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carlyraejcpsen · 3 years

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alright, i’ve tried to keep quiet because i truly believe in karma and wanted this rp to close through the admin’s own actions and not give them any opportunities to blame it on me instead. it also felt like beating a dead horse, because i was sure they’d close the rp after losing a huge proportion of their active members and the majority of their diversity. however, after seeing multiple people sharing their experiences today, they are still posting promo posts and starting their event. so yeah, here’s my experience with @thevillagerp

NOTE: i no longer have screenshots from my conversations with the admins, as i blocked them when i left the rp for the sake of my own mental health, but i did save the text in my drafts, so the messages below are copy pasted. i have not edited them in any way. They also deleted my original anonymous messages off of their blog.

TRIGGER WARNINGS: racism, very vague allusions to homophobia and transphobia

so i was a member of this roleplay for around two months. during my time there, it was startlingly obvious that white fcs were preferred and prioritised, both from the fact that they got more plots and interactions in general and from the fact that admins never promoted diversity on the main. even now, they repeatedly say they “would still love to receive some more male and non-binary apps” while ignoring that they currently have a ratio of 8 fcs of colour to 24 white fcs. their diversity rules at the time were that 1/3 of a mun’s characters had to be played by an fcoc. so people could easily just play one or two white characters.

a while ago, i sent an anonymous message to the main asking if they had considered perhaps changing this rule to be 2/3 characters instead of 1/3, since there were so few muses of colour in the roleplay (as i said before, they’ve since deleted this from their blog so i cannot provide a screenshot). they responded that they had been thinking of upping the character limit to four instead of three, with a rule that 2/4 must be played by an fcoc. i gave them the benefit of the doubt and the time to enact this change, but nothing happened.

so a few weeks later, i sent them this message on anonymous:

I was wondering if you had thought any more about the diversity rules here? I know you said before that you were considering increasing the character limit, but I noticed that hasn’t happened and I wanted to know if that was a change we’re going to see or if you would consider changing the rules in another way? I’m really disheartened by the lack of diversity in the roleplay

at the time there were 18 characters of colour out of a total of over 60. they responded (again, i’m sorry i don’t have the actual wording since they’ve deleted the messages) that they had thought about it and decided against upping the character limit, but instead would be having a weekly “poc acceptance day,” where they would only be accepting apps with fcs of colour. they also said they were doing this “now that the waitlist was mostly cleared,” which meant that the rp was mostly at capacity anyway, so they needed to look more at how to encourage their existing members to promote diversity, since there weren’t spaces open for new people to bring them in.

i responded with another anon expressing my disappointment and pointing out that they had done more to prevent having too many celebrity characters than too few muses of colour, as at the time they had a ban on celebrity muses. i wouldn’t usually suggest a ban on certain fcs, but as it was something they had done for celebrity characters, then i supposed it was a reasonable option.

they didn’t even respond to this message and instead posted on the main asking me to come off anon to discuss it. so i did, and i sent them the following dm:

i didn’t want to come off anon because i honestly feel really ostracised in this group and didn’t want to make it worse, but i don’t want to drop this issue and you aren’t comfortable addressing it publicly so here we are i guess. like i said in my previous message, i really don’t see how a “poc acceptance day” is going to make anywhere near enough of a difference. people will just wait for the opportunity to play their white characters. there are only 18 characters of colour in a roleplay with over 60 characters. that’s less than a third, which is obviously concerning. what’s even more concerning for me is that these characters are more often than not overlooked. i am often ghosted when plotting, or people don’t even reach out at all when i like plotting calls or intro posts. and then i have to watch characters like leo almost exclusively interact with white women (i’m sure that’s not the only example, but it is the first that comes to mind as he is one of the more active characters).

so this issue goes so much deeper than there just not being adequate representation in the rp. i really tried to help, i suggested making it a rule that 2/3 characters need to be poc in my original ask and you mentioned upping the character limit in response. i was worried that my concerns were being brushed aside, but i waited a while to give you the benefit of the doubt and the space to discuss the issue. so you can understand why it was really upsetting today to learn that the one thing you suggested was dropped and instead replaced with something that is barely scratching the surface of the problem. and i don’t know if it was your intention, but by saying that you were waiting for the waitlist to clear, it comes across as not wanting to receive any backlash from people who would want to join with only white characters. and even if people did want to join with faceclaims of colour, they can’t because the waitlist is cleared. like i suggested, you could change the rules so that 2 out of 3 characters must be people of colour. or, as was your proposed idea, up the character limit to four. you could also put a temporary ban on white faceclaims until the ratio evens out. as i mentioned, it’s really distressing that this was something you were willing to do for celebrity characters, but not to aid diversity.

i also just want to make it clear that these have been the only anons i’ve sent, i know you’ve been getting other ones, but those weren’t from me!!

( for context, they were receiving anons from someone else claiming that they felt left out in the rp ).

i had hoped that coming off anon would show them that this was a very real issue which was affecting their members, as well as giving them a space to discuss it privately instead of on the main. they responded with:

Hi Em, thank you for coming forward. We really, really appreciate it and we understand it’s not an easy thing to do. We also appreciate you flying the flag for diversity so strongly. We can always strive to be better, we are on the same page with you here.

Let us just explain our decision making. Firstly, just to address the waitlist, that was certainly not at all our intention when we brought it up. It was a logistical decision with 5+ applicants having already waited a week for acceptance and aware of their position on a waitlist.

When we decided against upping the character limit (and therefore the 2/4 POC character rule), we thought a POC acceptance day could be a good alternative course of action. In our eyes, this was something that would probably bring more POC characters to the group than the 2/4 rule because we knew there weren’t going to be many muns taking up an additional fourth character. This was a rule we’ve seen other groups enjoy success from so we wanted to try it out here. Plus, we think a day that explicitly highlights diversity every week would bring the message to the forefront of everyone’s minds. As we said, we’re going to monitor this over the next couple of weeks to see if it brings any improvement because we’d really like to have it as an ongoing rule.

