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pencil-peach · 10 months

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G Witch Onscreen Text: Episode 19

Haku Haku ! It is once again time! This is part 20 of my series where I transcribe and discuss the onscreen text of G Witch, as well as talk about and analyze interesting things episode by episode. We're on Episode 19: "Not the Best Way."

<< Click here to return to Episode 18 Or Click here to return to the Masterpost

We're going back to Earth...

We open the episode on a conversation between Guel and Miorine. Miorine comments on how close they are to earth, and Guel responds, "You've always wanted to go there, right?" (Left)

It could be read that Notrette might have been Earthian, which is one of the reasons why Miorine wanted to go there so badly, to be closer to her mother.

After Kenanji enters and leaves, Miorine asks him, "Don't you hate being back on Earth even more?"

I'm really really fascinated by this line because it means that at some point, Guel and Miorine talked about what happened to him when he was on Earth. How much did he tell her? Does she know about Seethia? Does she know that he killed his father? What I wouldn't give to have seen that conversation.

On the whole, I really enjoy the brief glimpses we get into their post-Asticassia dynamic. It's hard to call them friends exactly, but it's clear their relationship is now built on mutual trust and respect. And despite the seriousness of their circumstances, they can still be silly with each other: Miorine: Are you really the same Guel Jeturk...? Guel: Plus, I can't trust you to handle the negotiations alone. Mio: HA??? What's that supposed to mean?? [Angrily drinks her juice.] Or like in last episode where Guel shows her the schwarzette and she's really angrily like, "WHY DIDN'T YOU TELL ME??" and he's like "IT'S NEWS TO ME TOO OKAY!!!"

Like they're silly! It's cute !

Sorry for liking Guel Jeturk it will happen every day forever until I die lol

Look at his gay little pose here. Why is he sitting like that. It's making me so mad look at him.

When Godoy tells Prospera that he's located and verified the source of the Lfrith Models, Prospera comments that she's, "...grateful [he] has so many friends."

I've already talked about how sad I am that we never learn anything about Godoy, considering that he seems to have connections all across space. How did he and Prospera meet, I wonder? How did he become so connected? Is he Earthian? I guess it's just one of those things we'll never know.

Anyway, Prospera tells him that "The wait is over," and to "please proceed with the preparations." Lending further credence that Quiet Zero being completed was never an issue. The only remaining issue to correct was the existence of the Lfriths, and now that it's being taken care of, it can truly begin.

I like that Secelia just actually gives Martin good counseling in this scene but is definitely also just fucking with him. She's a good person but also happens to be a bitch. She's perfect !

As the Benerit Gang take the Permet lift down to the station, we hear over an intercom that in accordance with the "Earth Sphere Biological Protection Act," all passengers entering from beyond the Earth Sphere are required to undergo a biosecurity check. (Left) This isn't the first time we overhear biosafety information over an intercom, as in Episode 2 (Right) we hear a brief glimpse about preventive measures being put in place to stop the infectious spread of a disease known as "SV29." (There's also an anecdote in Cradle Planet where Suletta recieves a vaccination)

It seems that biosafety is a major concern in Ad Stella, which makes sense, spaceborn illnesses must be super scary !

Something to note is that in the next scene, we see a panning shot of a highway, with a visible highway exit sign in front. But unlike many of the other signs in the show, the text on the sign is completely illegible, being made up of random shapes and characters from a handful of languages.

This might have been done to ensure Quinharbor's location remains vague, and isn't grounded within any specific place or country on Earth.

As we drive down the highway, we see some protest signs attached to a chain link fence.

From top to bottom, left to right, these seem to say: (* denotes when I'm making an educated guess) - Down with Spacian oppression - Spacians GO BACK TO SPACE - TAKE YOUR WARS BACK TO SPACE* - NO MORE MS VIOLENCE - Benerit ignores Earthian lives - ENOUGH! END MS VIOLENCE NOW!

The one I want to bring special attention to is the one in the center, partially hidden behind the "Down with Spacian oppression" sign. At first I assumed it was, "Stop TAKING our lives for your own wealth," but when i looked closer I saw that the visible portion of that word is "-CKING." When I tried to assume what word it could be, truth be told I could only come up with:

STOP HACKING OUR LIVES FOR YOUR OWN WEALTH or, STOP FUCKING OUR LIVES FOR YOUR OWN WEALTH

You can decide which one you want to be true.

I really like how Guel is just fucking awful at this whole running a company thing. King you can't just bail on an important negotiation like this no wonder ur company is in freefall.

But that's just the kind of person he is. He's open hearted but short sighted, and doesn't think things through as much as he should. But he's trying, so we can appreciate him anyway (Although to be honest it's probably for the best he wasn't there.)

At the table with the Earthain Negotiators, we can see that there are two empty seats next to Miorine. One of them was meant for Guel, and the other was presumably for Kenanji.

Also, seeing as how it keeps being mentioned but isn't explained specifically, I think it's important to clarify what the doctor means when he talks about "The proxy wars you force onto us through war partitioning."

As best as I understand it, Delling and the Benerit Group have been exercising control over Earth (as well as providing a consistent market for their main export, weapon manufacturing) by instigating and arming conflicts across the planet along carefully partitioned political borders.

If Earthians are constantly fighting amongst themselves, they'll be unable to unite as a people against Spacians. (Remember, an impending interplanetary war is currently a major fear)

Remember what Rajan says to Miorine about Dellings motive: "And yet... even if he could control conflict through war partitioning, he never managed to achieve order [...] there was always some new enemy or rebellion."

It's important not to divorce Delling's motives from his beliefs. When Rajan says "he never managed to achieve order," or, "there was always some new enemy or rebellion," you have to ask yourself what "order" or an "enemy" means to a man who wholeheartedly believes that anyone beneath him should fully and unquestioningly submit to his will.

Quiet Zero only makes sense as a solution to a man who is too arrogant to realize that he is the disease which is causing the symptom. But we're not there yet. Let's continue.

When Norea is having her breakdown, she's drawing this picture before her pencil snaps. At a glance, it's easy to assume that she isn't drawing anything and is just scribbling nonsense, but if you look closely, she was drawing a spider being eaten by a venus flytrap (and then started scribbling over it.)

When 5lan looks through her notebook, we see some more. (Left) We see a more abstracted piece of a decaying mechanical clown head (Although it could be a broken down amusement park ride. The DOF lived near an abandoned water park prior to Plant Quetta), a spider with its prey in a web, and a decaying deer carcass.

(Right) And the landscape that 5lan wanted her to show him

Here we see the truth behind Norea's breakdown. Sophie was the only person who understood her, and now that she's dead, she’s all alone. They were supposed to always be together, but the only way for her to follow Sophie now is to die herself, and she's deathly afraid to die.

Sophie and Norea were opposites in how they coped with the disposability of their lives. Norea was afraid to die, and so she coped with it by drawing the death and decay she was constantly surrounded by. But Sophie coped by taking pride in it. She constantly sought out danger to prove to herself that she was alive. (Like in Episode 12 when she activates Permet Score 4: "My heart is hurting so badly...I can't... breathe... but I'm still alive!") In her mind, fighting for her life was what gave it meaning. She wasn't afraid to die, and in a way, she sought out Ericht so badly because she wanted to find someone strong enough to kill her. (Not in a suicidal way but in a putting it all on the line way.)

Norea pretended she was unafraid too, to keep up with Sophie, but she was always afraid. And now that Sophie is gone, she has nobody left. She has nothing to live for, but is too afraid to die. Her life is somehow even more pointless than it already was.

(Left) The moral of the story is that if you're depressed, the solution is some good soup.

(Right) Agh, I wish so badly we got some supplementary material about Chuchu and Nika. But that's a conversation for later.

When we meet up with Kenanji and Guel, they're talking to Sedo, who mentions that he's an "official refugee designated by the special reconstruction plan." His official description on the G Witch website explains a little more, stating that he "lives in a designated recovery plan area on Earth." It seems that there are consistent zones on the planet dedicated to war and infrastructure recovery.

We learn about the child rearing academy Grassley runs here as well, but we'll talk about that next episode, when it's meaning becomes more relevant. Oh, and, nobody asked but the shirt Guel is wearing here is the second shirt we see him wearing that has holes in it. (The first is the sweatshirt he wears in Episode 16.) So y'know. If you wanted to know.

So, here we learn that Shaddiq's birth name was "Jeru Ogul," and "because of that name, everyone at the Academy called him 'Prince.'"

At first I didn't what Kenanji meant by this at all, but after thinking about it and doing some research, I think I understand it now. He's called "Prince" because "Jeru" is short for "Jerusalem." This pun is actually localized from the original Japanese script too, as his name is not "Jeru" in Japanese, It's "Ieru" (イエル) as in, short for "Ierusaremu" (イェルサレム) (Jerusalem is not spoken with a J sound in Japanese because it's based on the original Hebrew pronunciation of the word, which is yerushalaim)

A remarkable child from Jerusalem? It's not a huge leap from that to calling him "Prince." (It's Jesus. It's a reference to Jesus Christ. Now that you know that you should go back and look at his character and the things he does. You'll be like, ooooohhhh, ohhh my goooodddd)

I think a lot about how Miorine immediately keeps cool and analyzes the situation logically, as opposed to Guel's righteous fury. I also like how Miorine knows Shaddiq well enough to immediately clock exactly how to catch him in the act and where he's keeping Sarius. (She's completely correct about all of it too.) She knows him better than anybody, after all.

As the fated moment begins, Eri activates a data storm around Quinharbor to take control of an Earthian tank. (Left) The error message displayed is:

CONTROL LOCKOUT: Control has been overridden due to effects of data storm space. ERROR CODE: [569]

Later, as Prospera retreats to grab Aerial's canon, we can see Miorine attempt to contact her (Which she quickly declines.) (Right)

TEXT: (Left) CODENAME: SOPHIE PULONE MS: LFRITH UR AFFILIATION: Ochs Earth Corporation

MS: LFRITH UR MODEL NO: EDM-GA-01 HEADHEIGHT: 21.2m WEIGHT: 75.9t BASE MS: GUNDAM LFRITH PRE-PRODUCTION MODEL (Ochs Earth Corporation) CHARACTERISTICS: Combat-specific unit intended for short-decisive combats, its output has been greatly increased even among the combat specific types. MAIN WEAPON: BEAM GATLING GUN / PHASED ARRAY CANON

(Right) CODENAME: NOREA DU NOC MS: LFRITH THORN AFFILIATION: Ochs Earth Corporation

MODEL NO: EDM-GA-02 HEADHEIGHT: 14.4m WEIGHT: 41.2t BASE MS: GUNDAM LFRITH PRE-PRODUCTION MODEL (Ochs Earth Corporation) CHARACTERISTICS: Support type unit intended for wide area control. Long arms and legs stabilize the center of gravity enabling advanced combat maneuvers. MAIN WEAPON: BEAM DIFFUSE GUN / PHASED ARRAY CANON

As Prospera breaks into the bunker holding the Lfriths, she pulls up Pilot data files (Tagged SO-3) on Sophie on Norea. Of critical importance here is that according to these files, "Sophie Pulone" and "Norea Du Noc" are referred to as the girls' codenames, not their real names. (Keep this in mind I'm gonna do a really cool thing next episode you're gonna be like ohh noooo) The girls are also affiliated specifically with Ochs Earth, which was supposed to have been defunct immediately after Vanadis.

Less Important but also worth mentioning is that Base Aerial was running "SYS Ver. E.S," a clever nod to Eri's initials, Ericht Samaya, but rebuild has changed that, instead running "SYS Ver. 2.0"

Also, we never get a clear look at it, but the board Bel and Feng were sitting in front of is labeled "ADJUSTMENT OF GUND PROSTHETIC LEG OPERATION." And seems to be data on a subsequent series of tests regarding the legs movement and calibration.

Okay, so, before we proceed, it's probably a good idea to clarify the current political reveals which are being made here. I think there are a lot of names being thrown around and due to the time constraints of the show, I don't think they were able to explain it as well as it could have been.

If you aren't interested, that's okay, you can just scroll past here, but I think it's important to try and understand it. I'll try and keep it as simple as possible: (This is also as best as I understand it, so ultimately take it with a grain of salt)

____________________________

The Space Assembly League is an administrative organization meant to mediate political problems and maintain peace within space. While the Benerit Group is an exceedingly powerful corporation, it's still a corporation, not a governmental institution. It has to, in theory, answer to the rules and regulations set by the League.

The problem is that the Benerit Group has become TOO powerful. Its reach and influence across space has long eclipsed even the League in terms of political power. At some point after Vanadis, the League's High Council (the people at the top of the organization, to be clear) realized this, and began to formulate a plan that would allow it to eventually suppress, and possibly even break up, the Benerit Group.

But the first issue to overcome was this: The Space Assembly League is a governmental institution, and is beholden to its own regulations. Without probable cause, it would be unable to justifiably interfere with the Benerit Group, who, by its own standards, were not openly violating the law.

So, in order to intervene with the Group, the council realized it needed to secretly contrive a reason to accuse the Group of threatening peace among the fronts, thereby giving the League the probable cause it needs to dissolve it.

(It's important to keep in mind that this plan was being conducted SPECIFICALLY by the League's High Council. By and large, the majority of the Space Assembly League DO NOT KNOW this is happening. Feng and Guston are official investigators FOR the league and discovered the conspiracy themselves during their investigation.)

This is where Ochs Earth comes in. The League obviously could not openly begin funding terrorist organizations, but it COULD secretly fund Ochs Earth, a MS Company that was very openly and publicly obliterated, and that everyone still believes to be defunct. An army of Gundams would be perfect to cause enough conflict to accuse the Group.

But here comes the second issue: How exactly do they plan to pull this off? It would be hard to organize and execute a plan of that scale without some kind of middle man. The League couldn't risk openly communicating with anti-Spacian organizations, it would be too risky.

Which is where Shaddiq comes into play. Whether or not he knew the League's intentions beforehand, he contacted them with his own plans to dissolve the group. He was the bridge that connected the League and Ochs Earth with the Dawn of Fold, and being so closely involved with the Group, he could know exactly when would be best to strike.

This eventually led to the Plant Quetta incident. Though the intention was to assassinate Delling, the unjust (and illegal) retribution of the Group upon Earthians after the fact seemed like the perfect cause needed for the League to act.

But that plan didn't work. Remember, the League is a Spacian Organization. And the unfortunate fact of the matter is that Spacians, by and large, do not care about Earthians. The unjust murder and torture of Earthians was not enough to turn public opinion (even within the league itself) far enough for the League to justify intervening.

So they tried again, with the attack on the school. Shaddiq focused on his side of the plan, working on dissolving the group from the inside by taking advantage of the imminent Presidential race, while the Ochs Earth witches stirred up more violence and discord within the Group, focusing on threatening the lives of Spacians instead, which leads us to where we are now.

