was my fault.” He threw over the cup and napkins and gave her his hand. “I haven’t properly introduced myself. Dominick, but everyone calls me Sonny.”

“(Y/N).” Why did she give him her real name?

“That’s a nice name. Good to meet you.” He handed her her new drink and smiled. “I hope we run into each other again. Well, not literally.” He laughed at his own joke and she found herself chuckling too. Pleased with this reaction, he grabbed his drink and waved goodbye. (Y/N) found herself mirroring him.

What was wrong with her?

....

Why she returned to this coffee shop was beyond her. She didn’t even like coffee, and after all this tea she was about to be sick of that also. But her wait was worth it. After almost a week of running around New York, getting involved in as many cases as she could, trying to get some alone time with Sonny; he finally walked in. Trying to look casual, she returned to staring at her book when a familar shadow joined her.

Pretending to be surprised, she withdrew from her book and addressed him. “Sonny? Wow! Nice to see you.”

“(Y/N)” Sonny smiled, “It’s good to see you. Whatcha reading?”

“Um-” To be honest, she wasn’t sure what book she had picked up. “Alice in Wonderland.”

“Light reading, huh?” His face lit up when he looked amused. “Well, I won’t bother you any longer.”

“Actually, I’m not busy,” She said a little too quickly. “I mean, if you’re not busy. I could use a break from all this heavy reading.” What a weak line, but he seemed to like it.

Sonny quickly took a seat in front of her, grinning evermore. “My lucky day.” He joked and leaned in, “Is this what you like to do in your spare time? Read and be mysterious in coffee shops?”

(Y/N) mirrored his stance. “Maybe I just like making your life a little bit more difficult. Maybe I like being mysterious.”

“Maybe I want to figure you out.” His face went bright red, and his hand went to cover his face. “I’m so sorry. That was forward, even for me. I just got off a night shift,” Sonny began to quickly explain, “going into another eight hours. I’m tired, and my mouth and brain aren’t really communicating right now.”

(Y/N) giggled, "I don't mind." This made him smile again, so she continued. “Maybe you could get to know me when you’ve had some sleep?”

“How does tomorrow night sound?”

....

(3 months later)

“Watch your back.” The woman said, and Sonny ran into the building. (Y/N) chewed on her lip. This wasn’t right. Something was off. Keeping close to him and entering the house from the second story window, (Y/N) kept her eye from the rafters, and watched the scene unfold.

The perp held a gun to Sonny’s forehead, and the victim watched with a tearstained face. Sonny paled, and plead with the man, but the man didn’t seem to be listening. He flexed his arm, pressing the gun of the barrel deeper into Sonny’s skin.

This needed to end. (Y/N) unsheathed her blade and landed on the man. The addition of her body weight made the man crumple beneath her. (Y/N) rolled off the man quickly, and Sonny stumbled back. The gun slid across the floor, and (Y/N) slid after it. Pushing it to Sonny, she grabbed the perp, and twisted his neck between her legs. When he stopped moving and his breathing was shallow, she released his unconscious body.

Tired as she was, she left the body where he lay and went to comfort Sonny. Wide eyed, pale, and holding a gun at her direction, Sonny looked wildly between the pair of them.

“Are you ok?” (Y/N) took a step towards him, but he took a step back.

“Don’t come any closer.” His hand began to shake and Sonny dropped to one knee. The gun was feebly raised, so she pushed it to the ground to inspect him. “I’m- I’m fine.” A slight mark on his forehead, his heartrate was up, his pupils dialited. He might be going into shock, but he was physically unharmed.

“You’re going into shock.”She put an arm around him and threw one of his over her shoulder. He collapsed.

Sonny gasped, “Why are you helping me? All I’ve ever done was try to put you away.”

“We’ll talk about that another time. Your victim needs you.” She walked him toward the wall. Leaving him with one last look, she went to the victim. “You’re going to be ok. This detective is going to take care of you.” She untied the victim, and the woman clung to her chest, sobbing. (Y/N) held her a moment longer before untangling herself and leaving the scene. Sonny watched her the entire time.

....

“Hey doll, thanks for agreeing to do date night at my place.” Sonny wrapped an arm around her, and carressed her arm. His chest was warm and soft under her head, and she could hear his heart. The smell of mint, clean sheets, and his favorite “Staten Island” cologne calmed her. He wouldn’t tell her what it was, but swore to her that it’s been helping him pick up ladies since he discovered it.

“My pleasure. We should do nights in more often.” Snuggling deeper, Sonny tucked the blanket around them. A really bad horror movie played before them, but neither one of them were paying much attention to it. Her eyeslids were heavy, and sleep taunted her. Sonny rested his head on hers, and held her tight.

“Do you want to spend the night?” Her eyes snapped open at his question, and Sonny shrugged. “You don’t look up for driving, and my day could use some more of your cuddles.”

“That’s a big step, Sonny. Are you sure you want me to?”

Sonny gave her kiss, his fingers clasping her chin delicately. Before she could regain her breath, Sonny smiled. “Trust me, after the day I’ve had. I could use something good.”

She agreed, and he helped her off the couch. “Ah,"He flinched, concern across his face as she held her arm awkwardly. “Sorry, didn’t mean to scare you. Just hurt my wrist today.”

“Want me to kiss it and make it better, doll?” Sonny’s lips brushed against her wrist, and it did feel better.

....

(2 months later)

She couldn’t keep living this way, so Vigilante took a back seat. Things with Sonny were going great, she actually used her medical degree to help people, and life was good. There was a pang of guilt when a victim didn’t get justice, when a killer was released in the street, and when someone else got hurt. She blamed herself, but she repressed it. It wasn’t her job anymore.

But when Sonny came home one night, bloody and bruised, the flame reignited.

“Love, what happened?” Dinner was stalled while she grabbed a bag for ice.

“It’s nothing.” Sonny took the bag and pressed it against his eye. “You should see the other guy.” A weak joke. (Y/N) kissed his unbruised cheek, and took the ice off to examine the eye. “What’s the verdict, Doc?”

“You’re going to be seeing through a swollen eye for a little bit, but you should be ok.” He leaned his head down so she could kiss that eye too, and he hummed.

“Feels better already.”

“Dinner is ready. Wanna tell me how you got that?” She nodded at his eye and Sonny paused. (Y/N) caught him staring at the ground, munching on his bottom lip, before nodding to himself.

“Uh- it was nothing really. Back up just got there a little later than I would’ve liked.” Sonny got his food, and got hers, and they headed to the table.

“I’m sorry to hear that.”

“Yea, me too. I’ll tell ya, I knew Vigilante was out a lot, but I didn’t realize how much I got used to her being there.”

(Y/N) choked on her water, but played it off as her clearing her throat. “Wow, you got to work with...wow.”

“Yea. Real nice, despite what some people say on TV. I guess I got used to her having our backs.” Sonny shrugged and began his meal.

“I guess you’re going to have to get used to good ol’ regular heroes.”

“You think she’s not coming back?” Sonny gave her an innocent look, and (Y/N) swallowed hard. “I like to think she’s on vacation or saving another part of the world, ya know? Doing something good.” If he knew, then he was playing her real well. Was he mad? How long did he know? Sonny nodded, and frowned. “I just- I never got to thank her for saving me that day. Without her, I wouldn’t be here. With you.”

Of course he meant it in a sweet way. Thank god she dropped the mask, she couldn’t live both lives. She didn’t like seeing him hurt, but she couldn’t lie to him either.

....

They were sitting in their coffee place, leaning against each other. Sonny sipped his coffee, she had her tea. The night was winding down, they were the only ones there.

“Ready for work?” She had said, and he was about to answer when the doors were pushed open and two men burst in. By instinct, Sonny put himself in front of her, but the men took their guns and pointed them to the register.

“Money! NOW!” One man demanded.

The other pointed the gun at them, as if noticing them for the first time. “Or we’ll kill everyone in here.”

Sonny put his hands up, when his shirt raised, she could see his gun. “Hey, hey, we get it. You’ll get no problem from us.” The men returned their attention back to the front of the store, and Sonny whispered just loud enough for her to hear. “I could use some back up.”

“My phone is in my purse. I’m not sure I can get it.”

“No, doll, I-” Sonny sighed heavily. “I need back up.”

“Babe, what do-”

“Oh my god, woman, just throw up your hood and help get me out of here.”

Ice froze her veins. The heat of realization made them thraw. “Sonny Carisi, you knew-” Another time. They would have to have this conversation another time. “Count to two then duck to your right.”

“Be careful,doll.”

“You too, love.”

Metal rang as it sliced through her wristlet, and she threw on her hood. Sonny ducked to the right.

#sonny carisi #Vigilante AU #My writing #law and order svu #law and order: special victims unit #sonshine

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killian-whump · 6 years

Text

OUAT 2x12: Rewatch Blog

Wow! It’s been awhile since I’ve done one of these, since it took me forever and a day so long to GIF and post all that whump from the last episode! Really, considering Killian had a bookshelf thrown on him, got beaned in the head with an oar and knocked into the hold of his ship, was beaten viciously with a cane, and then got hit by a car... Well, I think it’s understandable.

But now that’s all done and it’s time for us to watch episode 12 of the second season, “In the Name of the Brother”... Wait, what’s this? Hook’s in the hospital this entire episode? *sigh* Okay, everybody! I’ll see you all next year! ;)

Well, pitifully and hopelessly behind or not, it’s time for another liveblog!