The non-POC ban is actually a measure we’ve spoken about too and we are considering putting one in place should this fail. Thank you for raising your concerns, know that we’ve taken them very seriously and we hope that you’ll trust our judgement in trying this rule out first to see where it leads.

first of all, i don’t think i even have to mention the wording of “flying the flag for diversity.” but the real crux of the issue here is that they supposedly wanted me to come off anon to discuss the issue, but instead just explained their idea further and didn’t take anything i said on board. they didn’t even say a single word about how i told them i felt ostracised and regularly got ignored. i knew from speaking to other muns in the rp who played muses of colour (and just from looking at the dash) that they felt the same way too, but of course was only speaking from my own experience.

i thought long and hard about how to respond to this, as i was so disheartened by their unwillingness to listen to their members and the fact that they didn’t care that i felt left out. it felt like they had asked me to come off anon just so they knew who was messaging them and therefore put a target on my back, so honestly the thought of being on the dash or talking to the admins made me incredibly anxious. before i had a chance, however, they responded again with:

Hi hun, we’ve continued discussing this issue over the last couple of days and we wanted to let you know that we’ve decided to put in place a non-POC ban instead. Thank you again for holding a mirror up to the group. We do hope that this will recorrect the balance.

so i waited to see how things would play out. they posted about this new ban here and pinned the post to the top of the main:

[ IMAGE ID: a screenshot from thevillagehq of an admin update, which reads: in the interest of keeping the village a diverse space, we are currently only accepting applications for POCs. please note that any apps or reserves submitted to us for faceclaims that are not POCs will be deleted. we will lift this rule once we see fit.

thank you for your understanding and your efforts in making this group a brighter, more inclusive and diverse place for all. /END ID ]

this rule remained in place for around two weeks, during which time they made almost no effort to promote it. the above post was pinned to the main page, but that was the only mention of the ban anywhere on their page, they didn’t update the rules page or even put a note on the application page about it. during this two week period, the admins posted 10 promo posts, none of which suggested fcs or even mentioned the ban or diversity at all. the ban was then lifted suddenly when the pinned post was removed and the admins just went back to accepting apps with white fcs. the ratio had only evened out in those two weeks (from 18 out of 65 to 24/50) because of people going inactive or leaving, and there was nothing put into place to continue to promote diversity after the lift of the ban. in the three days after the ban was lifted, the admins posted over 10 promo posts, the same amount they had posted during the entirety of the ban. it was clear that they had no intention of actually making changes in their rp and had only done so because i refused to drop the issue.

again, i thought a lot about what i wanted to message them. i knew at this point that they didn’t want to make any real changes, but i still felt like i had to make it clear to them how disappointing their actions were. once again, i was messaged before i even had a chance, this time for bubbling.

as you can see in the above correspondence, i had told the admins point blank that i felt left out and ignored in the rp because of the characters i played (aubrey plaza, mj rodriguez and keiynan lonsdale fcs. all of my characters were queer and used either she/they or they/them pronouns). as a general rule, the only people who wanted to write with me and have interesting plots with me were people who played other muses of colour. the rp had a rule that you must reply to 3+ muns on every character, which i had been doing. i had only been back from my hiatus for a few days at this point and had responded to 6 different open starters the day prior. their message to me read:

Hi hun. There’s something we wanted to address to you directly. It’s been expressed to us by multiple members during these last few weeks that they have felt excluded by your character within the group, especially when it comes to the friend bubble that has formed between Mars, Bowie, Luvena, Asher and others.

While we encourage the development of friendships and trust that this isn’t intentional, we have a zero tolerance for bubble roleplaying at The Village. We are aware that our three mun activity rules have been met by all parties involved, however, bubbling is usually a little more nuanced than that and it seems it has unfortunately begun to create a bit of a divide within the group.

We have already issued individual warnings to a few people within the bubble, however with multiple members still expressing their concerns to us, we decided it would be better to address the group as a whole. We hope that by pointing this out to you, you will try and branch out to your fellow members a little more from now on - and try and be a little more inclusive when it comes to everyone else in the group.

We take such matters very seriously as admins, and while we hope it won’t have to come to this, there will be consequential steps taken should we not see any changes in your interactions in the weeks to come.

as you can imagine, i was incredibly upset to receive this message after already telling them i didn’t get plots from many of their members and they had done nothing. even people who i had previously messaged continued to only write with the same few white characters. i don’t deny that we definitely had a friendship group between our characters, but there were multiple people in that roleplay, including the admins, who only cared about ship plots or plots with the same few muns. me and other people who received the same message had all previously told the admins that people aren’t plotting with us and gotten ignored, so receiving this message made it clear that they neither cared about us nor wanted us in their rp. and so i responded as below:

yeah i literally told you i felt left out because there are multiple people only writing with white characters and you never addressed it, so this message is honestly insulting. i have reached out to almost every new member, responded to multiple open starters and have tried to plot with as many people as possible. like i told you, i am often left on read or people don’t even message me at all. if people do message me, i am usually expected to put in all of the effort and if people aren’t interested in actually developing plots with me then i am obviously not going to force my characters on them. all of my characters are queer, non binary people of colour and the harsh truth of this roleplay is that people don’t care about them. i even wrote out a whole list of 20 detailed suggested connections in an attempt to get more plots and nothing came from that either. i’ve even gotten anonymous hate saying that offering to explain my characters’ pronouns was “patronising,” which i didn’t feel like i could approach you about because, when i told you about how i’m feeling excluded, you didn’t care.

so if i only have actual plots with the people who actually care about my characters, i make no apologies. i also don’t even have threads with half of the characters you named, asher being the only one, and have literally only just come off hiatus. so please explain how i am bubbling, because this really just feels targeted at this point.

you’ve made it endlessly clear that this rp isn’t a safe space for people who want to play diverse characters. the main was practically silent while you had a ban on white faceclaims, which you never actively promoted, and then you dropped that suddenly without putting anything else in place. you also deleted my initial anonymous messages asking about diversity as if you were trying to hide that there was ever an issue. you turned anonymous messages off, so that no one can safely criticise you. because i did that off anon and ever since it has felt like there is a massive target on my back. my characters have been “accidentally” on the activity checks multiple times despite me being on hiatus (people get a notification that they were tagged even if you remove their name from the list btw). plus when i asked for an extension on my hiatus, you said that you would allow it “just this once” which now makes me feel like i can’t come to you if i’m busy. right now, for example, i am in the middle of moving house, but i’m also stressed about trying to stay active because you have made yourselves completely unapproachable.