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OKAY. damn. that was long. again, this is as best as I understand it, and I might be off the mark in some regards. Either way, I hope this cleared things up for you at least somewhat! Unless you scrolled past which, in that case, 1000 palms of death.

Here we see the GUND-Bit Canon firing at full output. It's the only time we see it do this, and even then we don't REALLY see it unfortunately. Still though, it should be noted that with one blast the cannon destroyed all the Lfriths in the bunker, and was so powerful it blasted THROUGH the bunker AND the mountain it was stationed in. Utterly terrifying.

But the truly tragic thing about this scene is what Prospera has done, and what that truly means. Think about what her actions have interrupted. It's not just that she's completely ruined the negotiations between Miorine and the Earthians. It's specifically how she managed to bridge that gap. With the GUND Prosthetic Legs.

This meeting was the ideals of Cardo Nabo and GUND finally being realized. GUND technology paving a way to a brighter future, finally bringing Earthians and Spacians together on equal ground. This was the future that GUND was going to save. When Prospera destroys the Lfriths, she calls Ochs Earth "The heinous sinners who trampled on GUND's ideals," but in this very moment, she has done the exact same. For the sake of Eri's future, she even struck down the future her family died trying to protect.

After the event, we see various news outlets covering the event.

Left: (From Extra Orbital Reports) BENERIT GROUP MS FIRE ON HOUSING COMPLEXES OF ANTI-SPACIAN GROUPS, WITH MANY CASUALTIES - WITH NO OFFICIAL STATEMENT FROM BENERIT GROUP REGARDING ATTACKS, ITS UNCLEAR WHETHER SITUATION WILL BE RESOLVED

Middle: (From Planetary News Broadcast) [...] when Benerit MS responded to street protest by setting up roadblocks - [...] now turning into urban warfare as anti-Spacian side counterattacks with militarized mobile craft

Right: (Fom INTERPLANETARY NEWS NETWORK) IN RESPONSE TO BENERIT GROUP'S ATTACK, EARTH INDEPENDENCE MOVEMENT LEADER DECLARES THEY WILL JOIN FIGHT FOR INDEPENDENCE - With Benerit forces dispersed as explosions take place throughout the city, fierce fighting develops between the two sides.

It seems like communications have fully broken down. The Earthians are more devoted to their demand for independence as ever. Things are even worse than before. The future has never looked worse.

When Suletta sees the news broadcast, she remembers what Ericht said to her about not being able to cling to either her or their mother anymore, but afterwards, we see a silent shot of her saying something else. It's impossible to know exactly what she's saying, (anime lip flap moment)

But personally, considering the context, and the syllables she's sounding out, to me I think she's saying "gomenasai" (I'm sorry)

And with that dour note, it seems like things can't get any worse. But, well, we all know if things can't get worse, they will.

>> Episode 20: The End of Hope The Masterpost.

#g witch #gundam the witch from mercury #the witch from mercury

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thetragicallynerdy · 2 years

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🍊🍐🍇

Heck yeah, thanks friend!!

🍊 (orange emoji) - Who’s a character you don’t write for that often, but keep meaning to write for more? (They’re so interesting! But maybe you have trouble pinning them down, or keep getting distracted by another blorbo…)

Oooh, good question. So in the UnDeadwood fandom, this is definitely Aly for me - I find him easy to write as a secondary character, but writing him as the POV character is very difficult for me!

For OFMD - one that comes to mind is probably Lucius! I often forget to have him included more, and I adore him but his particular speech patterns and tone are so distinctive that I never feel like I'm writing him exactly right! (And lets be real, anyone that isn't Jim is kind of an "I would like to write more of them but Jim my beloved" type of character lol)

🍐(pear emoji) Is there anything in canon that you absolutely hate and love to fix in fics? A wrong choice made, a fuck-up in characterization, a misunderstanding never cleared up, a conversation never shown onscreen, etc…

Hmmm. It's funny, because I was about to say that I don't often re-write canon stuff, but that kind of only feels true for OFMD? I don't really hate anything in OFMD or feel the need to fix canon, so one doesn't really spring to mind. I like reading fics about Jim's past and Olu's past and missing conversations between them, but don't feel the need to write them myself.

However. With UnDeadwood (which I am aware you aren't in the fandom for lol) - one of the MC's dies right at the end (like, it's the last scene) - and I have written SO many re-writes of that scene!! I actually don't hate it - I fucking love it, it's one of the most brilliant bits of an actual play show I've seen IMO, and the perfect ending, but it's also sad as hell. I LOVE exploring it, either in a fix-it sense or in a "let's lean into the grief of it" sense. But that's the one that stands out especially!

🍇 (grape emoji) Is there a particular scene/episode/book/etc that you want to just write a million fics about, over and over? Which one?

Okay see the answer above re: the death scene in UnDeadwood lmao. I love it. It's so good. I don't really think it's something I want to write more about, but it's definitely been one for me in the past.

But otherwise - honestly, not really? I really like exploring the same themes or narrative beats over and over - loneliness, pining, the moment someone realizes they're in love, grief, trauma and healing and recovery, finding a home, etc etc - but I don't tend to want to re-write exact scenes/episodes/what have you. It's just doesn't tend to hold my interest as a writer much. I much more enjoy writing wild AU's that have very little to do with canon events! Give me a weird AU to rub my grubby paws all over any day and I'm a happy camper XD

Thanks so much for the ask pal <3

(fruit emoji writer asks are here for anyone interested!)

#ask game #fruit emoji writer asks #asks #alfalfairy

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caatws · 1 year

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I dont wanna seem like a Rocket hater cause I like his character but I think Gunn got way too invested in the rodent that I feel like it wasnt just Gamora who got the short end of the stick in here. I feel like every single member got very little resolution and/or it was left at the very end with very little time for development. This did not feel like a guardians movie, this felt like a Rocket movie to the point where Gunn was so afraid that if the focus shifted to another character that it will stop the story from being about Rocket and therefore hurted the film. We already talked about Gamora, but Drax, Mantis, and Nebula got their stories wrapped up in less then 30 minutes and while they were good endings it felt like there wasnt enough thought of what what they wanted to do until the very end. Groot was just there and had no story at all, he was cool like always, but character wise he is just there as the team's mascot. Peter's was nice but my complain is that it is super weird that the first two movies focused on him and his parents but then in the third film it is so heavily focused on Rocket to the point where the shift on focus was so sudden. Compared to the focus on Peter, the first two movies still managaed to balanced well his story vs the other members, while not taking the spotlight of him, but in Vol 3 that balanced was broken and it felt like Rocket took so much of the story that other characters had no time for their stories unlike the 2 previous films.

It feels so weird and bold that at this point I wonder if Gunn's view changed so much since Vol 1 to the point where he wished that in the first film he would have made Rocket the main protagonist instead of Peter and took the chance in Vol 3, and for me it ended up backfiring for everyone else in the story. I know Gunn makes wonderful stories and this was a good one, but he is not perfect, he got too invested to the point that it was just too much for one side and very little to the other. The whole thing of Rocket being the secret protagonist felt also like a thing made up at the last minute specifically for the third film.

rocket isn't a rodent he's a raccoon and still a person!!!!!! :'(((

though i also agree that vol 3 felt unbalanced with how much focus the other characters got, i didn't quite feel like the focus on rocket came completely out of nowhere. i remember gunn talking about rocket being his fav even back during the vol 2 era when i first joined the fandom, and while watching vol 3 i noticed we were continuing some threads from the other films, from minor things like rocket loving music to major things like rocket's "i didn't ask to be made" and related lines. i think exploring that further was a solid, natural next step for the gotg's story.........maybe more before the whole thanos thing happened.

if we'd gotten something exploring the consequences of iw/endgame on the gotg after endgame, before vol 3, i think this shift to focus on rocket wouldn't have felt so jarring, at least for me. especially bc i felt like there were other, past things involving rocket that we didn't even see acknowledged or unpacked in this rocket-centric story! like whatever was happening between peter and rocket when rocket took off in iw (especially since peter has now made rocket captain, after their last onscreen conversation on the matter was peter being against rocket being captain), how rocket has adjusted to having everyone back after mourning them for 5 years, how rocket feels on the gamora situation, etc. and of course, we also didn't rly get anything covering the other characters' adjusting back to life post-endgame either; the way the gamora situation was handled for every other character besides peter is a perfect example of this. so i think vol 3's story would've worked better either as a 4th movie or if it had been reduced a little to fit as a simultaneous story to unpacking the consequences of iw/endgame.

as for the rest of the characters in vol 3, yeah, i think a lot of their arcs needed more fleshing out, especially to show/justify their respective endings. like for one, if that many characters want to retire or temporarily step away from the gotg, i think that should've been set up at the beginning of the film. like how with peter, we saw him shift his perspective about returning to earth from the beginning to the end of the film—it would've been nice to see similar changes in the other characters that would result in their respective endings

#ask

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designdekko · 2 years

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Deck your homes up as your favourite OTT shows do

OTT platforms have become an integral part of our lives, especially post the pandemic. The diversity of content is what has kept us hooked on it. Sometimes, the right series or movies strike a chord of creativity to turn a particular element from the show into a show-stopping eye candy in our own space. The intriguing set and production designs tell a story similar to the shows.

From choosing colour palettes identical to the shows to including accessories that pay homage to our favourite shows there are numerous ways that pop culture makes its way into our homes. Sometimes, even though we have the reference, we need a little help to make it right.

Also Read: Easy Guide To Choose A Color Palette For Your Space

Here are some shows with great design inspirations and ideas on how to incorporate them into your homes:

Bridgerton

The royal affair is not only full of drama, but also colour and design, and there is much that can be emulated especially with the upcoming wedding season in India. The show absorbs plenty of rich and colourful upholstery and varied palettes of jewel tones embracing the luxurious feel of the British era. We can certainly be inspired by the use of colours in home décor accessories and wallpapers.

The Marvelous Mrs Maisel

The story of a homemaker turned comedian’s pre-war Upper East Side home in Manhattan, New York is certainly dreamy and timeless. The colour palette of this home runs between white and off-white. The pop of colour through certain elements like the cushions, lamps and floral wallpapers add an effervescent look to the home.

The Crown

Although the great production designer Martis Childs never had a chance to shoot at Buckingham Palace or any of its apartments, his expertise in the opulent setup has flourished season after season. The royal setup is certainly doused in rich English colours and adorned by luxurious elements like big clocks, distinctive wallpapers, antique centrepieces and lots more.

Also Read | 4 ways to style your interior spaces with copper

If not for the antiques and oversized clocks, a humble home can still be decorated in this unique royal style. The bedding and rugs can include various motifs and hues. Long curtains and small but unique figurines with traditional lamps will do the magic.

Friends

Last but not least, “Friends”. Yet another show is based in New York’s Manhattan on Groove street. Monica’s granny-chic apartment involves a lot of purples. The open living room with sofas and couches is the one to certainly remember. The big bright cushions with elaborate prints add a whole new dimension to the room.

Also Read | Shiro Kuramata’s Samba-M shines again with Ambientec at the supersalone in Milan

The rugs, planters, and kitchen accessories add the perfect finishing touch to the setup. These elements can totally spruce up your home and make for a lovely open layout that can keep the conversation flowing.

Masaba Masaba

Just like her line of clothing, Masaba talks a lot through her choices in home decor. Bold prints, lively colours and a blend of modern and traditional inspiration are truly mesmerising onscreen. The unique blend of modern meets contemporary along with a pop of trending elements is surely something to look forward to. The Chevron Safari Cushion Covers the living area, along with the wooden furniture. are definitely thought starters for your decor ideas.

Source Link

#home #home decor #interiors

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thatsailorscout · 2 years

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Unpopular Opinion: Big Red and Ashlyn need to stay together in Season 4.

(This is going to be pretty long, so feel free to scroll if it’s too long for your own taste!)

Okay, so I’ve recently finished season 3 of my favorite show: HSMTMTS. It’s been a huge rollercoaster, to say the least, but I like to say that I thoroughly enjoyed the last episode of the series. I think this episode has a satisfying conclusion to the Wildcats’ summer, and I think it is by far my second favorite season aside from Season 1, of course. I don’t think anything could unmatch the Rina love confession, seeing Kourtney sing her way through Let It Go, and get to say hello to Big Red, and goodbye to Nini for the final time. It’s safe to say that I’m very much looking forward to Season 4 whenever it comes out. Anyway, that’s enough of me talking about the finale. It’s time to talk about Big Red and Ashlyn.

The writing and camerawork has made it super obvious that they are pushing for Maddox and Ashlyn to be together. While I love Maddox as a character, I just think she’s the one for Ashlyn. I can already sense their being conflict between her and Big Red in the next season due to Maddox (she’s probably going to transfer to east high) so it makes me feel a little disappointed. However, I’m holding on to the possibility of despite Ashlyn’s growing feelings for Maddox, her heart belongs to Big Red. Now, let’s get this show on the road.

Reason 1: Big Red is Ashlyn’s #1 Supporter

I cannot stress how much of a sweetheart Big Red is. He has been so in love with Ashlyn since Day One, and will always be. Starting in Season 1, he was one of the first people to notice how talented she was. A prime example is presented when Big Red is helping Ashlyn carry food for a get-together with friends. They spark up a conversation on how Big Red ended up in the theatre as a crew alongside Ricky. This leads to Big Red complimenting Ashlyn, “The only thing I’d throw at your face is a brighter spotlight because I like the way you sing.” This compliment makes Ashlyn feel seen for the first few times that season. Despite playing a supporting character in the first season, Big Red sees her as a star who needs to learn how to shine first.

This is displayed many more times throughout the show, but another example is nearing the end of Season 2, after the spring musical, Beauty and the Beast has been performed. That season, we got to see Ashlyn take the spotlight and shine as Belle. To congratulate Ashlyn on her performance, he makes a poster spelling out Ashlyn’s name on light bulbs. “I’ve always seen your name in lights,” He goes on to explain, “You were the perfect Belle. I was proud,” Big Red has always been so kind towards Ashlyn. I feel like aside from physical touch, words of encouragement, full of love. The same goes for Ashlyn with Big Red. She always cheered and supported him when he first auditioned for the musical in Season 2. I just love their positive energy with each other, and I think that’s what a long-term relationship need.

Whenever Big Red and Ashlyn are onscreen, their chemistry is always there. Even before they were together, the show makes it clear how well they mesh together. The looks Big Red gives her every time Ashlyn performs, the looks they share with EACH-OTHER, meaningful conversations with the other person, and Ashlyn shielding Big Red during the storm are what sell them to me. The little moments are so worth it because they truly sell every scene they are in. Especially their kiss scene in the last episode of the first season. I adore how their kiss scene isn’t this huge love confession. It's just Ashlyn being amazed by Big Red’s tapping skills, and giving him a big fat kiss. How cute is that?