Starting RIGHT where we left off... with Hook in pain and Belle being very, very confused. And Hook in more pain. Haha.

I’ve seen some anti-Hook arguments about how gunshot wounds are so traumatic and take so long to recover from... but I just watched Rumple literally make it “all better” in about five seconds, so I have no idea what that argument was all about. Haha, I forgot he did that, so I just kinda nodded along, like, “Fair point...” but it’s actually not a fair point at all :P

“Hey beautiful!” Hey yourself, beautiful <3

“There’s someone in [the car]!” WELL, I SHOULD HOPE SO. Why is everyone so surprised there’s someone in the car? Do cars regularly drive themselves in Storybrooke? Nevermind. Don’t answer that.

Drinking on the job. Really, Whale?

Oh no... Whale flashbacks. I’ll be honest, I’m not really interested in Whale’s story :/

...I am interested in hot, bloody pirates on gurneys though.

I love how Rumple is in color in these flashbacks, but it just makes me wonder why Whale is in color whenever he visits the Enchanted Forest. Like, shouldn’t he be black and white in their realm if Rumple is in color in his?

And are they going to address the fact that he’s in color?!?!

Suddenly, I’m a little interested in the flashbacks now...

Whoooooa, bad idea, Rumple. I mean, I know what you’re going for right here, but in the world of failed TLKs, this one might be the failiest.

I mean, listen to her scream. WOW. Hard fail. HARD fail.

Well, I always like to segue into a Hook scene by focusing on the handcuffs he’s wearing. It’s, you know, an artistic thing. Very... artsy. Yes. Art.

I love how he’s all grunting and groaning and wincing... and then he spots Emma sitting there and he just freezes like “OH NO. DON’T SHOW WEAKNESS.”

“Again? You’re really into this, aren’t you?” Heehee <3 We all are, baby. Get used to it <3

He’s such a smarmy, adorable little bastard right here. “Chills.”

Okay, but because I’m me, I do have an issue with this scene, and it’s about his left wrist. I get that it’s movie magic and it’s not a real blunted limb. It’s just something to cover Colin’s hand. Fair enough, but why is it SQUARE?? Like, there’s kind of a cube-type quality to it?

When you inspect it closely, it just looks... square. Like the sides are flat and there’s four corners to it. It annoys me every time I see it.

That said, I do enjoy this scene as a Hook scene and (of course) as a whump scene, but I don’t really care for it in a CS context. I mean, her telling the nurse to hide him was nice, but kind of necessary... but the rest of her actions show a complete and utter lack of care for what’s happened to him. She tells the ambulance crew to let him wait, and then she resorts to torture tactics whilst interrogating him, which - I mean, don’t get me wrong, I enjoyed every blessed moment of it - is kind of not a glowing character trait in general, let alone a promising sign of impending true love. Although, that said, I would be ALL OVER True Love’s Waterboarding if it were a thing. Just saying.

“Guess another passcode” Dave, you bloomin’ idiot. “Well, you do understand that computer hacking and pickaxe hacking are different?” Hahaha, Leroy <3

One of my favorite Rumple lines right here:

“So glad I don’t give a damn.”

So am I, Rumple. So am I. That’s when you’re the most fun to watch :D

LOL Dave... “Dr. Whale, prep for surgery.” Like, who said there was a surgery? Dave, you’re not a doctor. Dave. Dave, listen. Dave...

And Whale’s just walking out like, “Yes. Prep for surgery. What a fantastic idea. What surgery? When is it happening? Who is assisting? Are there even any other doctors on this staff? WHO KNOWS?! Dave said to prep for surgery!”

“Anyone else notice he’s drunk off his ass?” Hahaha, Dave’s look right here. “Uhh... No, I didn’t notice that, honey, but that DOES explain why he totally took my order to prep for surgery when I’m not remotely qualified to give it.”

SAME, Leroy. Hard same on all accounts.

More flashbacks. “How did you get in here? Who are you?”

WHY ARE YOU IN FUCKING COLOR?!?!?

Wait. Wait. Back the fuck up. “Rumple von Stiltskin”????????

RUMPLE VON STILTSKIN?!?!?!?!?!?!?!

What the fuck did I just hear with my own two ears?!?! When? How? Who?!

“A foreigner.” “What tipped you off, my rosy complexion?” OH, SO WE ARE GOING TO ADDRESS THE ELEPHANT IN THE ROOM. And then drop it like a hot fucking potato. Mm hmmm.

So typical of Rumple von fucking Stiltskin.

LMAO “Are you a philanthropist?” “Well, I’ve been called worse.”

Okay, but where are you going to spend that totally-not-suspicious pile of FULL COLOR gold coins?!?!

I’m just... gonna pretend none of that ever happened.

RUMPLE VON STILTSKIN. Whatever, man. What-ever.

Why is the chipped cup in a display case, though? Like, his entire shop is just full of things on display that aren’t actually for sale. HOW IS HE STILL IN BUSINESS?!??! And where did the von come from?!?!?!

Creepy shit happening... Cora must be arou- Oh, there she is.

Hahahaha “Had hoped you were dead, but hey - disappointment’s just part of life. I’m sure we can agree on that.” LOL, Rumple. VON STILTSKIN.

I am never going to forget this. Or forgive it. Bury me here.

Oh, Cora, you cheatin’ on your boo Hook with Rumple von Stiltskin? Oh, wait. My bad. Mama makes all the rules, and when the pet boy lands himself in the kennel, well, she’s gotta find some new playthings...

Hahahahahahahaha “I’m joking. as far as you know.”

Oh, no... Ger von Hardt has been shot!!! And Vic von Tor has done a runner out the front door! WHAT WILL WE VON DO NOW?!?!?!

“Maybe Doc can do it?” Leroy’s laughter, OMG, hahahahaha, one of the best Leroy moments right here. HAHAHAHAHAHA... NO.

Leroy’s really shining in this episode. Like, he’s only even here to make me like him even more or something. Dave: “[Whale] had his arm ripped off and put back on.” Leroy: “Cool.”

Okay, Cora, I love you, babe, but this is kinda creepy. I mean, you’re sniffing your daughter’s clothes.

Oh wow. This is, hands down, the snazziest hidden underground lair I have ever, ever, ever seen. Regina, your talent is wasted in evil doing and mayoring. Seriously, girl. Get yourself into interior decorating. This is fucking beautiful.

“I think it’s not alright.” Nah, actually on this show, it’s... kinda sorta alright. We really don’t have that high of standards for “alright”ness to begin with, let’s be honest, and even lower ones for parental “alright” behavior.

“Emma and Henry and the two idiots” :D Dave! I think she’s talking about you. Dave! Dave, are you listening? I don’t think he’s listening. Daaaaave.

“Don’t come near me!” LIGHTNING SPEED. “I told you not to- oh, whatever. No one ever listens to me.”

Hahahaha, oh shit. This is gonna go bad. It’s gonna go so bad.

Yep. It went bad.

I love it when Ruby tells people she ate her boyfriend, by the way. It just never stops being hilarious. “Oh, did I mention I ATE MY BOYFRIEND?!”

'Ohhhhhhhhhhh look what I found under my butt!' 'That wasn’t under your butt, it was in my house.' 'But I’ve never been to your house!' 'You were in my house, Mother.' 'No, no, you just keep your car too messy. What’s this?' 'It’s LITERALLY the KITCHEN SINK from MY HOUSE' 'It was under the seat, dear.'

“I was just... stretching my legs. Now I’m gonna go do this thing.”

YEAH. NO IDEA WHY ANYONE WAS WORRIED, WHALE.

NOOOOOOOOO IDEA.

Aw, poor Gerhardt. Ger von Hardt. Neeeever forget.

OH NO, SHE THREW THE CUP OH NOOOOOOO

Oh, wow. Gee whiz, they’re so lucky he didn’t see anything! Wow. That’s so convenient! And so great that Emma knows when people are lying...

Emma’s so done in this scene and I love it, haha.

'We have a long history together so... Yeah, long story short, I’m going to kill EVERYONE HERE if anything happens to Belle.'

“You’re not going to believe what I saw.” Actually, I’m pretty sure she’ll totally believe what you saw, considering you both know magic is real and you came looking for the town and magic wielders in it. Just saying.

ANYWAY... That’s a wrap!

PEW PEW PEW VON PEW!!!!

#ouat rewatch #watching fairytales #2x12 #ouat criticism #oc #kw reviews #rumple von stiltskin #never forget

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The Weekend Warrior 9/10/21 - MALIGNANT, THE CARD COUNTER, TIFF 2021, LANGUAGE LESSONS, THE ALPINIST, EVERYBODY’S TALKING ABOUT JAMIE, FAUCI, and More!

Before we get to this week’s releases-- and there are a lot of them, though not necessarily wide releases -- I probably should mention that the Toronto International Film Festival (TIFF) is beginning this week up North across the board. I was unable to go in person, more due to the money than any worries about COVID. (Honestly, I have no idea what’s going on at the border right now between America and Canada, but I figured I better wait it out before attending TIFF in person… until I can actually afford it.)