the ratio only evened out slightly because members left. then suddenly after the ban you’re posting multiple promo posts a day??? you couldn’t get more obvious. i came to you about diversity in good faith, hoping that it was something you were unaware of, but you have made it abundantly clear that you actively do not want to promote diversity in your roleplay, we are just here to be witnesses to your ship. there are multiple members who are actually bubbling who have been brought to your attention, but nothing has been done. leo continues to only write with the same three white and white passing characters. charlotte pretty much only appears to write with leo and post a vague “message me for plots” post that wasn’t even tagged. both of you only put effort into your ship threads with each other and the occasional text threads. even with something like group events: while i’ve been here, there’s been a pride event that neither of your characters were even in new york for (an event where i was the only one reaching out and posting multiple starters, by the way); there was no event last month, and this month all you’re talking about is this housewarming party.

i’m really disheartened that it’s come to this, but i can’t be here anymore. please post unfollows for all my characters. you’ve said multiple times that we should trust you as admins, but this message shows again that i simply can’t do that. from the disregard of trigger warnings, to the way you treated being held accountable for the lack of diversity, to how you respond to people asking for hiatuses, this isn’t a safe space. even if i stayed, the target you have placed on me is making it insufferable to just write my characters in peace.

the other muns who received the same bubbling message (copy pasted btw, we all got the same one word for word) all responded with their own concerns and criticisms in responses of a similar length to mine. none of us received a reply, our unfollows were just posted the next day without any further responses from the admins. a few of the other members who had written and plotted with us chose to leave as well, which the admins wrote off as us just dragging them with us as opposed to them being able to make their own decisions and being aware of the situation (which was incredibly obvious. no promotion of a white fc ban, suddenly being active on the main once they try to stealthily drop the ban, then the majority of their muses of colour leaving???)

i haven’t paid the rp much attention since i left, as i mentioned above i blocked the main and the majority of the members just for my own mental health. but from a quick scroll through today i can see that the only change in diversity rules is that now instead of your third character having to be a poc, it is now your second. however, you still only have to have 1 character out of 3 have a fc of colour. so very little has been done, but of course i’m not surprised in the slightist.

these admins don’t want diversity in their roleplay. if you play any character who isn’t a rich, white, cishet neurotypical, please avoid it at all costs. it’s not in any way a safe environment.

#rpc #rpt #rp #thevillagerp #hope this makes sense i think there's a lot that needs context and hopefully i did a good enough job explaining #sorry to my non rp followers this blog is such a mess

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only-johnny-deppp · 3 years

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“Johnny Depp has not been arrested, charged nor convicted of any form of assault or violence against any woman.”

Last Monday (August 9), was announced that Johnny will attend and be honored with the “Donostia Award”, on September 22, during the 69th San Sebastian Festival, in Spain. The Donostia Award is the highest honorary award of the festival, being given to a number of actors and film directors, every year since 1986. It recognizes outstanding contributions to the film world of great names that will be part of cinema history forever.

On the same day, some people started to question why Johnny was chosen to receive an honorary award, due Ms. Heards’ Hoax about being a “victim” of domestic violence. And the director of the festival, José Luis Rebordinos, had to release an official statement to press.

“The Donostia Award to Johnny Depp is our recognition of a great actor, a man of cinema with a great career, who visited us last year as producer of the film ‘Crock Of Gold: A Few Rounds With Shane MacGowan’, by Julien Temple, which won the Special Jury Prize.” ~ Jose Luis Rebordinos, Director of the San Sebastian Film Festival, August 9, 2021.

But it was not enough.

As soon as the news started to spread, it was revealed by BBC NEWS that those who still believe and protect Amber Heard’s lies, started to send hate messages and threats to those involved on the festival:

The The Women's Aid Federation, said this was “disrespectful to abuse survivors.” , while the Solace Women's Aid, which is one of the members of festival’s organizations, said that such awards were "misleading" and "insulting".

And the hate attacks continued:

> Sophie Francis-Cansfield, campaigns and policy manager at Women's Aid, according to the BBC NEWS, said: "When a perpetrator is celebrated, allowing them to continue to garner success and public approval suggests that abuse is acceptable and does not matter. Survivors must be believed and supported. It is crucial that survivors know that their experiences will be taken seriously and that abuse will not be tolerated by anyone."

Although neither she, nor The Women's Aid Federation shared a thing about it on their twitter, but on Women’s Aid account there’s a post written:

“Perpetrators often create justifications for their actions — to place blame on survivors and take away any responsibility from themselves.”

So, remember when Amber Heard CONFESSED she punched Johnny?

“You didn’t get punched. You got hit! I’m sorry I hit you like this, But I did not punch you. I did not f*cking deck you. I f*cking was hitting you!” - Amber Heard (ambassador for women’s rights, outspoken domestic violence and sexual violence awareness)

> Erin Mansell, Solace's public affairs manager, according to the BBC NEWS, said: "When perpetrators of domestic abuse are lauded for their professional achievements in spite of evidence they have assaulted current or former partners, it sends a misleading message to survivors that the abuse doesn't matter. The decision to award this lifetime achievement prize is particularly insulting in the wake of a year where domestic abuse spiraled under conditions needed to address a global pandemic."

> Cristina Andreu, president of Association of Female Filmmakers and Audiovisual Media (“Asociación de Mujeres Cineastas y de Medios Audiovisuales” - in Spanish), a professional association based in Madrid, said: “This speaks very badly of the festival and its leadership, and transmits a terrible message to the public… It doesn’t matter if you are an abuser as long as you are a good actor”. A full statement (in Spanish) criticizing the decision of the festival can be read HERE.