Their conversations don’t feel forced. The thing about Big Red and Ashlyn is that they don’t have to say much for them to be on the same level. Despite their conflict in Season 2 where Ashlyn wasn’t exactly supportive of Big Red’s initial career choice, Ashlyn communicates with Big Red by showing up and wearing a Salt Slices shirt. Ashlyn doesn’t have to verbalize anything to Big Red for him to know how much his choices mean to her.

Reason 3: They are SOULMATES.

What else can I say? I think that they’re truly meant for each other. Yes, as a person you make mistakes, learn from them, and grow as a human being. That doesn’t mean Big Red and Ashlyn can’t accept change and grow with each other. I’m hoping in Season 4 that Ashlyn realizes that Big Red is the one for her, instead of it being Maddox. Big Red and Ashlyn already have a special bond of being that extremely cute, and dorky couple. They are the most unproblematic ship (aside from Rina) in the entire show. They’ve already built a foundation of trust, friendship, and love. I think Redlyn deserves a chance in Season 4 because they deserve to be together. It just would be a shame for them as a couple to go to waste, and I don’t think I’m ready for such a drastic change if they were to ever break up.

#redlyn #big red x ashlyn #hsmtmts #hsmtmts season 3 #maddox hsmtmts #antimadlyn #gina porter #ricky bowen #redlyn endgame #endgame #hsm #hsmtmts s4 #unpopular opinion

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usuallydeepcoffee · 2 years

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Ooh, Sam/Steve/Nat is just the best ship.

They are three of the best and hottest characters in the MCU.

Every two person combination is also great - samsteve, samnat, and romanogers are all top-tier ships.

They actually spend a lot of time together and care about each other deeply. Don’t get me wrong, I love ships where the two people never speak to each other onscreen as much as the next person (winterhawk my beloved) but there’s just something different about a ship with some actual canon meat on its bones.

Two years as fugitives living out of the quinjet and cramped, sketchy safe houses. It’s like one long “there was only one bed” scenario.

In fairness to the “where’s Bucky” commenters on that fan art, I do think “why is Bucky here?” every time I see something about the cap quartet. Though of course I’m not rude enough to say that on the post.

(P.s. thinking about them makes me regret that we never saw much of the adventures of the Avengers between Age of Ultron and Civil War, because the lineup we saw at the end of AoU [Steve, Nat, Sam, Rhodey, Wanda, and Vision] was amazing.)

I love the smell of fresh, immaculate takes in the morning!

I swear, samstevenat is the only poly relationship I can realistically picture, because they all have such a strong connection with the other two characters.

It’s like a rubik’s cube, but no matter where you turn it the faces come out perfectly solved. You have SamSteve, who have their meet cute + shared life experience and a deep sense of duty; you have SteveNat, who go from ‘coworker I like but don’t fully trust’ to ‘only person I can trust in this line of work and have shared multiple near death experiences with’; and then you have SamNat who sure, have less interactions, but still a relationship is there. Like I’m ready to bet that convo about Redwing in cacw happened more than once. And oh to see their reunion after Steve breaks team cap out of jail… No way Sam didn’t make some kind of remark at Nat betraying them (after all, last time he saw her, she was on the other side, taking away his wings and fighting them).

I can’t think of any other mcu trio that has the same range.

And yes, we do have plenty of evidence that these three are besties, but there’s so much missing time (especially between aou and cacw and cacw and iw) that you basically have free reign over the what the how and the where.

The aou-cacw time skip is perfect for consolidating the relationship/feelings: they live together, they work together, they train together for a whole year!! There is so much that could happen!! Undercover, fake relationship trope! Jumped-in-front-of-a-bullet-for-you-and-now-I’m-not-waking-up trope (Steve, I am looking at you)! Saved from becoming an Avenger pancake by flying Sam trope (for his and his back’s sake I’ll picture Nat in that one).

Also maybe it’s just me, but the movie nights that fandom love so much sound more likely with the Avengers 2.0 roster? Wanda literally uses TV shows to cope, Vision is just curious by nature and does whatever Wanda does, Steve has a long ass list of movies to catch up on… it’s almost inevitable that they spent some down time together watching tv shows or a movie. All it would take is Wanda watching something on her tablet while she cooks in the common room and one or two avengers strolling in and boom. Tradition set.

And then of course there’s the post-cacw, pre-iw time skip which is PRIME for things happening. I mean, these three just came from a pretty big rift, they are on the run for TWO ENTIRE YEARS, the living quarters are small and cramped, you can’t tell me they didn’t catch each other in various states of undress (Sam and/or Steve seeing Nat’s bruises after the events of the black widow movie!!), or that they didn’t have some middle-of-the-night, half-whispered conversations. Maybe Nat even told them about Yelena and her fake family. Maybe Steve told them some things about his life pre-ice.

Also, it’s a shame Sam canonically doesn’t know about Madripoor because it’s the perfect place for something debauched yet revealing of romantic feelings happening. Then again, this is what fanfic is for.

(Still, doesn’t mean I wouldn’t sell my organs for a 9 episode series of Sam, Steve and Nat eluding international surveillance, saving the world and being total badasses…

Plus a post credit scene of t0ny telling friday to delete all footage of the trio while secretly keeping a pic of bearded!cap because apparently he’s canonically that deranged about steve)

#samstevenat #natasha all your safe houses better be in cold countries #i need y'all to HUDDLE FOR WARMTH #also lol I thought the cap quartet hype had died down post cacw #what with people all happy about bucky in wakanda #it's funny quickly that changes when other characters #(steve)#is shown not sitting on his hands waiting for him #bulkyphrase #tbh never mentioning sam or nat in a canon story about steve is enough for me to make back out of a fic

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cherryontheside · 3 years

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//underage f3tishization/s3xualization, r@pe, conversion therapy, luca spoilers

i was scared to post this but had to say what had to be said so please don’t get mad :) i am, though, open to civil conversation :)

i am absolutely ENRAGED by the people who are hating on luberto(the ship between luca and alberto in the new pixar movie luca) and justifying it by saying “oh they’re too young”

i am usually not this organized but i have three points to make.

1. why the ship luberto is so important

2. why people who say that “they’re too young” are really not doing anything for their case

and 3. why luberto and the movie luca as a whole is a perfect metaphor for the queer journey

1. for my first point, the reason why the ship luberto is so important and we need it.

I’m going to say it flat out: it’s because we have next to no queer representation in children in the media.

as i myself figured out i was pansexual at 12 and am still underage, i feel so horrible that i have no queer representation that i can relate to. yes, there isn’t even a bare minimum of queer representation in media at ALL, but even less for children.

we, as minors, need proper, fleshed out characters that go through the journeys that a queer child goes through; and not just s3xualized teens and adults making out onscreen. as much as i had a easier journey figuring myself out then others, a majority of the underage queer minority goes through so much and have to do so much self-reflection to find themselves. we need representation of THAT. and luberto is EXACTLY that.

2. for my second point, i’m going to go into how fucking stupid people are to use the “oh they’re too young” as an excuse.

oh, so they’re too young? tell me why you ship straight couples in other disney movies, then. a MAJORITY of main characters in disney movies, particularly princess movies and such, are underage. if you’re going to go off about how luca and alberto are too young, don’t write fanfiction about moana and maui.

also, if you feel so strongly about underage f3tishization, why not speak out against REAL, underage celebrities being ACTUALLY s3xualized? why not speak out against underage r@pe?

3. alright, last but not least, my third point will be used to explain what a PERFECT metaphor luca is for the queer person’s journey.

luca starts out his journey with a mother that cares for him, but does NOT want him going abovewater. still, luca does so, and meets alberto. alberto shows him the joys of being himself, of exploring the surface- and i don’t know, that just might sound like an elder queer guiding a newly-realized queer to completely finding themselves?

and then his mother finds out. oh, gods, his mother finds out. she finds out, and then she tries to send him to the deep. sounds a bit like parents forcing religion into their kids to me.

and then there’s alberto. his dad leaves him, and although we still don’t know what exactly his motives are for doing so, that sounds awfully like- hmm, maybe disownment?

then, luca and alberto escape to the town. the town is more sea monster-phobic than they anticipated, though. SO much of what they say about sea monsters are what homophobic people say about queers.

special mention here for alberto’s jealousy over luca hanging out with giulia :)

then there’s alberto’s “outing”. luca retreats into the same sea monster- hating mindset that the humans have in order to protect himself, and that sounds a little bit like internalized homophobia. and after that, they have a little sort of apology session on the island, and then the beginning of the contest, and then we have the second outing of alberto and the outing of luca.

it all feels like a queer metaphor. the way luca overcame his internalized sea monster hate and helped alberto out, the way giulia and massimo were the perfect allies to them, and the old ladies coming out as sea monsters. it would make PERFECT sense if they were queer, and it would take NOTHING away from the original story. it would still be a story about friendship, and acceptance, and whatever bull that homophobes say this movie is about. it would just ALSO be about the queer journey.

also, they look adorable together and just because two characters are in love DOESN’T mean that it’s s3xual :) ever seen two kindergarteners have crushes on each other?? yeah, i guarantee you have.

thanks for reading until here if you have!

#luca #luca paguro #alberto #alberto scorfano #pixar luca #luca 2021 #queer #gay #lesbian #bi #pan #ace #aro #long post #luca spoilers #sorry if this seemed a little disoriented i was watching iron man while writing this

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chainofclovers · 3 years

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Ted Lasso 2x8 thoughts

I am so lucky that the creators of Ted Lasso decided to make this entire show specifically for me. #blessed

If last week felt like a bit of breathing room (albeit tense, poignant, character-progressing breathing room) with distinct narrative lines, this week’s episode was a chaotic yet tightly-written swirl of pain and hope and sadness! No neat subject headers for this one, y’all. Just my brain and heart in the inadequate form of a bulleted list. It is the medium available to me at this time.

I am going to remember the moment when Ted calls Sharon and tells her his father killed himself for the rest of my life.

(I could say a bunch of stuff about his face and what he says and how he tries to hide his tears from Beard right after and how insanely much I adore this character and ahhhhhhhh but I’m just going to leave that scene there in our collective memories.)

Jamie. JAMIE. Higgins has given some great advice about love on this show, but his musings about his up-and-down relationship with his own father were not helpful in the context of Jamie’s dad, who is an abusive piece of shit. I really adore that all of the main AFC Richmond staff members are realistically a bit hit-or-miss with their advice and life philosophies (some are mostly miss this season, of course).

And I am completely in awe of the moment when Jamie punches his father. The way he just stands there after Beard kicks his dad out of the locker room. The way you can hear a pin drop. And Roy—Roy who is learning in so many areas of his life about his influence on people, learning that the things he needs aren’t necessarily the same as the things other people need—is the one to cross the room and hug him. Hold him, really, with the tenderness Ted used when he hugged Rebecca outside the gala in 1x4. God.

I’ve thought a lot about how s1 was about giving people a soft place to land. There’s always an angel there when you need one. There’s always an opportunity to be kind. If you look for someone, you find them. If you look for the good in someone, you find the good. And as everyone works through their individual journeys in s2, that can’t always be the case anymore. But there are still so many moments of angels on this show, and it’s not about chance and serendipity and fate [not that it was about that in s1] but about the effort it takes to become someone who can be there for someone else. Or who can be there for yourself. I’m so proud of Jamie for physically fighting back against his father. I’m so proud of Roy for being the one who recognized what Jamie needed.

I have every feeling in the world about how Ted is almost totally frozen both times (s1 and s2) he witnesses Jamie’s father abusing him. In s1, he was still there for Jamie after, and I have every reason to believe he’ll be there for Jamie after this incident as well, but that frozen stance HURTS. He’s in so deep with his pain about his own father that it’s like he physically cannot snap out of it to act in the moment. It seems entirely outside of his control, and it breaks my heart, because Ted wants so badly to be a good father, a good coach, a good friend, a good partner, a good patient. He’s there for people in all kinds of ways, even in his current less-than-capable state. He takes care of Sharon post-concussion and even gets her a new bike! During the disastrous match at Wembley his coaching is ineffectual and everything is chaos but he’s the last one standing on the pitch! But this really awful thing keeps happening to Jamie and Ted is just…frozen in the face of it. Like one of those nightmares where you’re running in place.

The frozen-in-place nightmare also kind of applies to the way the total separation between Ted and Rebecca feels, too. I have never for a moment doubted the writers’ intentions in setting these characters up as soulmates on parallel journeys, and I’m actually really digging (on a story level) how disconnected they are right now. It is IMPRESSIVE that their absence in each other’s lives feels like such a glaring loss, one we cannot forget even as there are so many other things happening onscreen. It is 100% not just shipper goggles making me process information about Ted while thinking about Rebecca and information about Rebecca while thinking about Ted. I know there are a lot of really angry and frustrated people in the fandom right now (both T/R shippers and T/R antis and non-shipping fans who don’t get why s2 is different from s1) and while I understand being frustrated by choices characters make, and frustrated by the feelings the show makes us feel that we just want to feel more of or less of, I continue to agree with pretty much every narrative choice happening right now.

Agreeing with the narrative like this?! This is such a unique experience for me as a viewer—to feel like I’m on a ride that is at once absolutely wild and incredibly sensible and well-crafted, and to feel simultaneously completely invested and anticipatory and speculative but also totally willing to trust where it goes. I long for Ted and Beard to really talk. I long for Ted and Rebecca to stop missing each other. I long for Roy to have a serious conversation with Ted about what’s happening with him. I long for Keeley to find a vocation, something that drives her beyond her projects. I long for so many things! But I wouldn’t long for them if this show was less good. If the show was less good, I wouldn’t have a wish list a mile long because I wouldn’t be so attuned to the details and potential lurking in every scene. THIS IS SUCH A GOOD SHOW, I CANNOT HANDLE IT, I LOVE IT SO MUCH.

(To that end, a great deal of the Ted Lasso tag and so many Twitter reactions reactions to the show feel super stressful right now and I am kind of just trying not to look?! I love this fandom so much because of the amazing conversations that happen and because of brilliant fic and because there are some awesome people I never would have encountered were it not for this show. That little bubble is wonderful and I’d stay in this fandom no matter what in order to keep experiencing those things. But fans’ catastrophic reactions to every little thing that happens, every little choice a character makes that isn’t the “perfect” choice? The takeaway that the writers—on this show of all shows—wake up in the morning ready for another day of torturing shippers rather than another day of writing a beautiful story they genuinely want to write? I do not enjoy those parts at all. I would like to opt out of those parts. I’m having such a magical experience watching this show and talking about this show and listening about this show and writing about this show with a variety of people who feel all kinds of ways. I truly wish I could somehow transfer the energy of this experience onto all the people who are hating it right now. I don’t mind at all that people are having vastly different reactions to this show and are sharing their honest feelings, including the really angry ones (I can appreciate something and disagree with it!), and I get that sometimes the language of fannish reactions is intentionally, ironically hyperbolic. But there feels like this very serious trend of people legitimately thinking writers on this show are targeting shippers and have lost respect for their characters, and I just feel like an alien from another planet when I see that stuff. I guess I just feel like people make art because they want their art to be visible to other people and to themselves, but that doesn’t typically involve specifically catering to or torturing a subset of that audience?)