This year’s TIFF offers a lot of premieres, most of them taking place in physical theaters in Toronto, such as Edgar Wright’s, Last Night in Soho, (which just premiered in Venice) and Universal’s musical, Dear Evan Hansen, as well as David Gordon Green’s horror sequel, Halloween Kills (which also just played in Venice oddly). Other movies playing TIFF include Jane Campion’s The Power of the Dog, and The Electrical Life of Louis Wain, both which star Benedict Cumberbatch. Mihael Peace's Encounter, starring Riz Ahmed and Octavia Spencer, and docs like Julia (as in "Child") and Attica. There’s even a doc about the Canadian rock band, Triumph! (I’m looking forward to that one.) Antoine Fuqua’s remake of the German film, The Guilty, starring TIFF regular Jake Gyllenhaal, will have its premiere, and many, many more. Too many to watch, let alone write about, but I’ll try to review a few of these over at Below the Line and maybe some here. (There are also lots of movies that premiered at Cannes in July that will play at TIFF, and some of those will also play at New York Film Festival later this month, which is where I’ll see them.)

A movie that I’ve been looking forward to for quite some time and is finally seeing the light of day is James Wan’s return to horror, MALIGNANT (Warner Bros.). Unfortunately, I don’t think I’ll have a chance to see this before Friday, which is a bit of a bummer, but I’ll look forward to seeing it with the common people in a theater. Because I’m looking forward to this movie so much, I haven’t even watched the latest trailer, so I really don’t know too much about it, which may be for the better.

Of course, you know Wan’s name from some of the most successful horror franchises of the past two decades, starting with Saw in 2004. After a few movies that didn’t do quite so well, Wan reteamed with his Saw collaborator Leigh Whannell for Insidious in 2010, which also did very well and created a similarly successful franchise. (Whannell would go on to direct the third movie in the series, the respectable sci-fi thriller Upgrade, and then he directed 2020’s The Invisible Man for Universal, which was also a substantial hit.) Meanwhile Wan went on to direct The Conjuring in 2013 and its 2016 sequel, The Conjuring 2, based on the true case files of supernatural investigators Ed and Lorraine Warren, played by regular Wan collaborator Patrick Wilson and Vera Farmiga. Both of those “Conjuring” movies opened with $40 million+, and you guessed it, they also led to hugely successful franchises for Warner Bros with spin-offs galore.

Although Wan has been making big studio mega-blockbusters like Furious 7 and Aquaman in recent years -- and he’s hard at work on a sequel to the latter -- Malignant is his return to horror after a whole five years, which certainly is exciting for horror fans and those who love Wan’s style of horror particularly.

One thing that’s become fairly obvious from writing about box office over the past couple decades is that horror movies are rarely sold on the names of their stars, although Wan has a fine lead in the form of Annabelle Wallis, who just so happened to have starred in the 2014 The Conjuring prequel called Annabelle, which did quite well. (No, she did not play the title doll Annabelle, if you haven't seen it.) And that’s about it. The fact that Wan can do whatever he wants these days, and he decides to return to the horror genre without stacking the deck with all sorts of name actor, is pretty impressive. Even Saw had bigger names actors like Carey Elwes and Danny Glover!

Although I don’t know much about Malignant, it’s definitely giving me vibes of Sam Raimi’s Drag Me To Hell, the horror master’s return to horror after making three “Spider-Man” movies. Although it’s well-loved by horror fans, it ended up opening with just $15.8 million in the summer of 2009. That’s a little daunting when you figure that Malignant is opening in September and in the second weekend of a huge blockbuster like Marvel’s Shang-Chi.

But there’s something else that’s been bugging me, as excited as I am to see the movie. I’ve been doing this a long time, and Warner Bros. has become almost legendary for screening all their movies in advance… every single one. I can maybe think of two examples of movies that didn’t get advance critics screenings. Malignant is screening for critics but only on Thursday night with an embargo Thursday at 10pm. That is not the move of a studio confident in a movie they’re releasing. Maybe it’s to avoid spoilers or maybe it’s ‘cause Malignant returns Wan to the craziness of the Insidious movies rather than the more commercial and mainstream horror of The Conjuring movies. I don’t know, cause I haven’t seen it, but I'm still gonna go see it on Friday night, ‘cause I like James and want to fully support his movie.

But that adds another layer of foreboding to the horror movie that will also be on HBO Max Friday, and it’ll be so easy for the curious to just hit “play” on their remote to watch it that way, which is what I think most people will do. Because of this, I’m struggling to find a way that Malignant makes more than $13 million, taking quite a distant second place to Shang-Chi in its second weekend.

Opening in roughly 500 theaters Friday is Paul Schrader’s THE CARD COUNTER (Focus Features), which stars Oscar Isaac as former prison inmate and professional gambler, “William Tell,” who drives around the casino circuit making money by playing blackjack and poker. He meets two people on his journey that changes the course of his path, the first being Tye Sheridan’s Cirk (Yes, with a “C”), a young man whose father ended up killing himself after serving time in military prison for crimes at Abu Ghraib. Tiffany Haddish plays La Lina, a woman who sees Will’s talent playing cards and wants to put him in her stable of players. The relationship between these three characters is what keeps the movie interesting even when there are only a few minor dramatic fireworks.

If there’s any doubt that Schrader, a significant Hollywood player in the ‘70s and ‘80s, is firing on all cylinders then The Card Counter confirms that 2017’s First Reformed was no fluke, as Schrader remains valid and important well into his 70s. Like First Reformed, this film features an undeniably solid performance from Isaac, who plays such a subdued character, an enigma who every so often truly explodes.

Sheridan's sheepish Cirk seems like an odd choice in road companion, although Haddish proves to be quite a counter (pun intended) to Isaac, as she seems far more comfortable in Will's world. Trying to understand Will and what he sees in Cirk and why he joins the World Poker Tour circuit despite wanting to remain anonymous is what keeps The Card Counter so invigorating. (One odd thing is that despite the title and the opening which literally teaches the viewer how to count cards while playing Blackjack, in most of the movie he’s actually playing poker.)

Folks who enjoy poker movies and the intricacies of Vegas and the gambling community in general should really enjoy The Card Counter for that aspect alone, but then there's the past of the main character, which ties into Abu Ghraib and the horrors of the tortures committed there. Some might feel that two decades after 9/11 isn't the best time to bring those crimes back to the forefront, but Schrader ably explores what it must have been like for the military torturers after they were convicted.

Few screenwriters and filmmakers could pull off what Schrader does in terms of combining these elements, as the story weaves itself through these very different worlds. Frequent Schrader collaborator, Willem Dafoe, takes on a smaller but still significant role as “Gordo,” Will’s commanding officer who trained him to torture. Even so, one of my favorite moments is a scene in a diner where Will performs a card trick for Cirk that would make the late Ricky Jay proud just adds to one's enjoyment.

I will say that I wasn’t as thrilled by the movie’s last ten minutes, as it feels like Schrader ran out of steam in terms of how to resolve all the pieces of a puzzle, leaving a couple pieces out before completion. Regardless, The Card Counter is a constantly compelling film that keeps you invested in the different characters’ behavior as things happen to and around them.

As far as box office, The Card Counter isn't getting a very wide release but with so many movies in the top 10 quickly dropping away leaving movies like Shang-Chi at the top, it should leave room for Schrader's film to inch its way into the top 10 and maybe even the top 5!

A movie I’m unlikely to see and know very little… okay… nothing… about is the faith-based SHOW ME THE FATHER (Sony/AFFIRM Films), which will open in about 1,000 theaters on Friday. Okay, fine, you twisted my arm, and I looked it up. This is a new documentary about fatherhood from the Kendrick Brothers, the duo behind faith-based hits like War Room, Courageous, and Fireproof. I've seen none of those movies, though I know all of them exceeded expectations, but this is also a doc, and those rarely do as well at the box office. I wish I could give you a definitive number for this, but something makes me think it won’t make more than $2 million, even if the religious right seem less worried about COVID and vaccines and wearing masks in movie theaters than everyone else. Expect it to end up in the bottom of the Top 10 with lots of confused movie writers not knowing what it is.

Kristen Bell and Kirby Howell-Baptiste (who have appeared both on The Good Place and in Veronica Mars together) co-star in the comedy QUEENPINS (STXfilms), which is being released straight to Cinemark Theaters on Friday and then it will be on Paramount+ on Sept. 30.

In the movie, based on a true story, Bell plays Connie Kominski, a suburban Phoenix housewife who thrills to saving money with coupons, hatches a scheme with her best friend JoJo (Howell-Baptiste) to sell coupons via mail, not realizing that what they’re doing is illegal as they rack up millions of dollars. Unfortunately, they have Paul Walter Hauser’s Loss Prevention Manager Ken Miller on their tail, and he teams with postal inspector Simon Kilmurry (Vince Vaughn) to try to catch them women trying to scam the supermarkets.

This movie, written and directed by Aron Gaudet and Gita Pullapilly, actually is based on a true story, but it took me a little while to get into it, and it definitely had its ups and downs. The first thing one has to get past is the fact that this is essentially a heist film that involves illicit coupons, and at first, Connie writing letters of complaint to companies comes across a bit like a Greenberg for middle-aged women. (Note: that film's star, Ben Stiller is one of the movie's exec. producers.) On the other hand, Kristen Bell tends to be great in this kind of role and you can tell she's worked with Ms. Howell-Baptiste from their organic chemistry as best friends. Joel McHale has a tougher time fitting in as Connie's husband Rick, but that actually works in this case. (A little trivia fact: McHale, Howell-Baptiste and Natalie Morales, whose directorial debut is reviewed below, all appeared in BenDavid Grabinski's Happily, as did Stephen Root, who has a small role in Queenpins.)