Due to it, José Luis Rebordinos, Director of the San Sebastian Festival, released a new and longer statement on the festival’s site, revealing that evidences proving Johnny’s innocence were given to them BEFORE taking the decision.

“Following the announcement that the Donostia Award will go to the actor and producer Johnny Depp, the San Sebastian Festival has been accused of failing to display ethical behaviour in regard to violence against women. In the first place, as the director of and person holding the highest responsibility for the Festival, I would like to repeat our commitment to fighting inequality, the abuse of power and violence against women. As well as meeting the commitments acquired in the Charter for Parity and the Inclusion of Women in Cinema, the Festival has consciously promoted the presence of female professionals at the head of its departments. By means of its September programme and throughout the year it participates in the questioning of society from a critical and feminist point of view. We have also endeavoured to create safe atmospheres for women in the Festival places of work and sites and, in the event of inappropriate behaviour, which has occurred, we have taken tough and rapid action.

But the Festival’s ethical commitments cannot only refer to the problems of women in a patriarchal society, despite the terrible nature of the situation in which we live, where hundreds of women are killed every year as the result of crimes by men.

In these present times, when lynching on social media is rife, we will always defend two basic principles which form part of our culture and of our body of laws: that of the presumption of innocence and that of the right to reintegration. According to the proven data which we have to hand, Johnny Depp has not been arrested, charged nor convicted of any form of assault or violence against any woman. We repeat: he has not been charged by any authority in any jurisdiction, nor convicted of any form of violence against women.

The rejection of all violent behaviour and the presumption of innocence are and will always be our ethical principles.

José Luis Rebordinos, Director of the San Sebastian Festival (August 13, 2021)”

Just in case you didn’t know, it seems that these evidences has been giving to ALL of those who wants to contribute with Johnny, maybe given by his lawyers or even by himself to clarify and prove his innocence This had happen with J.K. Rowling (who saw and revealed has seen all the papers before giving him the role of Grindelwald), and probably with the following directors, producers and festivals with whom he has worked or was invited.

Can you imagine how sad it’s to show a paper and revive all those terrifying moments just to prove you are not the abuser, but the victim?

Has Amber Heard shown her “proves” of being a “victim”, or people has forgotten that she CONFESSED DOZENS of her abuses, lies, cheats, and all the bad things she did toward Johnny Depp?

So, what about those who believe him and KNOWS the TRUTH, tag them on Twitter and show the REAL evidences? Let’s share the REAL truth. Information is never enough!

> To: Sophie Francis-Cansfield and The Women's Aid Federation:

Women’s aid Twitter: https://twitter.com/womensaid Sophie Francis-Cansfield Twitter: https://twitter.com/SophieFranCan

They also have an e-mail, open for “discussing what domestic violence and abuse is”, maybe some e-mails about who Amber Heard is may clear their minds. E-MAIL: [email protected]

> To: Erin Mansell and Solace Women’s Aid:

Erin Mansell: https://twitter.com/ErinLauraManse Solace Women’s Aid: https://twitter.com/SolaceWomensAid E-MAIL: https://www.solacewomensaid.org/about-us/contact-us

> To: Cristina Andreu and the Association of Female Filmmakers and Audiovisual Media (“Asociación de Mujeres Cineastas y de Medios Audiovisuales ~CIMA”)

CIMA twitter: https://twitter.com/CIMAcineastas Cristina Andreu Twitter: https://twitter.com/CristinaAndreuC The open statement on twitter: https://twitter.com/CIMAcineastas/status/1425342920522096640

Johnny Depp WILL NOT BE SILENCED or BELITTLED or ASHAMED or CANCELED again!

“Ultimately, the truth will come out in all of this and I will be standing on the right side of the roaring rapids. I hope other people will be too.” ~Johnny Depp

#JusticeforJohnnyDepp #JohnnyDeppIsInnocent #WeAreWithYouJohnnyDepp #IBelieveHim #AmberHeardIsAnAbuser

#Johnny Depp #Justice For Johnny Depp #We Are With You Johnny Depp #I Believe Him #Amber Heard is a Liar #Amber Heard is an Abuser #Keep Fighting #For the Truth

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bbugyu · 3 years

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how jeonghan knew

a journey with yoon jeonghan, lee seokmin, and you.

there was always something about his infectious laugh and his genuine nature that felt like fate to jeonghan, and maybe you were the muse that kept their red thread in tact.

prelude | part one | part two | part three | epilogue

wc.10662 (LMFAO) | fluff, smut, courtship, angsty in the beginning, polyamory, sugar daddy!jeonghan musician!seokmin escort!reader, hi cheol, hi gyu (again), hi boo, hi wonu, gay pining, jk he's pan probably, discovering sexuality, daddy kink, special guest seokmin!!!!!, threesome, lots of mlm, oral, cumpla, handjobs, choking, butt plugs, male penetration, there's a full on reader-less memberxmember sex scene idk, unprotected sex, please use condoms, jeonghan gets overwhelmed, the TEASING, jeonghan being a home improvement freak, don’t mind han jisung he’s just vibing, required listening is positions (2020) by ariana grande because it’s a perfect album

and here we have poly seokhan: the gayening!!! this is going to be the end of my scheduled updates for neverending artistry, but i’ll be posting an epilogue when i finish it - probably after i post a couple of other fics. this chapter.... is my fave......... i think u will see why lol. i went ahead and got a lil carried away with the house stuff but LISTENNNN i watch a lot of architecture videos ok LFJDSJ

thank you all so much for your continued support and incredible feedback on this series! it seriously means so much to me and i love seeing asks and messages from everyone telling me how excited they are to read more. i hope this satisfies you!!!

jeonghan is pretty sure he always loved seokmin. it wasn't something he would ever be able to change about himself, he figured, as he watched his friend date woman after woman in college with varying seriousness. he decidedly ignored any amount of feelings he harbored for the younger, especially after he dropped architecture as his major and he saw less of him.

jeonghan tried to get over the destined musician (he would always be singing or fiddling with his guitar when he was meant to be helping jeonghan with a diorama) with several women, and after decisively focusing on his career for a couple years, he found success in another man. his short lived gym buddy, but lasted quite a bit longer as his boyfriend. they had connected first when jeonghan had offhandedly commented that he liked the logo on his shirt, to which the long lashed, broad shouldered man had said he had gotten it at the brand's store down the street, making jeonghan chew his cheek before he admitted that he had helped design that location. they connected the second time later that night, clumsily but intensely, and jeonghan liked his plush pouty lips and how his messy black hair felt between his fingers.

while that didn't last forever, he found varied success in other men, and he figured this was why dating women had always been so difficult for him. definitely not that he had been given small choice amongst the rotten apples that attended his college.

he was single again, and at an industry party when he reconnected with an old friend from college who happily reminisced about the fun their small group of friends had back then. he asked if jeonghan remembered seokmin, the guy that dropped the program.