I am more fascinated by Sharon Fieldstone than ever before. I have been running through every single action with her and Ted so many times. The confirmation that she’s living in club-provided housing (that could not look more different from Ted’s club-provided flat). Ted clearly noticing the many bottles. Sharon’s face while she tries to casually recycle them. (Sharon could legitimately have a more problematic relationship with alcohol than Ted does, and I find that extremely interesting and am very curious to find out what happens there.) Sharon leaving him voice notes while she’s concussed, probably because she’d been thinking about him shortly before the accident. The way Ted calls her and does all the funny voices and it’s not frustrating like all the times he uses his silliness and allusions to deflect during their prior conversations because this time, those behaviors are just a part of him showing care for another person. The way they stretch each other, and Ted is still wrong about the things he’s been wrong about, but they both grow all the same.

While it is pretty much impossible for me to imagine that this show would include an actual romantic relationship between Ted and Sharon (it would be beyond unethical even if they could write it well, and Sharon in particular is so professional and committed to her work, and it would erase so much of the powerful message about the importance of seeking therapy from a professional who is not your friend or partner, and I would totally hate it), watching this episode was the first moment I had this queasy little feeling that it’s possible that Ted could end up developing really complicated feelings about Sharon since, at this point, he’s been honest with her about things he’s hardly spoken about before and you can really form an attachment to people you feel safe with in a new way. (I mean, I’m sure Michelle knows what happened with Ted’s father, but I’m not even certain if Beard does.) He’s so broken right now, and Sharon is such a great person and so different from anyone else in his life (even though Rebecca is also different, and Beard is also different, and Roy is also different, and so on), that I could see things getting really fuzzy for him. I continue to have faith in the way the storylines on this show are handled. I’m just. Putting this here.

(In saying that, though, I also wanna make it really clear that I don’t just automatically assume anytime a new female character is introduced that they’re going to end up becoming a romantic complication. Like, Phoebe is allowed to have a teacher who is an attractive woman and AFC Richmond is allowed to have a sports psychologist who is an attractive woman and Keeley is allowed to talk to Jamie Tartt without it threatening what she has with Roy and all these people can exist as human beings without the introduction of romantic drama.)

Isaac gives every player one haircut per season, OH MY GOD. The JOY during the haircut scene. YES.

KEELEY AND REBECCA. Their text thread. The affirming video call right before Rebecca goes into the restaurant. The way Keeley sits all snuggled up against Rebecca in her office.

I was pretty thoroughly spoiled for the Sam and Rebecca plot through 2x8, and I was bracing for something far more problematic and tortured than what happens in this episode. The words I would use to describe their scenes: awkward, cute, cringy, and understandable. There are a million reasons why this relationship isn’t sustainable, but I felt completely understanding of both their choices here. This show has a lot of thesis statements, but I keep going back to the idea from 2x1 that there are people who enter your life to help you get to the next point, and I think it’s entirely possible that Sam and Rebecca will mutually be that for each other.

I find comparisons between Rupert and Rebecca super upsetting. There are absolutely meaningful things to say about the irony of ending up in a situation with an uncomfortable resemblance to certain taboo elements of an ex’s situation. But that ex is abusive and manipulative and cruel and Rebecca has exhibited NONE of those behaviors, and it makes me really sad to think that people feel that the writers on this show have betrayed Rebecca in giving her this storyline.

As always, I reserve the right to keep blathering about this show. I’ve had a headache for a couple of days, but my head is also so full of 2x8 thoughts that I couldn’t keep them in even if the circumstances for writing this were not ideal. I kind of hate that I’ve included frustrated fandom thoughts within the analysis of what I felt was an absolutely gorgeous, complicated, heartbreaking, near-perfect episode of television, but if ya can’t be a little dramatic on your own tumblr while you’re feeling raw and under the weather, where can ya?

#ted lasso #ted lasso s2 spoilers #meta by me #ted lasso 2x8 #a lesbian watches ted lasso #cw: suicide mention #cw: alcohol abuse mention

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creativeashproductions · 4 years

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What's a Knife Between Onscreen Family // Charlie Gillespie

Summary: Filming an emotionally wrought scene on the set of your current role as a regular goes very wrong very fast. Expecting the scene to be the most taxing of the day you find yourself in the ER getting a transfusion. It’s all fun and games until someone’s holding a sharp knife incorrectly, guess it’s just something in common with co-star Jared Padalecki.

Warnings: Swearing, blood, fear, injuries, hospital, needles, angst, and fluff

Words: 3.5k (including lyrics)

A/N: I watched a part of a panel from a Supernatural con and found it hilarious that Jensen accidently stabbed Jared. So I had to write that for a Charlie Gillespie fic. Link to the video talking about the stabbing is right below this message.

Jensen Ackles Accidentally Stabbed Jared Padalecki during filming From 1:00-6:00

TO BE TAGGED SEND AN INBOX PLEASE!

Masterlist

It had to be one of the most emotionally taxing scenes in your entire career as an actress on a physically demanding show. The scene had been incredibly mentally draining the daughter of a Winchester. It had been once season recurring, one series regular and now filming the third season. As the teenage Winchester, it threw a wrench in all the plans and the reckless character gave no shits.

“Okay, this is our last scene for the day!” Robert Singer, the director of his episode, called out from off stage. Standing at the top of the stairs in the Bunker, you jumped in close with a scrunched nose at the squishy sound.

Over the railing, both Jared and Jensen nodded their support from the ground level with concerned expressions. Ever since you joined the cast in season 13, they had become fathers to you. The sight of you drenched in stage blood was enough to churn their stomachs.

“I gave you the barebones of the scene so work with it. Briar’s traumatized after fighting for her life and has been gone for a while.” Robert explained, “Cas couldn’t find her. I want this to be a tribute like Dean in season 10 episode 14: The Executioner’s Song.”

Taking a deep breath in your emotions channelled into a hurricane in your chest, clenching your fingers on the knife.

“Action!”

Pacing the floor plan of the Bunker is two brothers bonded by sorrow, pain, sacrifice and love. Each throwing out locations on where Briar could be, Jack and Cas had been little help. Sam’s heart clenched tight bypassing images straight to torture. The kind of torture he had endured over the years.

Dean’s mouth opened to suggest another place when the Bunker door creaked open. The red converse appeared before the soggy jeans as the teen slowly made her way down the steps. Briar Winchester shook like a leaf staring off in the distance as the blood congealed on her face and hands.

“Briar.” Dean slowly spoke, moving towards the girl. His green eyes lit up in fury as the seventeen-year-old flinched back. Dean’s hand gently took the stained knife from the young girl.

“I-I didn’t mean to do it.” The meek voice appeared so unlike the usual confidence Briar talked with. In exhaustion, Briar’s knees collapsed, sending the teen right into Dean’s arms.

The stoic man gripped the youngest Winchester as his waist bearing her weight against his while Sam circled to be behind Dean. The choked sob echoed by another escaped the family huddle; one from Briar and the other from Dean.

“Dad.” Briar choked clenching her arms around the green-eyed adult’s shoulders, craving the safety of her father.

Ever since Dean could remember he had had a strict rule of always practising safe sex, he didn’t want a kid. Not in a world that had it out for Winchesters and not one where he might hold his child’s dead body in his arms. That all changed when Cas delivered Dean to a county jail where Briar was held just for a minor assault charge on a wealthy bully.

Dean never let himself want a future with the picket fence and the dog in the backyard but when Briar changed that. Dean would do anything for his family no matter the cost. Example: Selling his soul for Sam.

“Sh.” Dean spoke kissing the crown of her hair he savoured having his child safe in his arms, “I’ll help you to the bathroom to get cleaned up. We’ll heat some soup and toast.”

On autopilot, Dean helped Briar down the hall to the bathroom where she would freshen up and later burn the unsalvageable clothing. As Dean returned to Sam’s side, Castiel came with a sombre expression and an explanation.

“Dean. Sam.” Cas greeted them, flicking his blue gaze between the two brothers. The faint sound of the shower only picked up by the trained heightened sense of hearing from years of watching over their backs.

“Cas what the hell happened?” Dean demanded, “Why the hell is my little girl bruised and coated in blood?”

END FILMING SCENE

“Cut!” Robert called out to the large room with a big smile on his face, “I’ll watch it back. See if we need more takes.”

Jared and Jensen wiped the tears that fell from their cheeks just thinking on how wrought that scene felt. As fathers seeing a young adult in such a state severely agonized them. The duo jogged to see your back against the cold wall—a pinched expression marring your young face.

“How are you feeling after that?” Jensen asked, coming closer to squeeze your shoulders unfazed by the sticky fake blood. It was already all over his clothes from hugging you in character.

“You shouldn’t be allowed to have sharp objects.” You spoke glancing down at your knee that had been punctured by the knife. The dark jeans soaked in stage blood now concealed the real blood.

“Jensen, did you really stab another person.” Jared deadpanned his best friend referencing back a few years. Jared shoved one hand through his hair, receiving a nasty glare from the hairstylist on call.

The glare on Jensen’s face blistered the taller actor, “I didn’t stab you. You walked into the knife.”

The two bickered as they guided you back to the main stage where Robert had reached a final verdict. He had watched the replay twice along with his crew finding the raw emotion to be perfect. The little detail the three had added was well played. Dean unexpectedly consoling his daughter in tears; no threats to kill or push her to tell him what happened. The first time Briar referring to Dean as her father. Lastly, Sam’s unsure actions in consoling a young girl sucked into life like he was in his youth.

“We got a one-take winner!” Robert called out sending the entire crowd into loud applause and cheers. Jared taking most of your weight as you hobbled to the costume trailer.

The lovely costume designers helped remove the sticky shirt, jewellery and the red converse that had once been white. Only the jeans remained on your body to not mess with the wound. As much as you’d love to shower the blood off, it was near impossible, moving your knee stung and it was best to avoid aggravating it.

“Someone needs to ban Jensen from knives. Just wait till his wife finds out about this, she adores Y/N.” Martha chuckled from her sketches she designed on her breaks for a future in fashion design. Often in your free time, you would be her guinea pig with her designs using refurbished material.

Normally the banter would continue but not when your leg was bleeding, and Jared was taking you to the ER. To make time faster, Jared had scooped you into his arms to the black car their driver waited in.

“Towels are in place. Sorry, you got hurt, Kid.” Clif spoke, opening the door to the backseat where Jensen sat patiently. Unlike usual, he had seated himself in the front so you could stretch in the back.

A weak chuckle met air in the packed car from the blood loss that wasn’t overly bad but enough that Jared took the towel. His pressure on the wound caused a yelp that had Jensen flinching in guilt.

“The knife must have been sharp to cut a mouse in half,” Clif muttered turning towards the hospital close to set. Coincidently the drive took you passed the set your boyfriend currently filmed at.

“Might as well call me butter.” You retorted wincing at the throbbing pain, “You aren’t allowed any more sharp objects, Mr. Ackles.”

“Danneel already threatened to hide all the knives in the house.” The on-screen father laughed as the tension decreased in the small car. Despite the dizziness, it didn’t hide the guilt in Jensen’s green eyes.

Time flew by as you found yourself in a bed for observation and pictures for the knee. It came as a shock when the doctor requested one blood transfusion for the blood loss. The hope of being in and out had evaporated like water beads on a blistering summer day.

Julie and the Phantoms Set

Charlie adored his life as an actor where he was free to visit places, he might not have had the opportunity to do. He made friends with everyone he spoke to and even met the love of his life as an actor as well.

That being said today had been the longest one with a full schedule and barely time for lunch or snacks. Even a nap was unachievable, and he desperately wanted one for being awake for hours by now.

“Charlie! Did you know you’ve got missed calls?” Jeremy inquired, staring at the phone that went black once more. Charlie’s eyebrows came together at the mention. His family had the rough outline of times he would be unavailable to talk.

Stepping back from the craft table’s supper options, he lifted the phone from the table, bringing it to life. His lock screen showing multiple missed calls and voicemails from you, his family and two unknown numbers.

His jaw dropped further when Meghan called for the first time out of the group, “Megs?”

“Finally! Where have you been?” Meghan demanded pacing in the studio she had been using when she got the call. The pretty and successful young woman had gotten terrified at learning about Y/N.

“Filming? It’s the longest day of filming the show. It’s on the family schedule.” Charlie spoke, settling into one of the empty tables. His eyes watching the people entering and exiting the tent set up for food.

“Jesus. Mom called me when you didn’t pick up. Y/N’s in the hospital.” Meghan revealed sending the Canadian actor into a stiff posture. His hazel eyes blow wide and panic flooding his entire system.

“What?!” Charlie didn’t mean to shout nor turn paler than a piece of white paper, but it happened. The volume contracting looks from everyone in the vicinity. Owen even dropped the donut back in the box by the volume.

“She got stabbed with a knife. I sent the address earlier, and I haven’t gotten a lot of info.” Meghan told her older brother, “I know she’s getting a blood transfusion, but nothing else was released.”

Charlie couldn’t tell you what happened between Meghan telling him and reaching the hospital frantically. Nor could he figure out how Owen was in the back of the Uber with him guiding him through exercises; all thanks to Owen’s therapist for his anxiety.

His sneakers squeaked on the polished white floor in his mission to the receptionist transferring information from a chart to digital. Charlie’s painting brought him attention from the kind nurse acknowledging his presence.

“Just let me finish this one sentence.” The nurse hummed saving the information before turning their full attention to the frazzled male, “How can I help you?”

“What room is Y/N Y/L/N in? She was stabbed and needed a transfusion.” Charlie demanded deflating as Owen placed a hand on his shoulder. The Canadian’s eyes bright with panic and a deep fear

The nurse’s eyes softened, “I can’t give out information on patients unless your immediate family members.”

“I’m here-“

“Husband! He’s her husband, they eloped so she hasn’t changed her last name or updated her information.” Owen blurted out, rubbing the pad of his index finger on the black jeans he had worn for his role. The two hadn’t even bothered changing into their street clothing.

The nurse nodded their head-turning back to the computer to enter the name for the patient for the information. It took seconds before the nurse wrote on the miscellaneous sticky note of the ward and room number.

“My name is Riley. If you need any help, you can come back here, and I’ll do my best to give you answers.” Nurse Riley informed the duo with a kind smile nodding in the direction of your hospital room.