Queenpins eventually falls into a steadier pace with the introduction of Hauser's character and then bringing Vaughn into the mix, although the two of them have very little interaction with the two female leads, as the film instead cuts between the two duos. Hauser essentially seems to be playing a jokier version of Richard Jewell here, constantly trying to get more involved in the case and wanting to be deputized by Vaughn. The two of them work well together, and there's only one unfortunate scene involving… it's too disgusting to mention, but it's where the film needlessly delves into gross-out humor, and that's also where it falters.

As much as the law in this movie act like buffoons, the two ladies don't seem very much smarter, doing idiotic things like buying Lamborghinis and guns in order to "clean” the illicit money from the coupon-selling scam. Because of that, Queenpins gets sillier and sillier and feels less like any sort of possible true story as it goes along. The movie basically comes across like a less skilled version of Butter, but in that case, it was a movie that shouldn't have worked but did. In this case, it's the exact opposite.

Cinemark Theaters only has about 331 theaters across America, including a lot in Texas, California, and Ohio, but honestly, I don't think awareness is high enough for Queenpins for it to make much of a mark, but even if it makes less than a million, it could theoretically break into the top 10 this weekend, but I think it will fall just short.

The movies above are the only ones that may be going even remotely wide, so because of that, this weekend’s box office will look something like this with Shang-Chi remaining #1 with relative ease, Malignant taking a distant second, and Candyman and Free Guy fighting it out for #3.

1. Shang-Chi and the Legend of the Ten Rings (Marvel/Disney) - $33.5 million -56%

2. Malignant (Warner Bros.) - $13.6 million N/A

3. Candyman (Universal) - $4.8 million -53%

4. Free Guy (20th Century/Disney) - $4.5 million -42%

5. The Card Counter (Focus) - $2.2 million N/A

6. Jungle Cruise (Walt Disney Pictures) - $2.1 million -48%

7. Paw Patrol: The Movie (Paramount) - $2 million -50%

8. Show Me the Father (Sony/AFFIRM) - $2 million N/A

9. Don’t Breathe 2 (Sony/Screen Gems) - $2 million -30%

10. Respect (MGM) - $600,000 -57%

--- Queenpins (STXfilms) - $445,000 N/A

It was tough to pick a “Chosen One” this week, because there are a few decent films, but I had to go with Natalie Morales’ directorial debut, LANGUAGE LESSONS (Shout! Studios!), which she co-wrote and co-stars in with Mark Duplass. I saw it at SXSW back in March, and I loved it just as much a second time around, due to the simplicity of the premise and just how much Morales and her co-star do using similar Zoom technology we’ve all been using for the past 18 months. Duplass plays wealthy Californian Adam, whose husband buys him a series of Spanish lessons, given over Zoom by Morales’ character Cariño, who lives in Costa Rica.

You might think after over a year of mostly communicating with family and friends via Zoom, we’d be so sick of it that a movie that uses that as a conceit would be absolutely horrible, but maybe that’s why it’s easier to connect with what Morales and Duplass were attempting with this terrific piece of work. How these two people from different backgrounds interact begins slowly as might be the case while getting online language lessons from a new teacher. As they become more comfortable with each other, there’s more playfulness, as they begin to open up to each other. (Adam's Spanish teacher definitely has a dark side that comes out as things go along.)

I’m not sure if there was a lot of improvisation involved with the script as with some of the films Duplass did with the wonderful Lynn Shelton, but however they put this film together, it works in a similar way where it’s charming and funny, even during some of the more emotional moments. Because Duplass’ character is declared as gay fairly on, there's none of the attempts at making this some sort of meet-cute romance, as may have been the case with a studio movie. There's also never anything lascivious or creepy about their relationship, which makes some of the moments a little confounding, but ultimately, it all pays off.

Even though there’s a certain aspect of the movie that makes you want it to be kept organic and authentic-feeling, there is some gentle scoring by Gaby Moren that’s kept far behind the dialogue that does add something subliminal to the film.

Language Lessons is absolutely delightful -- definitely one of my favorite films of the year -- maybe because it thrives on its own simplicity by just having two actors doing what they do best.

Another great movie coming out in select theaters Friday is EVERYBODY’S TALKING ABOUT JAMIE (Amazon), starring Max Harwood as Jamie New, a fairly normal gay 16-year-old from Sheffield, England… other than the fact that he wants to be a drag queen. His mother Margaret (Sarah Lancashire) supports him, as does his best friend Pritti (Lauren Patel) but Jamie risks the ridicule and mocking and bullying of his entire Year 11 class as he proclaims his desire to attend prom in drag. This is the feature debut by Jonathan Butterell, a choreographer who directed the original stageplay.

I honestly wasn't really sure what to expect when I went to a theater to see this with a real audience. For one thing, I had no idea it was a musical. I had seen Max on some morning show talking about the movie and how it was based on the true story of Jamie Campbell, a British teen who wanted to be a drag queen, but I don’t remember him saying anything about singing or dancing. And the music and performances are all terrific, including all the young actors playing Jamie’s schoolmates, who have more than a few spectacular numbers to show off their own skills. (They’re kind of like the Greek chorus for the film.)

Harwood is exceedingly likeable, which is why he can carry this film, but it’s then an even bigger joy when Richard E. Grant shows up in a mentor role, as former drag queen “Loco Channel.” Grant has proven countless times he can do anything, and though his singing voice takes some adjusting to, it also leads to two absolutely amazing moments. Same with Lauren Patel and Sarah Lancashire, who each have numbers that would bring down the house on a Broadway stage but just gets the tears flowing as you’re watching on the screen. Sharon Horgan, who was just in the recent drama Together, plays more of the antagonist role as Jamie’s disapproving teacher, and her one number does not show that singing is one of her talents. (She does okay, and gets through it, at least.)

That aside, Everybody’s Talking About Jamie is a truly wonderful musical (and movie), one that took me quite by surprise, since I wasn't expecting something a bit more "Free to Be You and Me” (look it up). In fact, Harwood shines, and the cast around him does as well; the fact this musical was able to bring out so many emotions from me offers proof positive that it's a true winner.

Jamie is opening in select theaters this Friday, and then it will stream on Amazon Prime Video starting Sept. 17. I recommend going out and seeing it in a theater if it’s playing near you; it’s a real crowdpleaser, for sure.

Also launching on Amazon this Friday is the series, THE VOYEURS (Amazon), starring the terrific Sidney Sweeney (who many will know from Mike White’s The White Lotus on HBO Max) and Justice Smith as a young couple who move into a loft apartment in Downtown Montreal after which they become interested in the sex life of their neighbors across the street (played by Ben Hardy and Natash Liu Bordizzo).

I’ve really been looking forward to the action-thriller KATE (Netflix), starring Mary Elizabeth Winstead, who I love, so sue me. It also stars Woody Harrelson, who I’m also a fan of. Directed by Cedric Nicholas-Troyan (The Huntsman: Winter’s War), it has Winstead playing Kate, a kick-ass assassin who has 24 hours to get revenge on the man who tries to kill her, eventually teaming with the daughter of one of her targets. Harrelson plays her handler.

The fact that this movie, starring one of my favorite actresses playing an assassin and doing a bit more action than we've seen from Winstead in a while (Birds of Prey being an exception), comes so soon after The Protégé with Maggie Q may only be a coincidence, but whoever is making these movies clearly knows what I'm all about. This one also has a very tiny sci-fi angle as well, and much of it is set in Tokyo, so it has both those things going for it, too.

Is this Winstead's best role or movie? No, probably not, but it does show her versatility, the fact that she can do something like Scott Pilgrim and other types of genre, but also do serious drama, and this is much stronger a venture into a Japanese yakuza thriller by a Westerner than last week's Yakuza Princess. Much of that comes down to Winstead and Harrelson, who do a much better job selling even the weaker dialogue, because you can tell they're both taking it very seriously. Like Yakuza Princess (and Kill Bill, a model for both of them) Nicholas-Troyan leans heavily on his soundtrack and on some of the more stylish visuals, but at least this one offers other things beyond the constantly-circling camera in certain scenes.

Let's face it that watching Winstead taking part in some pretty impressive and violent fight and stunt sequences would probably be more than enough for me to enjoy this even, if there are moments that rip-off Kill Bill so obviously but again, better than other similar rip-offs. Eventually, Kate gets sidled with a young teen girl, Ani (Miku Martineau), the daughter of one of her victims, and that does take away from the "sole assassin” aspect but does give it more of the feel of The Professional. Maybe that would work better if Martineau didn’t seem much older than the teenager she was meant to be playing, which might be due to the fact that she swears more than Samuel L. Jackson. In some ways, Ani offers something more akin to Black Widow with a third act twist that few will see coming.

Ultimately, the movie works well as an action movie, if not slightly marred by its overuse of clichés. It probably will come as no surprise that I prefer seeing action movies like this on the biggest screen possible in a theater, and in fact, this did get a nominal theatrical run last week before streaming on Netflix Friday. Winstead's badassery does wonders at making sure that fans of her and the genre won't be disappointed by its few flaws.

Also hitting Netflix this week (today, in fact) is the doc BLOOD BROTHERS: MALCOLM X & MUHAMMAD ALI (Netflix), which has a fairly self-explanatory title. I haven't seen it yet.

A movie that people who liked the Oscar-winning Free Solo will also want to check out is Peter Mortimer and Nick Rosen’s THE ALPINIST (Red Bull Media/Roadside Attractions/Universal), a documentary about the 23-year-old solo mountain climber Marc-André Leclerc, whose amazing climbs were counterbalanced by his elusive behavior that kept him mostly under the radar for so many years.