"lee seokmin?" he asked, his brows knitting as he tried to react normally to the name, and mingyu hit his shoulder, laughing.

"yeah! guess what? that son of a bitch is teaching my niece piano!"

jeonghan smiled at the idea of seokmin as a piano teacher, nodding along as mingyu talked about how he had volunteered to take her to her lesson one week, only to be put face to face with a long lost friend. jeonghan laughed as mingyu imitated the face the other had made, laughing harder when he recognized it and remembered seeing it on seokmin's face in the past, then telling mingyu about how he had once pranked him by making the poor guy think that he was going to fail a project because seokmin had accidentally destroyed a diorama. it had already been graded, and he was going to take it apart to save on materials anyways, but the younger nearly cried when he thought he had wasted hours of jeonghan's time and cost him the grade by accidentally kicking it off his desk.

he asked how seokmin was doing these days, and mingyu told him he seemed well, and that he takes his niece to her lessons as often as he can spare, just to chat for a while. "i could give you his number," he said, feeling his pockets for his phone. "i'm sure he'd love to hear from you."

mingyu had been right. seokmin did love hearing from him. and he loved the way seokmin made him laugh with his ever joking tone and physical comedy antics. the way his eyebrows creased as he tried to keep a stern face but was unable to hide the smile across his lips. the way he always fought with him for the check despite jeonghan being older and notably better off.

he didn't love, however, how seokmin nodded his head after the waitress and asked him if he thought he had a shot.

maybe he was desperate, or maybe he wanted an excuse to not date seriously, or maybe he just wasn't ready to let go, but jeonghan continued to invite seokmin out, despite the fact that their relationship would never develop past friends who met in college. he enjoyed his company anyways, even if it felt bittersweet.

he poured himself into his work for several months, taking more contracts than usual and keeping himself occupied, only really seeing others for meetings and constructions, or when he was depressed on a friday night and caved, asking seokmin to join him for drinks somewhere. he continued this cycle for too long, his personal assistant noticing his mood changes before most.

"are you taking your vitamins?"

"yes, seungkwan, i'm taking my vitamins," jeonghan bit back, fully aware that he wasn't asking about vitamins at all, but about his state. confirming he was still making an effort to take care of himself rather than spiraling, sat in his living room on a tuesday after being told by a doctor to rest, for god's sake as a solution to him nearly collapsing several hours earlier. seungkwan shifted on his feet, tongue running over his teeth as he stared at the architect, hands folded in front of him.

"you need to stop seeing him. it only hurts you."

jeonghan sighed, staring at the black screen of his television. "i know."

his assistant studied him. "you should come out with the team sometime," he said. "we get drinks on wednesdays, usually. come tomorrow, it could take your mind off things."

jeonghan looked up at seungkwan, who was clearly sucking on his cheek. he knew he was right. more importantly, seungkwan knew he knew, but jeonghan had a hard time wanting to take his mind off this one specific thing, considering the way this one specific thing laughed like a hyena, poured himself over a piano like an ocean wave, and sang along like an angel. his head fell back on the couch, and he had to take a long, conscious breath to lower the ringing in his ears at the silence. "i'll be there next time."

seungkwan exhaled in defeat, eyes flickering around as he excused himself and said goodnight, knowing his boss was lying.

jeonghan found you on accident - put in an uncomfortable corner by an ultimatum from his publicist and the circulating rumor that he sleeps with men because he can't keep a woman around that seemed to pile on top of everything else on his plate - and the second you opened your mouth, he knew you were special.

he remembered the profile he had seen from your broker, and knew you were attending university. he asked you your major, and when you told him you wanted to produce music for a living, something deep in him stirred. you had been sitting in his car for all of twenty minutes, and you nearly had him under your spell already.

he couldn't understand his fascination with you, but he continued to book you for dates, sometimes deciding what event he would be attending by asking what day you were available that week. he figured if he needed to prove to the world that he wasn't gay (which he was, he was pretty sure), you were the only one he was interested in doing it with.

maybe he had a thing for musicians.

he had taken out quite a few escorts before you, but none of them were nearly as fun. you always did an incredible job engaging in whatever event he brought you to, but also hit his chest as you tried to stifle a laugh at something he muttered into your ear, guiding you away. his friends liked you, too, the few he had. the ones that had met you. yongsun had even tugged him aside briefly, asking if he really liked you. you seemed nice, she had said. and good, in general, but also for him. she wanted to make sure he wasn't just leading you along to quiet some stupid rumor. he glanced at you, smiling wide as you excitedly discussed music with one of his other friends (the fifth and last person he liked at this event, the two of you included), and wasn't quite sure why he told her he actually liked you, but didn't feel the need to correct himself.

then you told him you were quitting, and he realized what he would be losing. then you kissed him, and he realized what he had been feeling. then you looked at him with wide eyes, just as shocked as he was by the explosion of fireworks you had both just experienced, and he realized what he had been missing out on all this time.

he figured he must have always loved you as his eyes scanned the hotel bar, confused at how you had managed to get away so quickly. he was running into the hall to see if you had escaped to the lobby when someone caught his arm.

"hey, you seen yongsun?"

jeonghan blinked at his blonde friend, recognizing her play. "have you seen y/n?"