Owen’s long legs ate up the distance Charlie made in his sprint to the stairwell, “Shouldn’t we take the elevator?”

“My girlfriend is in a hospital bed. I can’t wait for an elevator.” Charlie rebuked the suggestion on the second flight. Owen’s sigh was the last sound made as the duo slammed into the door to the floor level.

Charlie and Owen appeared in the doorway of your hospital room panting from the exertion meeting the gaze of two actors. Charlie’s heart stuttered at the sight of the high volume of blood in your clothing and your hair.

The sharp gasp brought your attention to the shaking Canadian actor solely focused on scanning for wounds. His eyes barely staying on the two adult males you had been starring with for a few years. Schedule conflicts often led to no introduction to each other’s co-stars.

“What the hell?” Charlie choked stumbling to the chair beside your hospital bed next to the pole holding a blood bag, “Did you get mugged? Are you okay?”

“Char, take a breath, man.” Owen’s blue eyes shadowed with the worry as Charlie’s breathing shuddered. Owen could barely look at you covered in blood.

“Whoa! Charlie. I’m fine. This is stage blood. We had an intense scene, and there was a minor accident.” Your voice soothed the man gently taking Charlie’s hand to comfort him, “I lost a bit of blood. The doctor decided to give me a blood transfusion to bring my levels back up a bit before stitching it up.”

“How do you get stabbed accidently?” Owen questioned glancing at the two men standing silently in the corner. Due to contracts on the Supernatural set details of scenes and storylines was off-limits.

“Well, during filming, I took a knife from her, and she walked into the blade?” Jensen trailed off, shoving his elbow into Jared’s side at the scoff. It happened every time it was brought up.

“I-“Charlie blinked, shaking his head as he took a deep sigh in pushing that to the back burner to focus solely on you. His hand rubbed his face while he settled on squeezing your one hand in both of his.

The touch of your skin grounding him back to earth with the shattering visions of walking into the world without you. It would be both ways, the second his calloused warm skin brushed your hands; it was like the pain faded. Only a sense of content settled in your weary bones.

“Okay Miss Y/L/N.” Dr. Clancy walked into the room only halting to grab a pair of medical gloves, “I see your entourage grew. I’m Doctor Jim Clancy, and you must be Miss Y/L/N’s husband.”

Three pairs of eyes widened at the doctor’s words aimed towards the brunette actor turning a blushing mess. The words mouthed by Charlie to go with it gave barely any insight, but you did it. The moment you had a free minute with Charlie, you would interrogate him in the new title you had.

“Yeah, my husband.” You spoke flicking an expression to Jensen and Jared that caught on from the years together. They had taken you under their wing on your first day on set, and then you became family with their immediate family.

“I can confirm that my initial observation is that the wound doesn’t have anything that shouldn’t be in there. We stopped the bleeding, the x-ray came clean, we’ll set you up with IV fluid, and tetanus shot to be safe.”

“Nurse Gellar here will cut the rest of the jeans off, get you in a gown for a few hours of observation. Just a precaution for blood transfusions. We’ll have some scrubs you can wear when you can leave.” Dr. Clancy motioned to the tall redhead with a quiet demeanour.

Charlie’s lips lingered on your temple at the fear that flared in your expressive eyes, he would give anything to take your place. He softly sang your couple song as a whimper fell from your lips as the jean tugged the dried blood from the wound. The painful pressure felt as you guessed it had started to bleed again, the feel of liquid rolling down your skin, confirming it.

“I’ll sing anything.” Charlie whispered going through his mental catalogue of songs on your shared playlist, “Oh!”

I’m booking myself a one-way flight

I gotta see the color in your eyes

And telling myself I’m gonna be alright

Without you baby is a waste of time

The tears falling no longer came from the pain but the sheer amount of love you had for the man there. Eyes glittering with pure adoration as his voice came off absolutely heart-melting. So, lost in each other neither of you noticed Owen had been filming from the moment Charlie had said ‘oh’.

Yeah, our first date, girl, the seasons changed

It got washed away in a summer rain

You can’t undo a fall like this

’Cause love don’t know what distance is

Yeah, I know it’s crazy

Charlie’s hand slowly slid up your arms to cup your tear-streaked tacky cheeks in his warm grip. The hospital faded as it became just you and Charlie. Completely oblivious at the audience in the room.

“He loves her,” Jensen whispered to Jared out of the camera frame that the blonde-haired kid’s phone. It was such a pure moment it felt disrespectful to see this exchange but also honoured to see it firsthand.

“I’ve only seen the look in your eyes for Danneel,” Jared replied, cupping his hands over his face listening to the near inaudible wet chuckle you gave.

“As I have between you and Gen. They have the real kind of love.”

But I don’t want “good”, and I don’t want “good enough.”

I want “can’t sleep, can’t breathe without your love”

Front porch and one more kiss, it doesn’t make sense to anybody else

“Charlie.” You sobbed at the best part of your life serenading you in such a romantic moment at the odd setting—his hazel gaze greener in what would come to be a very dear memory to reminisce about.

The calloused thumb caressing your cheek wiping a teardrop away he continued to see as the doctor finished suturing the wound.

Nothing mattered other than the couple currently in a bubble.

Who cares if you’re all I think about,

I’ve searched the world and I know now,

It ain’t right if you ain’t lost your mind.

Yeah, I don’t want easy, I want crazy

Are you with me baby? Let’s be crazy

Charlie’s voice faded with the rest of the song bringing you back to reality with the nurse cleaning up around the wound. That’s how the rest of the day went on waiting for the blood transfusion and IV fluids to finish. You stuffed the tetanus shot while Charlie sang between different genres.

“Thank you.” You softly spoke with Charlie being the only one left in the room with you.

Owen had headed back to their set to finish a scene while giving the updates on you while Jared and Jensen grabbed food. J2 had been very clear they would get Martha to grab some clothing for when they came back. Jensen was determined to deliver you to your home as the first action to make it up to you.

“For what?” Charlie questioned as your index and thumb picked at the cuticles of the opposite hand. Your eyes were hidden from your boyfriend’s gaze.

“For dropping everything to be here.” The words were quiet in the room only filled with breathing and the heart machine you had to be hooked up to.

“My girl-“

“Don’t you mean wife?” You teased brushing a lock of his hair from his forehead taking in the man you had the honor of loving. Of waking up next to in the apartment, you’d been renting ever since you landed the role on Supernatural; overtime Charlie’s things had just accumulated there.

“It was the only way they’d let me in.” Charlie spoke sitting on the edge of the hospital bed, “It’s a little early to call you, but I’m excited to make you my last girlfriend and then my only wife.”

The chuckle fell from your lips, “So, you want to marry me?”

“In front of all our family and friends. Tucked away from the media to celebrate the love we have for each other.” Charlie spoke, “There’s no one else I’d like by my side for the rest of my life.”

A new flood of tears welled at the sincerity in his voice and the warmth laden in his eyes of kaleidoscope colours. Sometimes, depending on his emotion or his clothing, his eyes would be greener, or when he was happy, they had a blue tinge in the green in sadness or your favourite; brown with the swirls of green.

“How did I get so lucky to have the absolute honour to fall in love with you?” Your words created a swell of emotion in the Canadian’s heart.

“The same way whatever deities there are took pity on a boy from Dieppe by bringing him an angel.” Charlie words preceded the kiss on your lips with a grin as you chased his lips after. With one last peck, he leaned back with a fond expression.

“Seriously how do you get stabbed accidently?” Charlie chortled with that gorgeous smile lighting up the room more than the white lights.

Tag List (PLEASE SEND AN INBOX TO BE ADDED! I CANNOT GUARANTEE YOU WILL BE ON THE LIST VIA POST COMMENTS!)

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#charlie gillespie imagines #charlie gillespie fanfiction #charlie gillespie x reader #luke patterson imagines #jatp fanfic #charlie gillespie #caitsy and ash productions

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thewatsonbeekeepers · 2 years

Text

Thoughts re LotSD and Thasmin forming more lucidly now:

The thing that's annoying me is that this episode marked the four year anniversary of the introduction of Yaz. And this is the first actual wlw conversation we've had between her and the Doctor. Now I'm all in favour of a slow burn, and god knows Mandip in particular has been playing that slow burn phenomenally hard. But here's the thing. A queer slow burn is a lot harder to write than a straight slow burn. RTD talked about how Tenrose was so much easier to write than his usual queer romances because put a man and a woman onscreen and you're telling a love story. Two women and your straight audiences will not see it - and a lot of your queer audience will hope, and ship, but will not dare to believe. So from that point of view, the slow burn may be visible from rewatch, but most people don't consume media that way. So instead, for the majority of audiences, the queerness is something confined to the last three eps.

Now this becomes a problem for me because it's not like a series-long romantic arc where you are trapped into fruition at the end. Yaz and 13 were around for more than 3 and a half years before a word of this was breathed, at a point at whuch we knew this could only end in 13's death. There was no promise of happiness, not even a little. And no, not all stories have to be happy, and not all queer stories have to be palatable. But I've been around the block and seen this particular pattern too many times - queerness brought in in the final moments for a bury your gays, so the writers never have to contend with a queer relationship, and get the good old trope of gay tragedy, a love that cannot be. And actually, Doctor Who is often the first queer media kids see. I'd like them to see the love that CAN be

There are things I love about the way Thasmin has been written, and I am pleasantly surprised by lots of the dialogue, which is much less heavy handed than previous queer stuff from both Moffat and Chibnall. But the thing that annoys me is that Chibs has had so much time to tell a new kind of story, and this feels like a tired old trope to me. People were up in arms over Killing Eve, and rightly so - this feels a bit like more of the same, and LotSD seemed to confirm the whole doomed love angle.

When I used the term "queerbaiting" on another post and got all sorts of bizarre shtick for it, I was using it to refer to the nonstop queer marketing BBC social media has been doing to draw the queers in. And sure, we have canon queers, so queerbaiting isn't the perfect word, but pulling queer people in with the promise of a will they won't they when the moment you watch you immediately see it's queers doomed to another never can be relationship is disheartening, and feels a little bit exploitative given the BBC's history of pulling in a queer audience for a bury your gays.

There was a point in s11 where the average lifespan of a Chibs character after coming out was about 40 seconds. Can't help but see the same pattern of unsustainable visual queerness here. It's 2022 and I would like some living sapphics for longer than an episode.

#doctor who #thasmin #yaz #thirteen #legend of the sea devils #chris chibnall #bury your gays #lgbt #queer #analysis #dw #thassie

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templedragon · 3 years

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Supergirl 6x14 Magical Thinking

What's not to love about an episode that starts focused on Alex's dextrous fingerwork and ends on Kara telling Lena she's going to use her fingers? Actually, quite a bit, and most of it hanging on William Dey being embedded into the Tower and being presented as flawless in personality since the Earth Prime reboot. There's a continuity issue that Andrea made everyone's contract so they couldn't work for competitors, yet here Dey says he'll take his story to the Daily Planet if Andrea gets fussy as his boss about his boundaries (is it an Earth Prime reset?). As with season 5 and his quick access to the DEO, it's an insult to Lena being denied and the inherent suspicion behind her motives. Why do they trust Dey so much? If gaining public support is a desire of the SuperFriends, why doesn't Nia or Kara have this role as they are also reporters (in theory) for CatCo? Nia is constantly usurped by him, so even though she says she'll help Lena with the intuitive aspects of magic, it's Dey who provides the breakthrough with his baking experience. Whatever help Nia offers is off screen and her onscreen role is comic relief when Lena's early spells go awry.

In the poor use of characters, Brainy is totally absent in this episode, and his actions are alluded to by are-they-romantic-again-or-not Nia. This is a pattern of the show - Nia and Brainy inform others of their status, Alex and Kelly do, and Kara and Lena do (and I think when M'Gann was here it still applied). So many parallels between the canon romances and the coded assumption ones. In poor use of screen time, Nyxly and Kara each figure out that the humanity totem (kinda weird that the universe has this species everywhere but hey) is giving Nyxly all the feels while the bipeds on Earth take joy in causing suffering. I don't need to hear the same thing twice, especially when there's seven episodes left and the main cast are absent from episodes to make space for repetition or characters that diminish others (*cough* Dey's tour of the Tower is longer than Lena's *cough*). In terms of plot, I'd be stoked if the seven totems turn out to be rainbow coloured. The order of activation is unknown, so Nia decides to pick the Dream totem as that's her forte - they only have to stop Nyxly from getting them, so hiding it in a box will do for now. I was initially irked that it was a male fight club that was chosen for the Humanity totem as seeing women in sports is sorely lacking representation, but then I realised it was about glee in violence for the sake of it and that's definitely a man problem.

Dansen have great progress. Kelly is absent from the Tower as unlike Kara and Nia (and Alex and Brainy and Lena, and I assume J'onn pays with his PI gig), she cares about the job that pays the bills. Esme nearly had a foster home, and during Guardian/Sentinel fight scenes they have domestic conversations about the girl's progress and have time to show off the rainbow friendship bracelet Esme made as a thank you. It's fine until the foster parents use her fire breathing / mimicry alien ability to fend off attackers, and Guardian and Sentinel step in to save the day. The final scene should have more social issues in it, like calling the cops for child endangerment and banning those parents from fostering or adopting ever again. But what we do yet is this silent communication that Esme is the perfect adoption for Alex and Kelly.

As with last week, the through thread belongs to Lena. She's the one who is tasked with embracing magic to save the day, after her initial the-press-have-never-been-good-to-me-why-is-there-a-reporter-coming response to Dey. I'm confused about J'onn wanting to keep Lena Luthor's identity secret, as there was a pretty big court case at the start of the season, and she openly worked with Supergirl at the Earth Prime DEO. It can only be in reference to her budding magic ability, and we have another hero in need of a mentor.

The episode itself belongs to Supercorp. From the opening surprise games' night where Lena assures Kara will be home soon, akin to a prior games' night where Kara knew Lena was travelling to Newfoundland. Kara is still desperate for quick resolutions since returning from the Phantom Zone, to the point of recklnessness. I'm pretty sure every scene they have together there's no-one between them, until Dey coughs to announce his presence and Nia escorts him away from the 'parents' arguing. It's this symbolic romantic framing, a continuation of the 'no homo' he represented in season 5 and my biggest fear is Dey becoming Lena's new partner akin to getting James, Kara's previous ex.M second biggest fear is the Nyxly connection ruining a key Supercorp moment with an emotional outburst. I trust in Benoist and McGrath's performances, and there's so much heart eyes and innuendo emphasis which draws a character breaking laugh from McGrath akin to the secret handshake last season.