This is a very different movie from Free Solo, though. That was about Alex Honnold's determination to make one singular climb, while Leclerc was already making just as many impressive climbs at a younger age. It's pretty obvious that Leclerc was destined to climb even bigger rock faces as Mortimer (whose previous film, The Dawn Wall, was sadly overlooked with all the push behind Free Solo) and Rosen finally catch up with him.

I don't really want to say too much more about the film or Leclerc, since it's best to learn about him through the movie and the amazing interviews compiled by the filmmaking duo. There's a good reason why mountain climbing continues to be of interest to the casual non-climbers like myself. Great films like The Alpinist find ways to glorify these amazing climbers without glossing over how dangerous mountain climbing can be as a sport or hobby.

The Alpinist had a Fathom Event on Tuesday night, but it will also be getting a moderately wide release in theaters through Roadside this Friday as well. You can read my interviews with the filmmakers over at Below the Line, too. Also, I mentioned another Universal doc, Under the Volcano, a few weeks back, and I have an interview with those filmmakers over at Below the Line, as well.

Another doc of note out this week is FAUCI (NatGeo Documentary/Magnolia) from directors John Hoffman and Janet Tobias, which looks at the life and career of NIH Director Dr. Anthony Fauci, but it doesn't deal with the last year and a half where Fauci's main focus was fighting COVID. No, this goes back to earlier in his career, to when he started at NIH, meeting, working with and eventually marrying his wife, Dr. Christine Grady. (Nope, I had no idea he was married either.)

More importantly, the movie follows Fauci's role in the discovery of HIV and AIDs and the conflicts between the government and protest groups like ACT UP who didn't think Fauci and the government did enough to help the gay community fight against AIDS and certainly not fast enough to make a difference.

Hoffman and Tobias’ doc has a fantastic interview with Fauci at its core that sometimes gets a little cutesy, but also allows him to talk candidly about his efforts in fighting disease, including the efforts to help fight Ebola in Africa where it was so debilitating for those who couldn't afford medicine that the USA had to step in.

But AIDS is really the crux of the film's exploration of Fauci's past achievements (and partial failures), and watching a younger Fauci talking to the AIDS activists in a rousing speech is one of the highlights, as is watching the present-day Fauci tearing up while talking about an AIDS patient who died.

I’ve always had a bit of a skewed perspective on epidemiologists and infectious disease doctors due to a few incidents when I was fighting cancer, and Fauci has annoyed me for the good part of the year by being so wishy-washy and negative towards movie theaters (which led to a full-year of closings in NYC with no major super-spreader cases since they reopened). But this documentary definitely helped change my mind about Fauci, maybe because the general public really never had a chance to meet or know him or his work before COVID hit.

Fauci is quite a fantastic doc in terms of shining the spotlight on a needlessly controversial figure who has been politicized despite having held his position through six administrations. I would definitely point someone to this doc if they still feel negatively towards the country’s top epidemiologist. It helps to humanize Fauci much like the RBG doc did for the late Supreme Court Justice.

Seriously, there are so many movies this week that there’s no way I’m gonna review everything, but you can read about a few of them below.

A music doc hitting New York on Friday and then opening in L.A. on Sept. 17 is Tom Surgals's FIRE MUSIC: The Story of Free Jazz (Submarine Deluxe), exec. produced by Nels Cline and Thurston Moore (who happens to be playing his first NYC show in a couple years this Sunday). It covers the free jazz movement of the '60s and '70s that produced the likes of Ornette Coleman, Cecil Taylor, Sun Ra, Albert Ayler, and John Coltrane. The movie features archival footage from the '60s jazz scene and interviews with key players, including critic Gary Giddins. I'm not going to review this, but it's pretty good, because I definitely had a phase when I was really into this type of jazz, basically all-improvisational with less structure than the jazz that uses charts and such. I know that a lot of people hate or misunderstand the musical style but it's quite stirring, as is Surgal's film. I do feel you'll already have to be a fan of the musical genre to enjoy the movie, though.

Hitting Apple TV+ on Friday is the filmed version of the Broadway musical, COME FROM AWAY (Apple TV+) -- similar to last year’s Hamilton and David Byrne’s American Utopia -- which is being released on the streamer to coincide with the 20th anniversary of 9/11, since the musical is loosely based on the events. It was filmed earlier this year, 14 months into the pandemic that shut down Broadway with a fully-masked audience watching Broadway’s first live performance since the shut-down. This is one of the MANY musicals on Broadway that I’ve never gotten around to seeing but it involves a town in Newfoundland, Canada where a plane lands on 9/11 as they’ve been diverted following the terrorist attack on the World Trade Center.

Claire Lewins’ doc THE WONDERFUL: STORIES FROM THE SPACE STATION (Dog Star Films/Universal Home Entertainment) features footage from the International Space Station and interviews with the astronauts who have been involved with the extraordinary space project. I hope to watch this over the weekend, but it sounds like my kind of movie.

Already on Apple TV+ (it debuted Tuesday!) is Bailie Walsh’s BEING JAMES BOND, a documentary about Daniel Craig’s run as 007 over the past decade plus, which you can rent for FREE on Apple, so go do that!

On Monday, FX and FX on Hulu will debut the first few episodes of Y THE LAST MAN, the new series based on the Vertigo comic series by Brian K. Vaughn and Pia Guerra that I absolutely loved. Set in a world where every single male human and animal has died, it stars Ben Schnetzer (Pride, Warcraft) as Yorick, who is -- you guessed it-- the last man on earth. He’s also an escape artist/magician, trying to survive with his pet capuchin monkey, Ampersand, as he goes across country trying to find his girlfriend Beth who left for Australia before the event. It also stars Diane Lane (as Yorick’s mother, who becomes the President), Olivia Thirlby (as his sister Hero), Ashley Romans (as Agent 355), Missi Pyle, and lots of other actresses (because all the men are dead). I’m slowly making my way through the series, and I like what I've seen so far, but the first three episodes will premiere on Monday.

A few other movies, a couple that I’ve seen, which I just don’t have time to review…

Nicholas Cage stars in Sion Sono's PRISONERS OF THE GHOSTLAND (RLJEfilms), which opens at the IFC Center this Friday. He plays a bank robber who is sprung from jail by Bill Moseley's "Governor" whose adopted granddaughter (Sofia Boutella) has gone missing. Cage's character is allowed to go free to find her, but he's put in a suit that will self-destruct in three days if he doesn't return. So it's kind of like The Suicide Squad, and though it has an interesting cast (including Nick Cassavetes, who also appears in Queenpins this week), I don't remember liking this much at Sundance earlier this year. (I actually don't thnk I got through the movie.)

John Pollono adapts his own stageplay SMALL ENGINE REPAIR (Vertical) to the screen with John Bernthal and Shea Whigham playing life-long friends Terrance and Packie with Pollono’s Frank, who are overly protective of Terrance’s teen daughter, Crystal (Ciaro Bravo). A chance encounter turns into a night that spins out of control as the friends have to make a tough decision about how to resolve the situation. I was pretty mixed on this movie even though Bernthal and Whigham continue to be great in everything they do. (I just think Whigham's recent movie, The Gateway, was better.)

Hitting the horror-streaming network Shudder (I have a subscription, because I’m a fan) on Thursday is Ruth Platt’s MARTYR’S LANE, a ghost story about a 10-year-old girl named Leah (Kiera Thompson) who lives in an old house with her family but whose mother has grown distant. At night, she’s visited by a guest who challenges Leah in exchange for more information about the house and her family.

Saul Williams stars and writes the score for Charles Officer’s AKILLA’S ESCAPE (Vertical), a crime noir about an urban child soldier set in Toronto and New York with Williams playing Akilla, a 40-year-old with a covert cannabis operation that goes legit. As he’s ready to cash out, he’s robbed by a group of masked youths. Akilla captures one of them, a mute 15-year-old named Sheppard that is associated with the Jamaican crime syndicate founded by his grandfather.

Jonah Feingold’s DATING & NEW YORK (IFC Films), which premiered at the Tribeca Festival a few months back, stars Francesca Reale (Stranger Things) and Jaboukie Young-White (The Daily Show) as Wendy and Milo, two Millennials who are thrown together at the worst time in their lives for romance, as they meet on an app called Meet Cute, have a first date, and then ghost each other before being thrown back together into an unconventional romance. I’m usually a fan of the rom-com genre, and I often can even withstand one that takes place in New York City and uses my town in a completely unrealistic way to show how romance can flourish here. (*koff*BULLSHIT*koff*) But then you throw in the M-word (Millennials), and this grouchy old man could barely get through this movie, though I’m not even remotely surprised it premiered at Tribeca. It seems very much like a Tribeca movie, and yes, that was meant in a pejorative way as the former “Film” festival has lost its way over the years. I’m half-kidding, the movie is entertaining enough, and I’m sure younger people will enjoy it more than I did.

A few other films I didn't get to this week…

DOGS (Dekanalog) AZOR (MUBI) BAD CANDY (Dread)

That’s it for this week. Do we have any new movies next week? I think Clint Eastwood has Cry Macho

#Movies #reviews #The Weekend Warrior #box office #Malignant #Queenpins #Everyone's Talking about Jamie #Kate #Fauci #The Alpinist

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snarkwrites · 3 years

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06 | gangsta ; sweetpea

Notes:

So.. the sexual tension. The longing. The lingering touches and all that awkward but cute shit.. That’s starting here. Can we say sloooow burn? Because considering I’m now six chapters deep and they really haven’t... Done too much as far as touching / flirting / interacting, yeah.. That’s what this is. If you weren’t looking for a slow burn, I’m honestly not sure what to tell you? Other than oops? Oh.. Also.. this chapter and the next one I’m posting will have a few days lapse between them as far as timing. So... just so you know. It’s alluded that Sweet Pea and Alyssa have kind of bumped into each other between this chapter and the next one, if that makes sense.