"try the bathroom," she said, throwing a thumb over her shoulder in the direction she had come from.

he looked down the hall at the restroom signs, nodding. "i saw her at the chocolate fountain a minute ago."

byulyi patted his shoulder as she walked past him. "good luck, yoon."

it felt good telling you the truth, while sitting in your well organized and tastefully decorated studio apartment that you had insisted he would hate, even if he was too scared to admit all of it. why he had needed you before, but wanted you now. his heart nearly beat out of his chest when you agreed to his conditions, though he recognized that he had given you just about every advantage in the deal. it would have been near impossible for you to say no, especially after the way you had kissed him before someone had finally tried to enter the bathroom you were hiding in.

for a while, he only kissed you as a farewell, mostly because he enjoyed the old school romanticism of kissing a beautiful woman in the moonlight, her back against the passenger door of his black vehicle parked on the street outside her studio apartment. then, when he had invited you to his home after the two of you had ditched a boring dinner several hours early, you had curled up in his side to watch a movie. at some point, he caught you staring at him, and you put a hand on his cheek and kissed him sweetly. slowly. kissed him in a way that only made him crave more. you smiled, settling back into his side for the rest of the movie, and even though you had done it unconsciously, the back of your hand rested against his thigh in a way he had a hard time ignoring, and he decided he must have just had real shit taste in women before he had met you.

the following sunday, when you mentioned how pitch black the sky seemed at that late hour, having gotten caught up binging some drama, he not-so-vaguely hinted that he'd be okay with you spending the night in his bed. you eyed him, and he shrugged playfully.

"or i have guest rooms. up to you."

"i have class tomorrow," you tested.

"i can take you," he responded. "if you want."

you paused, watching him as he recorked the wine bottle the two of you had opened earlier in the evening but only managed to have one glass of each before abandoning it to cuddle on the couch. he was always so thoughtful, even in his teasing. he cared about your comfort. he wanted to maintain your boundaries. but it had been a really long time since you had gotten laid, and everything in you yearned to say yes. jeonghan's voice in your head reminded you, no expectations. this could be whatever you wanted out of it.

so you went to bed with him.

jeonghan would swear up and down that you were the most beautiful woman in the world, and his beliefs were only confirmed when he pulled your shirt off of you, dragging your pants down your legs, and got a real look at you for the first time. you felt unexplainably embarrassed under his gaze, asking if he was okay.

"yeah," he said breathlessly, a hand running up your side, your back arching slightly to his touch. he curled over you before he whispered "god, yeah, i'm more than okay," against your lips.

not even ten minutes had passed before you told him you loved him between your panting, and he was so ecstatic when he could tell you, wholly and truthfully, that he loved you, too. and after your pulses had died down and you were falling asleep in his arms, he said that if you were staying under his roof, you were not allowed in any guest rooms. that if you needed space, he would find a different bed to sleep in, because this one looked best with you in it, and he refused to have it any other way.

jeonghan never got bored with you. over time, you began going to his place after events and dinners more than he dropped you off at your apartment, becoming an often enough occurrence that he had asked you one night to fill an online shopping cart with clothes for you to keep in his closet, so you could stop this silly packing bags nonsense. he had already bought you a full set of toiletries for his bathroom, started keeping your favorite snacks in the pantry, and even gone as far as to buy you the house slippers you had offhandedly said were cute when the two of you wandered aimlessly around a mall together. you were becoming a part of his home in more ways than one, and he was happy to have you.

he offered you an unused office on the second floor when you started studying for finals on the peninsula of his kitchen counter one monday afternoon, and you asked what was wrong with you doing it where you were.

"because you're not going to clean it up," he pointed out.

"maybe if we had a rewards system," you argued. "if i clean up, i get a prize."

he laughed, rounding the small jut of countertop, thinking about how he would probably need a proper kitchen island if you were going to be sticking around. "just because i give you an allowance, doesn't mean you're a child. you're not supposed to focus on the baby part of sugar baby."

you pouted as you turned on the stool to face him, a hand gently tugging his tie to pull him into you. "what if i focus on the daddy part of sugar daddy?"

a hunger dropped in jeonghan, gazing down at you as you sat at his kitchen counter, surrounded by textbooks and notes. your eyes sparkled under the lights, and his fingers went behind your neck before he kissed you, muttering against your lips to try calling him that again, angel.

the kitchen remodel had gone about as smoothly as it could have, given the fact that it was nearly impossible to transport such a large slab of granite for his dream island without it snapping in half from its own weight, but they managed, and when the light fixture finally turned on for the first time after the new cabinet doors had been installed, he felt justified in remodeling a kitchen that had hardly needed updating. he felt even more justified when he came downstairs to find you, having woken up in an empty bed, only to have you yell at him as you flipped pancakes on the griddle of his new gas range, saying you were going to bring him breakfast in bed and if he didn't cooperate, he wouldn't see you for a week. he laughed at your threatening spatula, putting his hands up in surrender, unable to stop smiling as he made his way back up the stairs.

you had enrolled in online courses for your last year of school, mostly so you didn't have to be anywhere specific for several hours every day, and instead could keep your schedule massively open to cater to jeonghan's needs. this also meant you usually attended your afternoon lectures at his home, waiting for him to get off work and distract you.

then the two of you started attended wednesday drinks with the team. seungkwan had thanked you, though you hadn't realized that you were deserving of a thanks.

"he'll tell you when he wants to, i guess," he said, twirling the beer in his hand. "but he wasn't in a great place before he met you."

you could hear the subject of your exchange laughing further down the bar, and you wondered what kind of place he meant, but tapped your glass against seungkwan's instead of asking the question. "to better places."

he chuckled, bringing the beer to his lips. "cheers to that."

jeonghan enjoyed having you on his lap on the couch, listening to whatever r&b record you had chosen as you worked your lips against his. he nudged several kisses down your neck, and you mentioned offhandedly that there was a perfect place in his living room for a bar, pointing at the wall behind him. he pulled away from you, turning his body with an arm over the back of the sofa, and his head cocked as he stared at the wall that only held a painting. he silently agreed with you, wondering why you seemed to inspire all his recent projects as you nipped at his neck, drawing his attention back to you with a smile on his face.

the bar was finished in time to hire a bartender for a halloween party. he hadn't told the guests that it was an anniversary party, but you had been made aware of the secret arrangement during a conversation the two of you had over a private meal in your favorite restaurant the week before.