Ah yes, last season, home of Kara's "For a friend like you there are no boundaries" and Lena's Non Nocere stripping people of their humanity for the greater good. They are both in a better place, able to have arguements respectfully, and helping each other through their fears. Kara's fear is not protecting people from Nyxly, while Lena's is continuing a family legacy of unintentional harm through magic. Healthy boundaries, pushing people out of their comfort zones, pointing out what happens in the pursuit of the greater good. The compromise is, instead of making a few people royal assholes, making more people moderate assholes until Nyxly is outed and the totem found. I can't pick a favourite scene, but Kara being Lena's bodyguard and effortlessly shoving an angry white man back so Lena can pick flowers is up there, especially as Dey is getting beaten up in the background and Kara leaves him to it. Then there's the cooldown at the end, where (Kara?) has set up comfortable furniture in the Tower training room so she and Lena can relax and eat potstickers and make innuendos about using fingers. It's so... domestic? I mean, technically Lena's magic book was posted to her apartment (however that is funded) so this isn't Lena's home (I'm guessing Brainy sleeps on the Legion ship now people don't care about using future tech). When Kara got back from the Phantom Zone, Alex and she pledged they would get through things together but they haven't had a solo scene since, instead finding laughter and growth through their (non) canon romantic partners. Food is a love language, and the CW said dumplings were for girlfriends. Here we are. Queerbait until canon.

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aewhore · 4 years

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Rhea Ripley x fem!reader.Where the reader is Shane’s adopted daughter.So the reader and Rhea are secretly engaged and Vince decides to put the reader in a storyline with Adam Cole.Of course the reader doesn’t like it, and after a few months it’s getting closer to the wedding and Vince decides to start setting up for an arranged marriage,which causes Rhea to confess to their engagement.And reader ends up setting Vince and the McMahons (Not Stephanie) straight with some colorful words.

Hello, my love @mrsbaszler I’m so sorry this took so damn long to write, Thank you so very much for being so patient with me so I hope you love this as much as I do!!!

Word count: 2500

WARNINGS: slight hints towards NSFW activity in beginning. Hinted at homophobia.

Fighting for my family ~ Rhea Ripley x fem! reader.

The morning sun beamed in through the window and straight into your face. You rolled over into the chest of your fiancée, Rhea Ripley. Her arms tighten around you, tangling your arms with hers. “Good morning sunshine” Her morning voice was deeper and raspier than her normal voice. You groan as you bury your face deeper into her chest trying to avoid the reality that you will have to leave the safe haven that is your hotel room bed. Rhea laughs at your attempt to hide away from your responsibilities. She starts to move to leave the bed much to your protests. “Come on sleeping beauty, I have to go shower and I think we both know you’d like to join me” Rhea leaves the bed and walks into the bathroom leaving the door open behind her. “Damn it! Your good” You had no choice but to leave your fort of comfort to join your fiancée in the bathroom before you have to leave.

Coming out of the bathroom after showering and drying your hair, you and Rhea jump slightly when your phone blasts out your ringtone. You rush over to check it and see it's your dad. You look back to see Rhea staring back at you with a raised eyebrow at the identification of the caller. ‘Dad’ you mouth before picking up. “Hey Pops” You try to sound as cheery as possible but you already know what he’s calling about. “Y/N! Where are you? Do you know what time it is?” You check your phone and see it’s 9:30, You’re half an hour late for the morning meeting at the WWE headquarters. “Ugh shit, I must have overslept, I’m on my way now.” You’re lying through your teeth but your dad seems happy enough with your excuse as he ends the calls after a quick “Get your butt her ASAP” after hanging up you realize you’re still naked and rush around to find your clothes to get dressed. “Overslept huh?” Rhea says interrupting your hunt for your pants. “Rhea” you warn, knowing what she’s going to say next. “I know I know, you can’t tell your family because they’d never accept it but Jesus Y/N, we’re engaged. We’re getting married like to each other in less than a year and-” You interrupt Rhea as your frustrations get the better of you. “Rhea! I love you and I love your family but you don’t understand my family wouldn’t accept us. Being Shane McMahon’s daughter means I have to fit a certain mould. If they found out about us… I don't know what they’d do.” You break eye contact with Rhea to locate your shirt after zipping up your jeans. “You told Steph and she was fine with it. All I’m saying is I’m tired of being your little secret.” You freeze at Rhea’s cold words. “Rhea-” You know you don’t have a good defence to her claims but still she interrupts you. “Don’t. Just don’t. I’ll see you later at the P.C.” and with that she turned on her heels and reentered the bathroom, leaving you in stunned defeated silence.

You arrive at headquarters a half an hour later with a guilty pit in your stomach. Rhea’s words ringing in your head as you sit in the meeting room, hearing your family bicker around you about the product and the plans of this and that and the other. You worked on NXT with Uncle Paul and William Regal, that's how you met Rhea in the first place. Onscreen you were a commentator with Vic Joseph and Wade Barrett, you were damn good as well. You had been commentating for the last 5 years and you loved every minute of it. “Y/N!” You’re snapped out of your thoughts to the realization that the entire board meeting is staring at you. You straight up in your seat “pardon?” You try your best to at least sound polite despite the fact you hadn’t heard a damn thing that was said. Your Grandfather stared daggers into you as he began to speak again. “Well, had you been listening you would have heard that we are setting a storyline between yourself and adam cole into motion as soon as possible” Your face scrunches in confusion as you speak up. “Wait what? Why?” your voice comes out more frantic and high pitched than you had hoped. Triple H turned in his chair to address you “Well we want to put Adam in a program against Johnny again but Adam needs someone to balance out against Candice” Like Beetlejuice or the devil himself, there's a knock on the meeting room door, Vince breaks into a grin as he welcomes the interruption in and in walks Adam Cole with his infamous smirk already pasted onto his face.

“Adam! So glad you could join us” Triple H warmly welcomes the UE leader as he sits as close as possible to you in the seat next to you. Why him? Of all people, it just had to be him. When you started your job as a commentator he made it his business to berate your work on Twitter until he came to NXT where he could belittle you in person. You can already tell this will be a horrible time for you. “I’m so glad to be here Paul, Vince thank you so much for this opportunity and Y/N, you actually look really good today, good job” Adam’s voice rang through your head as he made it his mission to get under your skin as soon as possible. Thankfully Vince intervenes in Adam's mission but that tankful feeling is short-lived “Well Adam we’re thankful you suggested this story and we truly feel that Y/N is a perfect fit.” You turn in shock back towards Adam only to come face to face with that sly smirk that you wished you could scrape off his face with your boot. “Wait, how can I have a storyline against Candice if I’ve never wrestled before?” You took a leap of faith, hoping that someone would see how insane this was and put an end to it but alas no luck. “Oh don't worry sweetheart you won’t be getting your pretty little hands dirty in an actual match or anything but if we need you for a brawl or something I’m sure I could teach you a thing or two.” Adam punctuates his sentence with a wink, he leaned in closer to whisper “or maybe you could ask your little friend Rhea for help, I’m sure she’d be more than happy to help ya out”

The blood rushed away from your head. You felt like you had been sucker-punched, how dare he? Did he know? No surely not. How could he possibly know! Your father, Grandfather and Uncle had carried on the conversation so they had missed Adam’s potential bombshell but they brought the two of you back into the conversation when Shane said: “So what do you think Y/N?” You felt all eyes in the boardroom on you as the pit in your stomach grew and grew and you had hoped it would swallow you whole. “Sure, I’ll give it a shot for a week.” the second you agree the entire room erupts as scripting the rest of NXT begins. Once the meeting is dismissed you rush back to your car to call Rhea but you’re interrupted by your father as you near the exit. “Jeez, someone’s in a hurry, where’s the fire?” Shane laughs out as he stands between you and the exit. “Oh sorry dad, just wanted to go back to the hotel because I forgot my laptop” Your eyes were darting around to avoid your father’s gaze. “Is it important sweetie because I need you to run a few errands for me” your eyes snap to your father. You know you’ll look suspicious if you turn down your father but you need to talk to Rhea ASAP. “Will it take long?” you begrudgingly grumble.

That's what put you in this situation now. You were running around the performance centre helping out with the writing and distribution of the scripts for the NXT tapings tonight. The hours before NXT were ticking away and your anxiety about your new “storyline” was only building and building. Before you knew it, it was showtime and you were rushing out to the commentary desk, nearly shaking with nerves. You almost physically facepalmed when you remembered that you haven't spoken to Rhea and your storyline was starting tonight. Your stomach sank as the show began, you had to put on your game face but inside you were dreading tonight's events. The show ticked by and you calmed as the storyline slipped to the back of your mind as you focused on the action happening in front of you. Before you could even truly settle in to enjoy the episode of NXT that you were commentating on, the main event came and the air was knocked out of your lungs when you realized what you had to do in less than 15 minutes.

The main event of the show was going to build towards the men's war game, Pat Mcafee would approach the commentary desk and cut a promo on Vic and Wade, then he will turn his attention to you and start to insult you before Adam run down to be your knight in sweaty armour to save you from the big bad football man thus starting an on-screen relationship between you and Adam. The segment was going so far so good, Pat was doing his job and Adam came to your defence exactly on time. Just as you're about to sit back down at your desk Adam suddenly grabs your hand and kisses your knuckles before he struts back up the ramp to close out the show with Undisputed Era standing tall. If you didn't have to act like a blushing little schoolgirl then you might have thrown up at Cole’s horrible attempt at romance. The show finished and you gathered your things from the commentary desk to return backstage. You politely say good night to your coworkers as you pass by them on your way out to your car to return to your car. The drive back to the hotel was quicker than you expected. The exhaustion of a long filming day was settling into your bones as you entered the hotel and made your way up to your room.

The loud beep of the key card being accepted rang through your ears as you pushed through the door. The door clicked behind you as you dropped your bags and coat on the floor with an unenthusiastic thud. You see Rhea is already on the sofa in the room and once your eyes fall on your fiancee, you quickly move towards her to fall into her arms. “So you and Cole huh?” it feels like your heart stops beating, shit… you never warned Rhea about your new storyline. “Baby, I’m sorry I-” you start to apologize but Rhea cuts you off “Don’t baby me Y/N, What the fuck was that? You can’t tell your family about your fiancee but you can give fuck me eyes to Adam cole on national TV?? I can’t believe you sometimes” you hang your head in shame as the severity of the situation settled in. “Rhea, I’m sorry. I meant to tell you beforehand but I didn't have a moment to myself at all today” You start to explain yourself but Rhea rolls her eyes at your excuse. “Enough Y/N… enough, I’m done with being your dirty little secret. I love you more than anything but I can't stand it as you allow your family to play pretend with you.” Rhea was standing now as you both stood eye to eye, you were only 3 feet apart but it felt like an ocean between you both. Your eyes brimming with tears as Rhea starts to walk past you. “Rhea, please.” She doesn’t stop and once you hear the door open and close behind, you break out in sobs. The future of your engagement lies in your ability to come clean to your family.

The phrase hell hath no fury as a woman scorned never rang truer than you making your way into WWE HQ to meet with your family to reclaim your destiny. You realize you’ll have to get your father alone to tell him about your relationship with Rhea first before hopefully, you both go to your grandfather to scrap the Adam Cole storyline. So as you sit down to the morning meeting, you already feel yourself zoning out as you work out what you’ll say to your father later on. The meeting goes by faster than expected but sadly the meeting deviates towards the future of yours and Cole’s storyline. “You want to book a WHAT?!” your shock overtakes your body as you nearly yell at your grandfather. “Well Y/N. As you should have guessed by now the end goal of this storyline will be a wedding angle between the two of you, I think the fans will love it. it was trending last night.” Vine had his selling hat on but you weren't having it. You were ready to put your foot down and finally stand up to your family before the doors to the meeting room burst open.

Rhea stood at the entrance of the room, a shocked silence fell over the meeting room. “Rhea, how can we help you?” Triple H breaks the silence. “Oh, you could help me out her trips, How bout you give me my fiancee back?” Your heart skipped a beat as your knight in shining armour came to rescue you. “Excuse me?” Vince's confusion echoes through the room as your breath catches in your throat as you stand from your seat. All eyes in the room dart to you as you finally catch the courage to speak. “It’s me, I’m her fiancee, I have been for months and they’ve been the happiest months of my life.” you and Rhea lock eyes and smile at each other. “Excuse me? I can't believe you Y/N, how could you not have told us this?” Your father stared up at you with a shocked expression on his face. “Jesus Christ Dad, how would I tell you? You never listen to me anyway. At every meeting, I’ve ever been at you’ve all ignored my input. Then you forced me into a dumb storyline with that idiot Cole and then you wanted me to marry HIM? I’m gay dad and I love her and I refuse to be ashamed of my love anymore”

After your rant, you move towards Rhea to hold her hand and lead her out of the meeting room. “Let’s get out of her babe” you put on your best cool girl face as you lead your gorgeous fiancee away from HQ. Rhea suddenly stops your stride and you snap back towards her, “You wanna do something crazy?” you furrow your brows at your fiancee’s question. “Go on?” she’s piqued your interest now so you java to know. “Let’s just go to Vegas and get married now” The request takes you by surprise but the answer leaves you as if it's been sitting in your brain for years. “Yes, let’s go right now” You both break into giggles as you run towards your (hopefully long and happy) life together!

#Rhea Ripley #rhea ripley imagine #rhea ripley fanfic #rhea ripley fancfiction #WWE NXT #nxt imagine #nxt fanfiction #WWE #wwe fanfiction #wwe imagine #im v proud of this #love me?

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armageddon-generation · 4 years

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Articulating Why His Dark Materials is Badly Written

A long essay-thing with lots of specific examples and explanations of why I feel this way. Hopefully I’ve kept fanboy bitching to a minimum.

This isn’t an attack on fans of the show, nor a personal attack on Jack Thorne. I’m not looking to ruin anyone’s enjoyment of the show, I just needed to properly articulate, with examples, why I struggle with it. I read and love the books and that colours my view, but I believe that HDM isn’t just a clumsy, at-best-functional, sometimes incompetent adaptation, it’s a bad TV show separate from its source material. The show is the blandest, least interesting and least engaging version of itself it could be.

His Dark Materials has gorgeous production design and phenomenal visual effects. It's well-acted. The score is great. But my god is it badly written. Jack Thorne writing the entire first season damned the show. There was no-one to balance out his flaws and biases. Thorne is checking off a list of plot-points, so concerned with manoeuvring the audience through the story he forgets to invest us in it. The scripts are mechanical, empty, flat.

Watching HDM feels like an impassioned fan earnestly lecturing you on why the books are so good- (Look! It's got other worlds and religious allegory and this character Lyra is really, really important I swear. Isn't Mrs Coulter crazy? The Gyptians are my favourites.) rather than someone telling the story naturally.

My problems fall into 5 main categories:

Exposition- An unwillingness to meaningfully expand the source material for a visual medium means Thorne tells and doesn't show crucial plot-points. He then repeats the same thing multiple times because he doesn't trust his audience

Pacing- By stretching out the books and not trusting his audience Thorne dedicates entire scenes to one piece of information and repeats himself constantly (see: the Witches' repetition of the prophecy in S2).