Also.. I’ve pretty much planned out what stuff I am using / changing a little now, so that’s good. I have a general idea. I might even add my own events / plots to this. I’m kind of.. tempted.

Warnings:

non canon compliant - this is the biggest warning, so if you’re into things that follow exact canon plot you are... definitely not going to like this. angst & slow burn, heavy sexual tension starting now, actually - this is just so everyone who started reading this thinking the smut would transpire in a hurry knows that apparently, it is not. violence / swearing & fighting, possible underage drinking and other shenanigans - look.. it’s high school. shit happens. also apparently, my ofc Alyssa uses the word fuck like all the time?... eventual sexual content / a virgin original character - this one is self explanatory. yes, i plan to write a smutty chapter in this at some point. when? i don’t rightly know. it’s got a while before we get there.

Pairing:

Andrews!Sibling OFC, Alyssa x Sweet Pea

Other Parts:

[ one - two - three - four - five - soundtrack ]

Other Stuff:

[ faq - tag list doc ]

Tagging:

@brithedemonspawn is the only person on my Riverdale tag list. If you’d like to be tagged for this story by all means.. Please let me know. Please, I beg. It’d make me super duper happy!!!

SIX.

“You could come up to the lake house with us. It beats sitting around here moping.” Veronica spoke up as she stepped in front of the television set in my father’s living room. I tried to peer around her, grumbling because naturally, she’d pick the one scene in the entire episode I’d been dying to see since I started to re-watch the show and she’d block it.

“You realize I am trying to see Charlie Hunnam’s bare ass right now, right?” I asked calmly. Reaching for the half melted pint of butter pecan ice cream on the table in front of me and my spoon. Nodding to the empty spot on the couch that wasn’t taken up by my legs. Veronica sat down and for a few minutes, neither of us really said anything.

“What’s your attraction to this show?”

“Jax Teller, Opie Winston... Motorcycles.. But mostly Jax Teller.”

“Which one is he?”

“The blond with the very nice backside.” I nodded towards the shot I’d been waiting an entire season for, Jax Teller getting out of the shower and walking across the room.

“You definitely don’t have a type, no, not at all.” Veronica gave a soft laugh as she muttered the words. With the scene out of the way, I turned to the side to look at her.

“I’m not even going to ask what you meant by that.” I muttered.

Things were always awkward and tense between us. We were polite. But that was about the extent of it. And I felt bad about it. Obviously not bad enough to actually make an effort, even though she seemed like a really nice girl and she made my brother really happy. Happier than he’s been in a long time if I’m being honest.

I just couldn’t get past the rift her family caused in mine.

Then there was her mother, trying to hook up with my father while her actual husband was locked up in prison… But mostly, the tension her father caused between my father and my brother.

“Listen.. I heard everything that happened between you and Reggie. And if you want to come to the lake house..”

I shook my head. “ I am not crashing on the whole double date getaway you guys have going on. Besides, I doubt I’d be good company right now.”

“You wouldn’t be crashing!” Veronica was quick to speak up. “I know you don’t like me. But your brother loves you and I really.. I want to try to get to know you.”

I nodded. Taking a deep breath as I admitted quietly, “It’s not you, okay? Look. I have zero problem with you. It’s all the crap that’s going on with my brother and your dad. I’m… I’m worried about him and how far he’ll go.”

Veronica sighed. We went quiet again and she admitted after a few minutes, “I am too. If you want the truth, I don’t really like how close my dad is to him either. I don’t trust it.”

I eyed her, a brow raised.

“That’s like a dream situation though. If your father likes him, you don’t have to worry about him resorting to any of his typical clownery to end things with you two.” I curled the ends of my hair around my fingertip as I tried to understand why she wouldn’t like her father and my brother bonding a little.

Then it hit me. It had to feel awkward. Your father popping in to borrow your boyfriend. But the look on her face told me that wasn’t the only reason.

“I know what my father’s capable of. And the more I try to stop it, the more he manages to get by with. I hate everything he’s done, okay? I just.. Wanted you to know that.”

I let her words sink in.

Eyeing her as I weighed mine. Managing a smile.

“You make my brother happy. I like him happy. So if you really want to try and get to know each other, we can. But I’m not going to intrude on you guys weekend get away, because one, awkward as hell and two, I can imagine that already happens enough with your dad butting in to get him to do something or another.”

Veronica nodded, smiling. “I understand. What are you going to do this weekend?”

“Honestly?”

“Yeah.”

“I’m probably going to rewind that one scene five million times and burn it in my mind… I thought about going down to the theater and catching that horror marathon but I dunno.” I shrugged.

“A horror movie by yourself?”

“Mhm.”

After my brother came downstairs, the two of them left for the weekend and I locked the door behind them, leaning against it. Wandering over to my dad’s stereo, turning it on a hard rock station I listened to when I was home by myself just to drive out the lack of noise in the house.

I wandered into the kitchen, gathering up dirty dishes and moving them to the sink. Taking chicken out of our freezer to thaw because I thought about making chicken parmesan for me and dad when dad got off work tonight.

Vegas wandered into the kitchen and dropped his leash at my feet with a soft thud. I stopped what I was doing to lean down and pet him, nodding to the door. “In a few minutes, buddy. I’ll go find pants.”

I finished piling dishes into the sink and I wandered into the laundry room, digging around in the dryer for the jeans I’d taken off earlier, tugging them up. The door bell was literally being leaned on and I froze.

Took a few deep breaths and reminded myself that all the Black Hood nonsense was behind Riverdale because the guy was dead. Thinking it was Archie and he forgot something and was in a hurry, I made my way over to the door, unlocking it. “Hold on, Archie, damn.”

It wasn’t Archie.

Reggie stood there.

“What do you want?” I scowled.

“I miss you, okay? This is driving me crazy. Can we at least just talk about what you heard?”

“What exactly is there left to say? You were basically gambling on my virginity.” I frowned and shook my head. Shivering as the wind picked up a little.

“We can go inside and talk, Alyssa.”

“I just told you. I have absolutely nothing to say to you. Look… what you did hurt, okay? Because I thought… nevermind.” I muttered, going quiet. Blowing at bangs I’d just gotten cut earlier in the week. He reached out to attempt pushing my hair out of my eyes and I leaned away. Vegas yelped impatiently from the doorway, his leash in his mouth now.

Seeing Reggie, he started to make his way over. Reggie bent to pet the dog and I cleared my throat. “You need to go.”

“Just let me say what I came to say.”

I tapped a bare foot against white painted wood slats and tilted my head, gazing up at him. Waiting.

“The only reason I made the stupid bet to begin with is because you’re literally the one girl I couldn’t work up the nerve to flirt with. And when I did, my charm didn’t work on you. Kinda when I started to fall. You gave me a hard time, princess.”

“ I kind of wish I’d stuck to that, actually.” I muttered. “All you had to do, Reggie, was just talk to me? Ask me on a date, I don’t know…”

“I was stupid, okay?” Reggie went quiet. Stepped a little closer. “ I love you. When I made the bet, I didn’t know how I felt about you at all. Then I started to fall and I tried to get out of the bet, Alyssa, you have to believe me. I tried to tell you but every time I’d think about it, I’d freak out because you’re the first actual good thing I’ve had in my life in a while, okay?”

I scoffed. “Yeah, I doubt that.”

“I mean it. And I’m not going to stop trying to prove it.”

I shrugged. “Do whatever you want but I’m not guaranteeing it will work. I already went against my gut instinct and gave you a chance to begin with.”

I shivered a little, hugging myself. Reggie placed his hands on my upper arms, rubbing them. Gazing down at me.

“Reggie, you need to go. I just need to think.”

“Thinking is better than you saying you hate me now… I just.. You were my best friend when we were kids.. Then I kinda fell for you and now stuff just sucks.. I don’t have my best friend or the girl I love. Anything is better than nothing.”

Reggie left and I walked back inside, flinging myself at the couch. Pulling myself together for a few seconds. Really letting what he said sink in. Trying to figure out if I felt the same thing. Or if I felt anything at all.

I finally gave up trying to force myself into a decision and after leashing Vegas, I wandered out into the chilly night air. Down to Pickens Park because Vegas likes to wander around the big grassy area between the ballfields and the playground.

After playing fetch with a stick Vegas bought over to me, I flopped onto the grass. Vegas settled beside me and I found myself just kind of lounging there lazily, watching the clouds roll over the darkening sky lazily. Pointing at constellations when I spotted one. Vegas seemed content to just lounge there, his head resting on my stomach with me lazily giving him behind the ear skritches.

A throat cleared from nearby.

Sweet Pea stepped out, hands in his pockets. Wandering over to where I’d lazily flopped onto the grass. Sitting down nearby with his back against the tree. Close but keeping a healthy distance between us.

“Do you always lay in the park at night and talk to your dog?”

“What if I do?” I answered, rolling onto my stomach, propping on my elbow to gaze at him, my hair promptly cascading in front of my face like a messy red curtain.