"a threesome," you asked, hoping for clarification.

"with a guy, preferably," jeonghan said. "but i could be convinced to approve of a girl if that's what you would like."

"you're being serious?" you seemed to find yourself asking him that a lot. every time he suggested something that he knew you wanted, you wondered if he was pulling your leg. "and you want me to choose?"

"yeah, at the party," he said, watching you shake your head incredulously with a smile on his face. the two of you had discussed the possibility in the past, and he thought it made a fun gift. an unexpected one, from someone who had enough money to comfortably gift you just about anything. "i have to approve, obviously, but you get to pick the candidates."

you thought a moment. "what if we can't agree on anyone?"

"then i take you to bed alone and we have fun anyways."

he laughed when you squinted at him.

"if the opportunity comes up down the line, we can try again later," he said. "but i thought this would give you something fun to do while i'm hosting guests."

and it had, as you sneakily scoped out the guests, flitting around the party of both familiar and unfamiliar faces in your angelic cheerleading costume. visiting and laughing heartily with the team, as well as your uni friends that jeonghan insisted you invite, offering them more drinks, then saying something about having to play hostess so you could continue your search. byulyi and yongsun were there, and you complimented their matching rapunzel and flynn get up, jeonghan catching you for just a second to ask if you needed anything.

you settled in on one target perhaps too quickly, without even really having made an effort to see all the options. you had been struck by the same sharp cheekbones, puppy dog eyes, and crooked smile that jeonghan had once fallen for. when he saw you tucked into lee seokmin's side, recognizing your flirting even from a distance and noticing how receptive the musician was to it, his heart fluttered, and he couldn't tell if it was a good or bad thing.

a good thing, he decided, when seokmin had asked him permission before he came in you. because, seemingly, sexuality was much more of a spectrum than jeonghan had once thought, and perhaps his college crush just needed the encouragement of an incredible woman to try something a little beyond his experience, much like he had.

and when you wouldn't stop mentioning the musician the two of you had enjoyed the company of while schmoozing guests at the opening of him and his friend's collaborative art exhibit, he got a slick idea. on the way home, he told you that you weren't allowed to make a noise until he hung up the phone, but you were already writhing in the passenger seat just as the phone rang.

and when he answered, you clamped a hand over your mouth, a bare foot landing on the dashboard as you tried to grind against jeonghan's hand, his voice steady as he talked to the younger.

and when he mentioned you, your walls pulsed around his fingers, a smile finding its way into his lips as he spoke. he tried not to take too much pleasure in the way you looked at him with begging eyes and your fist between your teeth, or in the way seokmin's tone dropped as he confirmed that he would get a cab, but he truly couldn't help himself when he made eye contact with seokmin as you sucked him off, his hips canting into yours recklessly, forcing seokmin to break the contact as he reacted to your moan on his cock.

he noticed the way seokmin's hips began to move on their own, begging for enough control to chase his nearing high in your mouth but having it brought right to his doorstep instead. jeonghan felt your perfect heat cling to him in reaction, and before he could think to stop himself, he pulled you into his chest by your throat, not daring to let you claim it all as he lapped cum from your mouth. you whimpered against him, your orgasm lasting impossibly long as he fucked into you, getting milked by your needy walls.

when he caught seokmin staring directly at him, he grinned and wiped the back of his hand across his chin and lower lip, languidly licking any escaped cum off it, and asked if he wanted to try his, too.

seokmin agreed, nodding shakily before jeonghan massaged at your sides, pumping himself into you a few more times. he told you to give seokmin's mouth a ride. you groaned, his cum dripping down your thighs.

jeonghan watched the younger's cock twitch as you moaned over him, one hand on the wall and the other on his scalp, his fingers digging into your thighs. he stared at how it never lost hardness. he didn't even realize that his hands were on seokmin's hip and thigh before he even asked if he could touch him, but a large hand left your thigh to shakily bring jeonghan's to his thick cock, answering the question despite you occupying his mouth, his fingers lingering over jeonghan's as he pumped his length.

he couldn't deny that how badly he wanted to fuck seokmin, but he could settle for making him cum in his hands until he was ready for something more, especially with the surprising amount he had to give after already having cum once. he let himself indulge in a single lick across seokmin's sensitive slit - though it was hard to stop there - triggering a garbled moan before he left to shower.

a week or so later, jeonghan asked you if you were interested in dating seokmin. you put your phone down and rolled over in bed, propped up on your elbows as you asked him what he meant.

"i love you," jeonghan assured, pulling you to lay closer to him. "and i can tell you like him."

you studied his face. "but i'm with you."

"that doesn't have to stop," he said, smiling at you as he tucked a hand behind his head. you eyed his arm briefly, then refocused on him. "but you know how things get in the winter, and i would be okay with you trying things out with him while i'm busy."

"you're being serious?"

jeonghan laughed at the familiar question. "yes, y/n, i'm being serious. i know you want me, but i also know you want more than me."

you had never told anyone about your desire for multiple partners, not even admitted it out loud to yourself, so his candid assessment caught you off guard. "how did you-"

"just little things you've said," he teased, leaving you to question how much you had revealed about yourself without realizing. "besides, no one can deny the chemistry."

you paused. "boundaries?"

"just tell me," he said, putting his arms around you and tugging you into him. "i just want to know when you're seeing him. and, eventually, i would like to be invited every once in a while."

"invited to dates?" you asked, throwing a leg over his lap to straddle it as you laid over him. "or invited to bed?"

he smiled up at you, hands running over your rear. "either. both. whatever you two want."

you agreed, but only after you made him promise he would tell you if anything changed for him. that he had to tell you about every doubt and worry he had. "i'll always choose you," you stated plainly, lips brushing against his as he gently rolled his growing length up against your clothed heat. "no matter what, i'll choose you."