Narrative priorities- Thorne prioritises human drama over fantasy. This makes sense budgetarily, but leads to barely-present Daemons, the Gyptians taking up too much screentime, rushed/badly written Witches (superpowers, exposition) and Bears (armourless bear fight), and a Lyra more focused on familial angst than the joy of discovery

Tension and Mystery- because HDM is in such a hurry to set up its endgame it gives you the answers to S1's biggest mysteries immediately- other worlds, Lyra's parents, what happens to the kids etc. This makes the show less engaging and feel like it's playing catch-up to the audience, not the other way around.

Tonal Inconsistency- HDM tries to be a slow-paced, grounded, adult drama, but its blunt, simplistic dialogue and storytelling methods treat the audience like children that need to be lectured.

MYSTERY, SUSPENSE AND INTRIGUE

The show undercuts all the books’ biggest mysteries. Mrs Coulter is set up as a villain before we meet her, other worlds are revealed in 1x2, Lyra's parents by 1x3, what the Magesterium do to kids is spelled out long before Lyra finds Billy (1x2). I understand not wanting to lose new viewers, but neutering every mystery kills momentum and makes the show much less engaging.

This extends to worldbuilding. The text before 1x1 explains both Daemons and Lyra's destiny before we meet her. Instead of encouraging us to engage with the world and ask questions, we're given all the answers up front and told to sit back and let ourselves be spoon-fed. The viewer is never an active participant, never encouraged to theorise or wonder

Intrigue motivated you to engage with Pullman's philosophical themes and concepts. Without it, HDM feels like a lecture, a theme park ride and not a journey.

The only one of S1's mysteries left undiminished is 'what is Dust?', which won't be properly answered until S3, and that answer is super conceptual and therefore hard to make dramatically satisfying

TONAL INCONSISTENCY

HDM billed itself as a HBO-level drama, and was advertised as a GoT inheritor. It takes itself very seriously- the few attempts at humour are stilted and out of place

The production design is deliberately subdued, most notably choosing a mid-twentieth century aesthetic for Lyra’s world over the late-Victorian of the books or steampunk of the movie. The colour grading would be appropriate for a serious adult drama.

Reviewers have said this stops the show feeling as fantastical as it should. It also makes Lyra’s world less distinct from our own.

Most importantly, minimising the wondrous fantasy of S1 neuters its contrast with the escalating thematic darkness of the finale (from 1x5 onwards), and the impact of Roger’s death. Pullman's books are an adult story told through the eyes of a child. Lyra’s innocence and naivety in the first book is the most important journey of the trilogy. Instead, the show starts serious and thematically heavy (we’re told Lyra has world-saving importance before we even meet her) and stays that way.

Contrasting the serious tone, grounded design and poe-faced characters, the dialogue is written to cater to children. It’s horrendously blunt and pulls you out of scenes. Subtext is obliterated at every opportunity. Even in the most recent episode, 2x7, Pan asks Lyra ‘do you think you’re changing because of Will?’

I cannot understate how on the nose this line is, and how much it undercuts the themes of the final book. Instead of even a meaningful shot of Lyra looking at Will, the show treats the audience like complete idiots.

So, HDM looks and advertises itself like an adult drama and is desperate to be taken seriously by wearing its big themes on its sleeve from the start instead of letting them evolve naturally out of subtext like the books, and dedicating lots of scenes to Mrs Coulter's self-abuse

At the same time its dialogue and character writing is comparable to the Star Wars prequels, more childish than media aimed at a similar audience - Harry Potter, Doctor Who, Avatar the Last Airbender etc

DAEMONS

The show gives itself a safety net by explaining Daemons in an opening text-crawl, and so spends less time showing the mechanics of the Daemon-human bond. On the HDM subreddit, I’ve seen multiple people get to 1x5 or 6, and then come to reddit asking basic questions like ‘why do only some people have Daemons?’ or ‘Why are Daemons so important?’.

It’s not that the show didn’t answer these questions; it was in the opening text-crawl. It’s just the show thinks telling you is enough and never shows evidence to back that up. Watching a TV show you remember what you’re shown much easier than what you’re told

The emotional core of Northern Lights is the relationship between Lyra and Pan. The emotional core of HDM S1 is the relationship between Lyra and Mrs Coulter. This wouldn't be bad- it's a fascinating dynamic Ruth plays wonderfully- if it didn't override the Daemons

Daemons are only onscreen when they serve a narrative purpose. Thorne justifies this because the books only describe Daemons when they tell us about their human. On the page your brain fills the Daemons in. This doesn't work on-screen; you cannot suspend your disbelief when their absence is staring you in the face

Thorne clarified the number of Daemons as not just budgetary, but a conscious creative choice to avoid onscreen clutter. This improved in S2 after vocal criticism.

Mrs Coulter/the Golden Monkey and Lee/Hester have well-drawn relationships in S1, but Pan and Lyra hug more in the 2-hour Golden Compass movie than they do in the 8-hour S1 of HDM. There's barely any physical contact with Daemons at all.

They even cut Pan and Lyra's hug after escaping the Cut in Bolvangar. In the book they can't let go of each other. The show skips it completely because Thorne wants to focus on Mrs Coulter and Lyra.

They cut Pan and Lyra testing how far apart they can be. They cut Lyra freeing the Cut Daemons in Bolvangar with the help of Kaisa. We spent extra time with both Roger and Billy Costa, but didn't develop their bonds with their Daemons- the perfect way to make the Cut more impactful

I don't need every single book scene in the show, but notice that all these cut scenes reinforced how important Daemons are. For how plodding the show is. you'd think they could spare time for these moments instead of inventing new conversations that tell us the information they show

Daemons are treated as separate beings and thus come across more like talking pets than part of a character

The show sets the rules of Daemons up poorly. In 1x2, Lyra is terrified by the Monkey being so far from Coulter, but the viewer has nothing to compare it to. We’re retroactively told in that this is unnatural when the show has yet to establish what ‘natural’ is.

The guillotine blueprint in 1x2 (‘Is that a human and his Daemon, Pan? It looks like it.’ / ‘A blade. To cut what?’) is idiotic. It deflates S1’s main mystery and makes the characters look stupid for not figuring out what they aren’t allowed to until they did in the source material, it also interferes with how the audience sees Daemons. In the book, Cutting isn’t revealed until two-thirds of the way in (1x5). By then we’ve spent a lot of time with Daemons, they’ve become a background part of the world, their ‘rules’ have been established, and we’re endeared to them.

By showing the Guillotine and putting Daemons under threat in the second episode, the show never lets us grow attached. This, combined with their selective presence in scenes, draws attention to Daemons as a plot gimmick and not a natural extension of characters. Like Lyra, the show tells us why Daemons are important before we understand them.

Billy Costa's fate falls flat. It's missing the dried fish/ fake Daemon Tony Markos clings to in the book. Thorne said this 'didn't work' on the day, but it worked in the film. Everyone yelling about Billy not having a Daemon is laughable when most of the background extras in the same scene don't have Daemons themselves

WITCHES

The Witches are the most common complaint about the show. Thorne changed Serafina Pekkala in clever, logical ways (her short hair, wrist-knives and cloud pine in the skin)

The problem is how Serafina is written. The Witches are purely exposition machines. We get no impression of their culture, their deep connection to nature, their understanding of the world. We are told it. It is never shown, never incorporated into the dramatic action of the show.

Thorne emphasises Serafina's warrior side, most obviously changing Kaisa from a goose into a gyrfalcon (apparently a goose didn't work on-screen)

Serafina single-handedly slaughtering the Tartars is bad in a few ways. It paints her as bloodthirsty and ruthless. Overpowering the Witches weakens the logic of the world (If they can do that, why do they let the Magesterium bomb them unchallenged in 2x2?). It strips the Witches of their subtlety and ambiguity for the sake of cinematic action.

A side-effect of Serafina not being with her clan at Bolvangar is limiting our exposure to the Witches. Serafina is the only one invested in the main plot, we only hear about them from what she tells us. This poor set-up weakens the Witch subplot in S2

Lyra doesn’t speak to Serafina until 2x6. She laid eyes on her once in S1.

The dialogue in the S2’s Witch subplot is comparable to the Courasant section of The Phantom Menace.

Two named characters, neither with any depth (Serafina and Coram's dead son developed him far more than her). The costumes look ostentatious and hokey- the opposite of what the Witches should be. They do nothing but repeat the same exposition at each other, even in 2x7.

We feel nothing when the Witches are bombed because the show never invests us in what is being destroyed- with the amount of time wasted on long establishing shots, there’s not one when Lee Scoresby is talking to the Council.

BEARS

Like the Witches; Thorne misunderstands and rushes the fantasy elements of the story. The 2007 movie executed both Iofur's character and the Bear Fight much better than the show- bloodless jaw-swipe and all

Iofur's court was not the parody of human court in the books. He didn't have his fake-Daemon (hi, Billy)

An armourless bear fight is like not including Pan in the cutting scene. After equating Iorek's armour to a Daemon (Lee does this- we don’t even learn how important it is from Iorek himself, and the comparison meant less because of how badly the show set up Daemons) the show then cuts the plotpoint that makes the armour plot-relevant. This diminishes all of Bear society. Like Daemons, we're told Iorek's armour is important but it's never shown to be more than a cool accessory

GYPTIANS

Gyptians suffer from Hermoine syndrome. Harry Potter screenwriter Steve Kloves' favourite character was Hermione, and so Film!Hermoine lost most of Book!Hermoine's flaws and gained several of Book!Ron's best moments. The Gyptians are Jack Thorne's favourite group in HDM and so they got the extra screentime and development that the more complicated groups/concepts like Witches, Bears, and Daemons (which, unlike the Gyptians, carry over to other seasons amd are more important to the overall story) needed

At the same time, he changes them from a private people into an Isle of Misfit Toys. TV!Ma Costa promises they'll ‘make a Gyptian woman out of Lyra yet’, but in the book Ma specifically calls Lyra out for pretending to be Gyptian, and reminds her she never can be.

This small moment indicates how, while trying to make the show more grounded and 'adult', Thorne simultaneously made it more saccharine and sentimental. He neuters the tragedy of the Cut kids when Ma Costa says they’ll become Gyptians. Pullman's books feel like an adult story told through the eyes of a child. The TV show feels like a child's story masquerading as a serious drama.

LIN-MANUEL MIRANDA

Let me preface this by saying I genuinely really enjoy the performances in the show. It was shot in the foot by The Golden Compass' perfect casting.

The most contentious/'miscast' actor among readers is LMM. Thorne ditched the books' wise Texan for a budget Han Solo. LMM isn't a great dramatic actor (even in Hamilton he was the weak link performance-wise) but he makes up for it in marketability- lots of people tried the show because of him

Readers dislike that LMM's Lee is a thief and a scoundrel, when book-Lee is so moral he and Hester argue about stealing. Personally, I like the change in concept. Book!Lee's parental love for Lyra just appears. It's sweet, but not tied to a character arc. Done right, Lyra out-hustling Lee at his own game and giving him a noble cause to fight for (thus inspiring the moral compass of the books) is a more compelling arc.

DAFNE KEENE AND LYRA

I thought Dafne would be perfect casting. Her feral energy in Logan seemed a match made in heaven. Then Jack Thorne gave her little to do with it.

Compare how The Golden Compass introduced Lyra, playing Kids and Gobblers with a group of Gyptian kids, including Billy Costa. Lyra and Roger are chased to Jordan by the Gyptians and she makes up a lie about a curse to scare the Gyptians away.

In one scene the movie set up: 1) the Gobblers (the first we hear of them in the show is in retrospect, Roger worrying AFTER Billy is taken) 2) Lyra’s pre-existing relationship with the Gyptians (not in the show), 3) Friendship with Billy Costa (not in the book or show) 4) Lyra’s ability to befriend and lead groups of people, especially kids, and 5) Lyra’s ability to lie impressively

By comparison, it takes until midway through 1x2 for TV!Lyra to tell her first lie, and even then it’s a paper-thin attempt.

The show made Roger Lyra’s only friend. This artificially heightens the impact of Roger's death, but strips Lyra of her leadership qualities and ability to befriend anyone.

Harry Potter fans talk about how Book!Harry is funnier and smarter than Film!Harry. They cut his best lines ('There's no need to call me sir, Professor') and made him blander and more passive. The same happened to Lyra.

Most importantly, Lyra is not allowed to lie for fun. She can't do anything 'naughty' without being scolded. This colours the few times Lyra does lie (e.g. to Mrs Coulter in 1x2) negatively and thus makes Lyra out to be more of a brat than a hero.

This is a problem with telling Northern Lights from an outside, 'adult' perspective- to most adults Lyra is a brat. Because we’re introduced to her from inside her head, we think she's great. It's only when we meet her through Will's eyes in The Subtle Knife and she's filthy, rude and half-starved that we realise Lyra bluffs her way through life and is actually pretty non-functional

Thorne prioritises grounded human drama over fantasy, and so his Lyra has her love of bears and witches swapped for familial angst. (and, in S2. angst over Roger). By exposing Mrs Coulter as her mother early, Thorne distracts TV!Lyra from Book!Lyra’s love of the North. The contrast between wonder and reality made NL's ending a definitive threshold between innocence and knowledge. Thorne showed his hand too early.

Similarly, TV!Lyra doesn’t have anywhere near as strong an admiration for Lord Asriel. She calls him out in 1x8 (‘call yourself a Father’), which Book!Lyra never would because she’s proud to be his child. From her perspective, at this point Asriel is the good parent.

TV!Lyra’s critique of Asriel feels like Thorne using her as a mouthpiece to voice his own, adult perspective on the situation. Because Lyra is already disappointed in Asriel, his betrayal in the finale isn’t as effective. Pullman saves the ‘you’re a terrible Father’ call-out for the 3rd book for a reason; Lyra’s naive hero-worship of Asriel in Northern Lights makes the fall from Innocence into Knowledge that Roger’s death represents more effective.

So, on TV Lyra is tamer, angstier, more introverted, less intelligent, less fun and more serious. We're just constantly told she's important, even before we meet her.

MRS COULTER (AND LORD ASRIEL)

Mrs Coulter is the main character of the show. Not Lyra. Mrs Coulter was cast first, and Lyra was cast based on a chemistry test with Ruth Wilson. Coulter’s character is given lots of extra development, where the show actively strips Lyra of her layers.

To be clear, I have no problem with developing Mrs Coulter. She is a great character Ruth Wilson plays phenomenally. I do have a problem with the show fixating on her at the expense of other characters.

Lyra's feral-ness is given to her parents. Wilson and McAvoy are more passionate than in the books. This is fun to watch, but strips them of subtlety- you never get Book!Coulter's hypnotic allure from Wilson, she's openly nasty, even to random strangers (in 2x3 her dismissal of the woman at the hotel desk felt like a Disney villain).