“Damn it. I should’ve just chopped it all off.” I grumbled, pushing my hair out of my eyes to look at him.

“You’d look hideous bald.” Sweet Pea flashed me a teasing smirk.

“Hmphf.” I grumbled in response to his comment. “What brings you to the boring side of town?”

Sweet Pea shrugged. “Wyrm was crowded. Full of shouting kids and shit. I wanted to take a walk.”

“Toni and Cheryl went to see that movie tonight.” I laughed softly. “They asked me if I wanted to go but I said I wanted to stay home. Kind of just not feeling it. Then my brother’s girlfriend asked if I wanted to go on that weekend trip they all took.”

“You could be soaking in a hot tub right now.” Sweet Pea teased, a lesser seen teasing smile tugging at his mouth as he glanced at me.

“Honestly? I’d rather eat glass than indulge in anything Hiram Lodge is a part of. I’ll be nice to Veronica and try to get to know her, but that’s pretty much it. You know he brought my brother a car, right?”

“Yeah. I heard.” Sweet Pea answered, glancing over at me.

“Dad wasn’t thrilled with it either. That’s fine. Absolutely fine. I want Dad’s truck anyway. I’ll just spend weekends helping dad work on it. It’ll be more time I can spend with the grumpy old man.” I smiled to myself. One good thing about moving to Riverdale was that I was finally getting to spend more time with my father and my brother.

“You couldn’t even see over the wheel though. Can you even drive to begin with?” Sweet Pea shot me a teasing glance. Quick to step away from me just a little further, raising his hands. “I’m not trying to invoke the wrath of the midget.”

“It’s called a booster seat, asshole. And actually yeah. I do okay at driving. I mean aside from a go kart incident back in Chicago...” I teased right back, the two of us sharing a laugh that fell silent.

Sweet Pea stood, holding out a hand.

I eyed his hand and sat up, grabbing hold. Letting him pull me off the grass. Vegas rose to sit on his hind legs, then made his way over, sitting down right between Sweet Pea and I.. the little space that remained, there is. When he’d pulled me up, he’d pulled me with enough force that I wound up barely pressed against him. Close enough that my breath caught in my throat for a few seconds.

We sprang apart. Sweet Pea’s hand settled on top of Vegas’ head lazily and he chuckled when Vegas licked his hand, wiping his hand on the thigh of his jeans.

“It’s late. And colder.” Sweet Pea pointed out, nodding in the direction of my house. I glanced up at the sky and unable to resist, I retorted, “You don’t say, captain obvious.”

I jumped back out of his way a little and he stepped up. Towering over me.

“C’mon. I’ll walk you back.”

“But sir. I have a perfectly capable guard dog? What would the upstanding hypocritical assholes on this street think.. A big bad Serpent walking defenseless little me home?” I pretended to pout up at him, laughing softly. “I was joking.” I muttered a few seconds later.

He shook his head, muttered something I couldn’t quite make out and we started to walk down the sidewalk, towards my father’s house.

The streetlight flickered on above us, bathing us in soft and almost hazy lighting thanks to the fog that was starting to kind of set in.

The leaves crunched beneath my feet. Shattering this heavy air of silence that seemed to settle over us.

“I’m gonna.. Go. Back to the Wyrm.” Sweet Pea muttered abruptly a few seconds later. Lingering, even though he said he’d leave. Gazing down at me as if he were in a daze. Or caught up in his own thoughts. A million miles away.

“I need to get Vegas in the house.” I muttered, nipping at my lip as I held eye contact. Trying not to think about what I’d revealed to Cheryl and Toni a few days ago about maybe being attracted to him… But it was all I could think about at the moment. His eyes darted down, settling on my bottom lip. Then he shook his head, turning swiftly and disappearing around the corner up the street.

I walked inside, making the comment to Vegas, “That wasn’t weird at all, huh buddy?” Vegas just tilted his head, gazing up at me. I bent to take off his leash, hanging it up. Fluffing his fur before hurrying into the kitchen to grab myself a soda.

Settling in on the couch. Turning the television back on.

And promptly falling asleep in the middle of a rewatch of the first season of Punisher. And as I slept, I found myself dreaming about Reggie. And then, oddly enough, Sweet Pea.

When I woke up the next morning, it was to a few seconds of confusion because the dream I’d woken up from had been so vivid that I honestly thought it actually happened. I pouted as soon as the realization sunk in that it had been a dream.

And I grumbled in annoyance with myself because I wanted it to be real. Because lately, spending all this time around Sweet Pea, I was starting to feel like maybe I didn’t just think he was hot.

Maybe I actually did feel something.

Before that thought could take root, I was shoving it back out of my head again. Refusing to acknowledge it. Because the hot guys are always the ones that somehow manage to do the most damage. And I was still pretty hurt over the way things played out with Reggie. Afraid to open myself up. Afraid to trust. Afraid to try, if I’m being honest because I was at least 95 percent sure that Sweet Pea would probably laugh his ass off at me if I were dumb enough to do so.

#sweetpea fanfiction #sweetpea imagine #sweetpea fanfic #sweetpea imagines #sweetpea fic #riverdale fanfiction #riverdale fanfic #riverdale fic #my writing ; sweetpea #my fanfiction ; sweetpea #my fics ; sweetpea #// i am so proud of this even though it's totally flopped.

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team-adults-blog · 6 years

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5.04 Pandora’s Box

Appropriately titled seeing as the bunker is opened and all hell breaks loose! Broken into sections based on characters. Mainly Kabby tbh. At least two song references. Possibly other pop-culture references... I guess you’ll have to read to find out...

Kabby

Omg Dad!Kane what is happening??? Octavia I know you care what are you doing. OFC he grabs a shield. Abby is locked up? That’s where she is! AHHH! I was right of course he’s taking the fall for Abby. NATE. JACKSON. What is the plan??? INDRA? Save my guy! I mean I know he will live but the suspense and HEY HE IS GETTING HURT while I wait for you to rescue him. OH SHIT. He did not need saving mamaaaaa I just killed a maaaannnn He clearly didn’t want to do that. More shaky hands and “what have I done face” it’s ok bby I know you feel remorse and you will be forgiven.

What the hell Octavia? He fights again??? Get out. Uggghhhhhh this is torture let him live! Ok. If I take a step back, he’s fighting again because he hesitated and showed weakness. The crowd wants a strong winner. Got it. Doesn’t make me like it, but that’s how this system is running now. Mob mentality. Human beings in a mob… What’s a mob to a (red queen) what’s a (queen) to a god? What’s a god to a nonbeliever? Who don’t believe in anything? We make it out alive. Alright, alright, no church in the wild. You know I went a little further with that song than I intended, but it works because the era of commanders and the flame is over, Gaia didn’t like that, but she understands symbols and Octavia covered in blood is a strong symbol, I’ll give her that. She knows he didn’t do it. But it’s about appeasing the mob. Kane’s reply “we’re all guilty” FUCK ‘EM UP BRO! WE SO ARE. We so are. And then Octavia’s all eyeroll-y and not here for a philosophy lesson. I loved that exchange. Dad!Kane gets super philosophical with it and she doesn’t want to hear it so often. Is Indra going to help him? KINDRA FOREVER. No, she’s going to go talk to Abby. She is so smart. Indra is the best. Make her main. Jaha is dead. Isaiah is gone. You can pay Ms. Porter more okayyyyyyy. She’s been crushing her scenes. I’ve been saying this for years.

Back to Abby. How did no one catch the addiction six years ago? It was clearly an issue at day 46, so I’m surprised Jackson didn’t intervene sooner? Or maybe he did. But addiction is not easy and can drive people to do desperate things, like stealing medicine. Thank the lord Kabby gets another pre-death hug. Why is this a reoccurring thing? He’s going to live. I am not worried. Maybe if this was the end of the season or if Jaha hadn’t just died I’d be a little more worried.

Oh man. I said I wasn’t worried, but I’m a little scared. My boy is taking some serious injuries as he plays the Jesus card yet again. Octavia no! don’t hurt him! Of COURSE I was right. Just when he’s about to die the bunker opens and our man Bellamy comes in all spy-kids/ navy seals- pick the reference you prefer (also whats-her-face-main-woman was a SEAL soooo this is a reference AND the truth). Oh and here’s Clarke too. Bellarke is like. Shit. What blood pit did we drop into?

AND THEN KINDRA BFFS! I feel like Indra is always saving Kane? Kane has defended her, but she’s straight up saved his life at least twice in my immediate memory: When he was chipped in polis and she tackled him (and his poofy hair was wiiiillllldddddd) and here again when she gets him out of the bunker while Octavia isn’t looking. And then Clarke gets to hug mom and Kane again and I love it. Literally Clarke and Abby can’t be together for more than a few hours on this show. They were separated for SIX years. Then they get, what, two conversations, the second is her telling them to run! And then Abby comes back and makes sure Kane goes back to space with her (nice) but has to leave Clarke again. Jason, if this is the most important relationship on the show, please let them have a day or a week together.

Raven and Shaw I ship ittttttttttttt. Shaw’s already developing a crush and he hasn’t seen the beauty that is Raven Reyes. Good luck bro. OH! But he fell in love with her mind first. Aw this is great I like this. Please don’t ruin this for me. Murphy and Raven scenes were nice. Love Raven talking to Clarke on the radio. And then Murphy asks why Raven always has to be the one to sacrifice? Love him. What a hero move. I’m glad he gets to play the hero again for his sake, even if he should learn over this season that he has value in just being him. He got Raven to have some fun and kick around a soccer ball. He has value just for doing that.