Compare how The Golden Compass (2007) introduced Mrs Coulter through Lyra’s eyes, with light, twinkling music and a sparkling dress. By contrast, before the show introduces Coulter it tells us she’s associated with the evil Magisterium plotting Asriel’s death- “Not a word to any of our mutual friends. Including her.” Then she’s introduced striding down a corridor to imposing ‘Bad Guy’ strings.

Making Mrs Coulter’s villainy so obvious so early makes Lyra look dumber for falling for it. It also wastes an interesting phase of her character arc. Coulter is rushed into being a ’conflicted evil mother’ in 2 episodes, and stays in that phase for the rest of the show so far. Character progression is minimised because she circles the same place.

It makes her one-note. It's a good note (so much of the positive online chatter is saphiccs worshiping Ruth Wilson) but the show also worships her to the point of hindrance- e.g. take a shot every time Coulter walks slow-motion down a corridor in 2x2

The problem isn’t the performances, but how prematurely they give the game away. Just like the mysteries around Bolvangar and Lyra’s parentage. Neither Coulter or Asriel have much chance to use their 'public' faces.

This is part of a bigger pacing problem- instead of rolling plot points out gradually, Thorne will stick the solution in front of you early and then stall for time until it becomes relevant. Instead of building tension this builds frustration and makes the show feel like it's catching up to the audience. This also makes the characters less engaging. You've already shown Mrs Coulter is evil/Boreal is in our world/Asriel wants Roger. Why are you taking so long getting to the point?

PACING AND EDITING

This show takes forever to make its point badly.

Scenes in HDM tend to operate on one level- either 'Character Building,' 'Exposition,' or 'Plot Progression'.

E.g. Mary's introduction in 2x2. Book!Mary only listens to Lyra because she’s sleep and caffeine-deprived and desperate because her funding is being cut. But the show stripped that subtext out and created an extra scene of a colleague talking to Mary about funding. They removed emotional subtext to focus on exposition, and so the scene felt empty and flat.

In later episodes characters Mary’s sister and colleagues do treat her like a sleep-deprived wreck. But, just like Lyra’s lying, the show doesn’t establish these characteristics in her debut episode. It waits until later to retroactively tell us they were there. Mary’s colleague saying ‘What we’re dealing with here is the fact that you haven’t slept in weeks’ is as flimsy as Pan joking not lying to Mary will be hard for Lyra.

Rarely does a scene work on multiple levels, and if it does it's clunky- see the exposition dump about Daemon Separation in the middle of 2x2's Witch Trial.

He also splits plot progression into tiny doses, which destroys pacing. It's more satisfying to focus on one subplot advancing multiple stages than all of them shuffling forward half a step each episode.

Subplots would be more effective if all the scenes played in sequence. As it is, plotlines can’t build momentum and literal minutes are wasted using the same establishing shots every time we switch location.

The best-structured episodes of S1 are 1x4, 1x6, and 1x8. This is because they have the fewest subplots (incidentally these episodes have least Boreal in them) and so the main plot isn’t diluted by constantly cutting away to Mrs Coulter sniffing Lyra’s coat or Will watching a man in a car through his window, before cutting back again.

The best-written episode so far is 2x5. The Scholar. Tellingly, it’s the only episode Thorne doesn’t have even a co-writing credit on. 2x5 is well-paced, its dialogue is more naturalistic, it’s more focused, it even has time for moments of whimsy (Monkey with a seatbelt, Mrs Coulter with jeans, Lyra and Will whispering) that don’t detract from the story.

Structurally, 2x5 works because A) it benches Lee’s plotline. B) The Witches and Magisterium are relegated to a scene each. And C) the Coulter/Boreal and Lyra/Will subplots move towards the same goal. Not only that, but when we check in on Mary’s subplot it’s through Mrs Coulter’s eyes and directly dovetails into the main action of the episode.

2x5 has a lovely sense of narrative cohesion because it has the confidence to sit with one set of characters for longer than two scenes at a time.

HDM also does this thing where it will have a scene with plot A where characters do or talk about something, cut away to plot B for a scene, then cut back to plot A where the characters talk about what happened in their last scene and painstakingly explain how they feel about it and why

Example: Pan talking to Will in 2x7 while Lyra pretends to be asleep. This scene is from the 3rd book, and is left to breathe for many chapters before Lyra brings it up. In the show after the Will/Pan scene they cut away to another scene, then cut back and Lyra instantly talks about it.

There’s the same problem in 2x5: After escaping Mrs Coulter, Lyra spells out how she feels about acting like her

The show never leaves room for implication, never lets us draw our own conclusions before explaining what it meant and how the characters feel about it immediately afterwards. The audience are made passive in their engagement with the characters as well as the world

LORD BOREAL, JOHN PARRY AND DIMINISHING RETURNS

At first, Boreal’s subplot in S1 felt bold and inspired. The twist of his identity in The Subtle Knife would've been hard to pull off onscreen anyway. As a kid I struggled to get past Will's opening chapter of TSK and I have friends who were the same. Introducing Will in S1 and developing him alongside Lyra was a great idea.

I loved developing Elaine Parry and Boreal into present, active characters. But the subplot was introduced too early and moved too slowly, bogging down the season.

In 1x2 Boreal crosses. In 1x3 we learn who he's looking for. In 1x5 we meet Will. In 1x7 the burglary. 1 episode worth of plot is chopped up and fed to us piecemeal across many. Boreal literally stalls for two episodes before the burglary- there are random 30 second shots of him sitting in a car watching John Parry on YouTube (videos we’d already seen) completely isolated from any other scenes in the episode

By the time we get to S2 we've had 2 seasons of extended material building up Boreal, so when he just dies like in the books it's anticlimactic. The show frontloads his subplot with meaning without expanding on its payoff, so the whole thing fizzles out.

Giving Boreal, the secondary villain in literally every episode, the same death as a background character in about 5 scenes in the novels feels cheap. It doesn’t help that, after 2x5 built the tension between Coulter and Boreal so well, as soon as Thorne is passed the baton in 2x6 he does little to maintain that momentum. Again, because the subplot is crosscut with everything else the characters hang in limbo until Coulter decides to kill him.

I’ve been watching non-book readers react to the show, and several were underwhelmed by Boreal’s quick, unceremonious end.

Similarly, the show builds up John Parry from 1x3 instead of just the second book. Book!John’s death is an anticlimax but feels narratively justified. In the show, we’ve spent so much extra time talking about him and then being with him (without developing his character beyond what’s in the novels- Pullman even outlined John’s backstory in The Subtle Knife’s appendix. How hard would it be to add a flashback or two?) that when John does nothing in the show and then dies (he doesn’t even heal Will’s fingers like in the book- only tell him to find Asriel, which the angels Baruch and Balthamos do anyway) it doesn’t feel like a clever, tragic subversion of our expectations, it feels like a waste that actively cheapens the audience’s investment.

TL;DR giving supporting characters way more screentime than they need only, to give their deaths the same weight the books did after far less build up makes huge chunks of the show feel less important than they were presented to be.

FRUSTRATINGLY LIMITED EXPANSION AND NOVELLISTIC STORYTELLING

Thorne is unwilling to meaningfully develop or expand characters and subplots to fit a visual medium. He introduces a plot-point, invents unnecessary padding around it, circles it for an hour, then moves on.

Pullman’s books are driven by internal monologue and big, complex theological concepts like Daemons and Dust. Instead of finding engaging, dynamic ways to dramatise these concepts through the actions of characters or additions to the plot, Thorne turns Pullman’s internal monologue into dialogue and has the characters explain them to the audience

The novels’ perspective on its characters is narrow, first because Northern Lights is told only from Lyra’s POV, and second because Pullman’s writing is plot-driven, not character-driven. Characters are vessels for the plot and themes he wants to explore.

This is a fine way of writing novels. When adapting the books into a longform drama, Thorne decentralised Lyra’s perspective from the start, and HDM S1 uses the same multi-perspective structure that The Subtle Knife and The Amber Spyglass do, following not only Lyra but the Gyptians, Mrs Coulter, Boreal, Will and Elaine etc

However, these other perspectives are limited. We never get any impression of backstory or motivation beyond the present moment. Many times I’ve seen non-book readers confused or frustrated by vague or non-existent character motivations.

For example, S1 spends a lot of time focused on Ma Costa’s grief over Billy’s disappearance, but we never see why she’s sad, because we never saw her interact with Billy.

Compare this to another show about a frantic mother and older brother looking for a missing boy. Stranger Things uses only two flashbacks to show us Will Byers’ relationships with his family: 1) When Joyce Byers looks in his Fort she remembers visiting Will there. 2) The Clash playing on the radio reminds Jonathan Byers of introducing Will to the song.

In His Dark Materials we never see the Costas as a happy family- 1x1’s Gyptian ceremony focuses on Tony and Daemon-exposition. Billy never speaks to his mum or brother in the show

Instead we have Ma Costa’s empty grief. The audience has to do the work (the bad kind) imagining what she’s lost. Instead of seeing Billy, it’s just repeated again and again that they will get the children back.

If we’re being derivative, HDM had the chance to segway into a Billy flashback when John Faa brings one of his belongings back from a Gobbler safehouse in 1x2. This is a perfect The Clash/Fort Byers-type trigger. It doesn’t have to be long- the Clash flashback lasted 1:27, the Fort Byers one 55 seconds. Just do something.

1x3 beats into us that Mrs Coulter is nuts without explaining why. Lots of build-up for a single plot-point. Then we're told Mrs Coulter's origin, not shown. This is a TV show. Swap Boreal's scenes for flashbacks of Coulter and Asriel's affair. Then, when Ma Costa tells Lyra the truth, show the fight between Edward Coulter and Asriel.

To be clear, Thorne's additions aren’t fundamentally bad. For example, Will boxing sets up his struggle with violence. But it's wasted. The burglary/murder in 1x7 fell flat because of bad editing, but the show never uses its visual medium to show Will's 'violent side'- no change in camera angle, focus, or sound design, nothing. It’s just a thing that’s there, unsupported by the visual language of the show

The Magisterium scenes in 2x2 were interesting. We just didn't need 5 of them; their point could be made far more succinctly.

In 2x6 there is a minute-long scene of Mary reading the I Ching. Later, there is another scene of Angelica watching Mary sitting somewhere different, doing the SAME THING, and she sees an Angel. Why split these up? It’s not like either the I Ching or the Angels are being introduced here. Give the scene multiple layers.

Thorne either takes good character moments from the books (Lyra/Will in 2x1) or uses heavy-handed exposition that reiterates the same point multiple times. This hobbles the Witches (their dialogue in 2x1, 2 and 3 literally rephrases the same sentiment about protecting Lyra without doing anything). Even character development- see Lee monologuing his and Mrs Coulter's childhood trauma in specific detail in 2x3

This is another example of Thorne adding something, but instead of integrating it into the dramatic action and showing us, it’s just talked about. What’s the point of adding big plot points if you don’t dramatise them in your dramatic, visual medium? In 2x8, Lee offhandedly mentions playing Alamo Gulch as a kid.

I’m literally screaming, Jack, why the flying fuck wasn’t there a flashback of young Lee and Hester playing Alamo Gulch and being stopped by his abusive dad? It’s not like you care about pacing with the amount of dead air in these episodes, even when S2’s run 10 minutes shorter than S1’s. Lee was even asleep at the beginning of 2x3, Jack! He could’ve woken from a nightmare about his childhood! It’s a little lazy, but better than nothing.

There’s a similar missed opportunity making Dr Lanselius a Witchling. If this idea had been introduced with the character in 1x4, it would’ve opened up so many storytelling possibilities. Linking to Fader Coram’s own dead witchling son. It could’ve given us that much-needed perspective on Witch culture. Imagine Lanselius’ bittersweet meeting with his ageless mother, who gave him up when he reached manhood. Then, when the Magisterium bombs the Witches in 2x2, Lanselius’ mother dies so it means something.

Instead it’s only used to facilitate an awkward exposition dump in the middle of a trial.

The point of this fanfic-y ramble is to illustrate my frustration with the additions; If Thorne had committed and meaningfully expanded and interwoven them with the source material, they could’ve strengthened its weakest aspect (the characters). But instead he stays committed to novelistic storytelling techniques of monologue and two people standing in a room talking at each other

(Seriously, count the number of scenes that are just two people standing in a room or corridor talking to each other. No interesting staging, the characters aren’t doing anything else while talking. They. Just. Stand.)

SEASON 2 IMPROVEMENTS

S2 improved some things- Lyra's characterisation was more book-accurate, her dynamic with Will was wonderful. Citigazze looked incredible. LMM won lots of book fans over as Lee. Mary was brilliantly cast. Now there are less Daemons, they're better characterised- Pan gets way more to do now and Hester had some lovely moments.

I genuinely believe 2x1, 2x3, 2x4 and 2x5 are the best HDM has been.

But new problems arose. The Subtle Knife lost the central, easy to understand drive of Northern Lights (finding the missing kids) for lots of smaller quests. As a result, everyone spends the first two episodes of S2 waiting for the plot to arrive. The big inciting incident of Lyra’s plotline is the theft of the alethiometer, which doesn’t happen until 2x3. Similarly, Lee doesn’t search for John until 2x3. Mrs Coulter doesn’t go looking for Lyra until 2x3.

On top of missing a unifying dramatic drive, the characters now being split across 3 worlds, instead of the 1+a bit of ours in S1, means the pacing/crosscutting problems (long establishing shots, repetition of information, undercutting momentum) are even worse. The narrative feels scattered and incohesive.

These flaws are inherent to the source material and are not the show’s fault, but neither does it do much to counterbalance or address them, and the flaws of the show combine with the difficulties of TSK as source material and make each other worse.

A lot of this has been entitled fanboy bitching, but you can't deny the show is in a bad place ratings-wise. It’s gone from the most watched new British show in 5 years to the S2 premiere having a smaller audience than the lowest-rated episode of Doctor Who Series 12. For comparison, DW's current cast and showrunner are the most unpopular since the 80s, some are actively boycotting it, it took a year-long break between series 11 and 12, had its second-worst average ratings since 2005, and costs a fifth of what HDM does to make. And it's still being watched by more people.

Critical consensus fluctuates wildly. Most laymen call the show slow and boring. The show is simultaneously too niche and self-absorbed to attract a wide audience and gets just enough wrong to aggravate lots of fans.

I’m honestly unsure if S3 will get the same budget. I want it to, if only because of my investment in the books. Considering S2 started filming immediately after S1 aired, I think they've had a lot more time to process and apply critique for S3. On the plus side, there's so much plot in The Amber Spyglass it would be hard to have the same pacing problems. But also so many new concepts that I dread the exposition dumps.

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