Bellarke

Bellamy learning diplomacy. He’s come so far. And then we get a great Bellarke hug. It really was a sweet and pure moment and I don’t even care that Clarke didn’t get all the details she would normally want. Happy happy.

Major take-aways:

-Marcus Kane is a sacrificial angel, but he also has military training and can defend himself and kill a dude if he has to. But he doesn’t like it. Especially when it’s personal aka hand-to-hand combat and not with the distance of guns. He does it for Abby. And that’s why I love him. Also he is beautiful, inside and out. He has been blessed.

-Octavia has changed. That’s going to take some getting used to for Bellamy and the viewers.

-Shaw is the only “nice” guy, but is he really nice? He’s still following orders and appears to have betrayed the crew to help the prisoners take over the ship. But he’s got a moral compass, he’s just not living to it the way he wants to. That may change- he’s in survival mode right now with guns pointed at his head anytime he objects. I’m curious as to what made him rebel to get to where he is now. I’m also excited for Shaw to meet Raven. She doesn’t need a love interest, but *I* am a little interested in what that would look like. She could pull an Abby and help bring out the better man inside that’s hiding behind rules and following orders.

-Bellarke is hiz hop happening.

-Uh so everyone else from space squad is hiding in the woods with Maddi? I’d like to know what they’re talking about there- catching each other up and sharing stories. What stories did Clarke tell and leave out? Is Maddi going to ask Marper about how long Bell and Clarke have had heart eyes for each other? I wouldn’t mind seeing that. At the same time, I do understand that it is not exactly crucial to the plot; the idea is that they are safe. Not sure I need to see that, but it’d be cool.

-SO FAR THIS SEASON IS GREAT AND I LOVE THAT I HAVE SO MANY QUESTIONS THAT I CAN’T QUITE FIGURE OUT YET- like what is the sickness Abby needs to cure? Is it some toxicity from the minerals they were mining? That’s the only guess I’ve got and I am A-OK not having it figured out yet.

-I am worried Marcus going to space is a bad idea because he will be used as leverage to get Abby to do things she doesn’t want to do. No doubt there. But I’m ok with that because everything is ethically grey andddddd it means Kabby will have scenes together. AND they’ll be flipped from last season where Abby was just hanging out in Polis for a bit to be Ambassador Kane’s partner. Now Kane gets to be the Doc’s partner. He’ll probably still get a role because he’s a good diplomat and all that. But I like the idea of Abby having the major role to play and Kane hanging out as a love interest. Because GENDER NORMS. And Kabby talks and cuddles.

-When will Monty and Miller be reunited? And Miller and Harper were buds all the way back when they were locked up on the ark. I love reunionssssssss

#5.04 #s5 #The 100 #100 spoilers #this isn't even good why am I still making these

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android-for-life · 4 years

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"Web Creator Spotlight | Abby Mills"

“Where did she find that outfit?!” is something you’ll probably think within minutes of meeting Abby Mills, the blogger behind the vintage fashion and lifestyle blog Clothes & Pizza. The next thing that pops into your head might be “she literally has the coolest tattoos I’ve ever seen.”

Abby Mills is a style icon, but that’s only part of the picture. She’s also a CEO, photographer, model, copywriter, accountant and salesperson all rolled into one.

Which is really just to say … she’s a web creator. But exactly how does one person do all that stuff and still have time for anything else? Read our interview with Abby to see how she turned a passion for vintage finds and deep-dish delights into a thriving life on the web.

What does your average day look like?

No two days are the same, but they are generally a mix of unglamorous behind-the-scenes work like answering emails, shooting photos, writing for my blog and real-time sharing on Instagram stories and elsewhere throughout the day). Most of the time I am in sweats (especially these days), writing or planning future work. But my content is a pretty authentic reflection of my life, so I show the unglamorous casual stuff too.

Right now, I wear all the hats: I’m the CEO, photographer, copywriter, accountant, head of client services, salesperson, and janitor. Which is great because I don’t have to answer to anyone but myself. But it’s bad when I can’t blame Susan for drinking the last cup of coffee without putting another pot on.

After all the nuts-and-bolts business stuff, how do you get into the flow creatively?

The more I stay off the internet, the better. I find it hard to focus on my own creative process if I spend too much time looking at what other people are doing. There are so many talented folks out there doing really unique and creative things. And while that can certainly be inspiring, I think it can also lead to a lot of second guessing, or copycatting, if you aren’t careful.

I don’t approach content creation from a purely *creative* standpoint, I actually think about it more from the standpoint of the function it serves. I.e., what problem does this piece of content solve? How does it answer a question, or alleviate a pain point, or unlock a new idea for my community?

So I usually start with the problem, and then build the content around the best way to answer that problem. For example, if my community is having trouble styling graphic T-shirts, I create a styling video that shows three unique ways to style a graphic tee.

The bag really ties it all together. So, how did you get here?

A few years ago I celebrated a bunch of big life milestones in a span of a few weeks—I turned 30, got married, and started a new job in a new industry. I had wanted to start a blog for years (like a decade). And I figured I might as well tack another big thing onto a series of big things.

It was important to me to have a blog outside of social media. A place on the internet that I own outright. So I started my website and my Instagram account at the same time.

I went into this industry pretty naive and inexperienced in the content creation world. It took me a few years to feel like I found my niche, and start to hit my stride. This industry changes really fast. There’s no blueprint for how to be successful, and no one way to “do it right.” Which is awesome because it means there’s room for lots of people and lots of viewpoints. But it’s also challenging

I have really enjoyed learning how this industry works, at the same time that the industry is coming into itself. We are definitely building the plane while we’re flying it, but it’s a fun ride.

If there was one product or service that could make your life easier, what would it be?

I love the idea of a web-based place to share ephemeral content. Or a place to take ephemeral content (like from Instagram stories) and make it into something else. Or even have the ability to archive it for public access. I can’t tell you how many DMs I’ve gotten that are questions related to expired IG stories!

On that note, what Google products/services do you already use?

All the things. I would not be able to manage my business without the combo of Gmail, Google Calendar, Google Docs/Sheets, and Google Drive. I maintain my content calendar and track my deadlines in Google Calendar. I manage my outreach, contacts and finances in Sheets. And store/deliver my deliverables in Drive. I’ve found Docs to be a great way to collaborate with my clients as they can add edits, comments or approvals directly to my content before it goes live, without a lot of friction.

What’s the best part of your job? What about the worst part?

[The best part is] being my own boss, having my own autonomy to work on whatever I want (try new forms on content, experiment with different creative outlets) and only work with clients/brands who I believe in. I never have to take on a project that I’m not 110 percent stoked on. The worst part is probably turning off, or unplugging. Because my content is an extension of my life, it’s sometimes challenging to draw a hard separation. There are of course many things about my life that I don’t share with my online community—I keep my family and friends private, for the most part. But I genuinely love connecting with my community over all sorts of things. Setting boundaries at any job is difficult, but it’s especially difficult when part of your job is sharing your life and being a resource to people.

At the end of the day, what is the ultimate goal of your work?

This is so cheesy, but it’s probably helping people. I see my content as helpful to both my community (individuals who follow me) as well as the brands I work with. I tend to seek out new/small/indie brands, and really love sharing them with my community and being a part of growing their customer base. As an entrepreneur, working with other entrepreneurs is really inspiring for me.

I have always had unusual and particular taste—I love finding the best unique things, and discovering new brands who are really changing their respective industries. Sharing these brands with my community feels like a win-win-win to me.

I’m passionate about mentorship and advocacy in all areas of my life. And my digital presence is an extension of that passion. I really love supporting other creators, helping them recognize the value of their work, and ultimately sharing how they can monetize their business. I really enjoy giving back to the blogging community—and sharing things I wish I had known back when I started. For example, I do donation-based mentorship sessions, where all the money goes to organizations supporting civil rights and social justice initiatives.

What is something that inspires you every day about the web or in general?

I’m really inspired by all the different formats of technology that people use to connect with creators and communities—it’s pretty endless. Longform video, shortform video, podcasts, blogs, ephemeral content, etc etc. I’m at the point in my content creator “career” where I don’t feel pressure to jump onto every new format (I never did Snapchat or TikTok). I focus on doing a few things well, and not spreading myself too thin.

I also love learning about new brands who are using technology to change the fashion industry. For example, I’ve recently discovered this shoe company called Hilos—they 3D print the soles of each shoe (no gluing or nailing multiple parts together) which ultimately produces less waste and lowers their carbon footprint (pun intended).

What advice would you give someone just getting started? Or, what would you go back and tell yourself having learned all you’ve learned so far?

Maybe this is the same answer for both questions, but I think a lot of people go into the creator space without knowing what they’re doing, which makes sense because it’s a relatively new industry, and creative people usually just want to *create*. So they look at all these other people who seem to be super successful and they think “Oh, I have to be like that person. I have to take photos like them, or emulate that kind of style.” I feel like I did that as well, and it took me a while to figure out my unique perspective, and my approach, and my own style of content. So if I could go back, I’d want to just embrace who I am more and my unique point of view, what really makes me me. And I would just go with that right from the start.

The creator space I work in, the fashion space, is very saturated so the more you can embrace what makes you different the more successful you will be. Just you being you will give you an element of uniqueness (and authenticity) and people will connect to that.

Source : The Official Google Blog via Source information

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