"i know, sweetheart," he said, a hand on your cheek as he kissed you. "i promise."

after he came back from a business trip in december, you admitted to him that you and seokmin had exchanged i love yous, and he just put an arm over your shoulder and turned down the volume on the tv, telling you that he was pretty sure he loved seokmin, too.

"it was him, wasn't it?" you asked, studying his profile. "he was the guy you couldn't get over?"

jeonghan rubbed his face with one hand, sighing. "yeah, it was him."

"why didn't you say anything?"

he thought a moment. "i didn't want you to feel obligated, i guess."

your fingers straightened the seams of his long sleeved shirt across his shoulder. "obligated to win him over for you?"

"obligated to love him, too."

"jokes on you," you giggled. "he's very easy to fall in love with."

jeonghan supposed that was true, thinking of how quickly he had fallen for him, even back before he had admitted he liked men. how he had fallen into the same spot even years later, just over a shared meal and a few bottles of soju.

but you were easy to fall in love with too, he thought, remembering how he hadn't even understood his feelings towards you until you had kissed him, but he had felt them strong enough to want you to stay by his side anyways. maybe jeonghan just fell easily, but maybe he was lucky enough to have found his people at such a young age.

you settled back into the crook of his arm and asked him what he thought about seokmin coming over to join you two for christmas. while much of the world celebrated with family, it was more of a hallmark holiday in korea, often times spent with a long time sweetheart or a budding romance. or both, in your case, jeonghan supposed, when you were distracted trying to find the third christmas music lp you had specifically gotten for the occasion (out of eight, of course, because you didn't want to run out of christmas music). he was leaning against the tasteful home bar that had been hardly touched since halloween when seokmin shyly admitted that he knew jeonghan was interested in him.

he said nothing for a moment. "she told you?"

"kind of, back when you were in japan, but-" seokmin paused. "i think she was just suspicious, but i should have known. you were always too kind to me."

"not too kind," jeonghan said, hiding behind his wine as he sipped at it, trying not to show his embarrassment.

"i think i'm interested, too."

he looked at seokmin, who was staring down at his hands. "are you sure?"

"i'm-" he paused, catching jeonghan's eyes for only a second before scratching the back of his neck. "i think so. i've never even thought about doing anything with - uh - men. until you."

"that's okay," jeonghan said, looking to where you were flipping through records. "i didn't like women until y/n."

seokmin faltered. "wait, really?"

he nodded, a small smile on his face. "i thought i was gay. turns out i'm not."

"but you-" the musician stretched his jaw. "weren't you kind of a player in college?"

he almost said something about how having sex to meet an end and keep an appearance was different than enjoying it, but stopped himself when you announced that you had found the lost record, switching the lps with a flourish and setting the player again. and while he was curious about the level of seokmin's interest in him, he was happy to leave the conversation where it stood when you excitedly rejoined them at the bar.

"do you think i could be a bartender?" you asked, leaning over the counter and grabbing an unused shaker.

"probably," seokmin said.

"for sure no," jeonghan laughed.

you pouted at the latter, holding the shaker between your hands as you directed your attention to the former. "thank you, seokmin. i appreciate you encouraging my dreams."

"any time," he joked.

jeonghan rolled his eyes. "what about that music degree i'm paying for?" he asked, taking another sip.

"just because you've known what you wanted to do forever, doesn't mean everyone does. maybe i'll change my mind." you tried to spin the shaker in your hand, but the force you used was too little and it stopped on your palm too quickly, clumsily clattering to the counter. you stilled it, exhaling sharply when jeonghan giggled beside you, looking to seokmin. "he might be right."

"it's almost like i know you," jeonghan teased, nudging you. "she was convinced she could become my personal bartender for all of two weeks."

"i tried," you whined. seokmin laughed. "the tricks are harder than they look."

"and you hated shaking drinks."

you put the shaker back, defeated. "the ice made it cold."

"isn't that the point?" seokmin asked.

jeonghan smiled at you. "you're lucky i like wine."

"i'm gonna talk to you now," you announced, turning your body to seokmin. "because you're nicer to me than he is."

"aw," the architect chuckled, and seokmin watched you react to a squeeze at your butt. "did he make you soft? can't take my teasing anymore?"

you ignored him, trying to ask the man in front of you about his lessons, but you yelped when his hand firmly landed on your ass, grabbing seokmin's arm in reaction. he looked at you, seemingly just as shocked, and you tried to continue the conversation, but jeonghan's hand didn't leave, and your entire body was reacting to the way it was slowly hiking up your skirt and running between your thighs.

your eyes fell shut, and you muttered for him to cut it out as your grip on seokmin's arm tightened, but jeonghan just made eye contact with the other male, asking him instead if he should.

without thinking, seokmin shook his head and put his hands on your jaw, pulling you in to kiss him. your moan against his lips was involuntary, and jeonghan grinned as his fingers ran over your core, making you whine.

"did you tell him?" you gasped out, asking seokmin with hooded eyes. he shook his head, saying that he hadn't told him everything.

"told me what?" jeonghan asked, interest piqued as he put down his glass, pulling his hand out from your skirt and placing them on your hips instead, squeezing gently as he stood behind you, and your head fell back into his shoulder without much intention as you licked your lips. "seokmin?"

he pulled his gaze, trained on your mouth, to look at jeonghan, and he felt his breath stop in his throat as he fully processed the sight in front of him. you gasped again, as jeonghan's hand came up to knead at your breast, and you tried to pull seokmin closer, but he didn't stop moving even when he was pressed against you.

jeonghan thought he might faint. he wasn't sure what he had been expecting, but when seokmin's hand found the back of his neck and pulled him over your shoulder, his mind went blank. when his lips found his, his vision went white. when he felt his tongue against the inside of his teeth, he couldn't help but moan, one hand gripping your waist and the other aimlessly tugging on seokmin's shirt, seemingly just to hold something that belonged to him.

"fuck, okay," jeonghan breathed, staring after the musicians lips even when they left. you giggled, recognizing the feeling. "okay," he repeated. "got it. understood."

you spun around, hands on jeonghan's chest. "we prepared something for you," you said, and seokmin's cheeks and ears were bright red when he sheepishly nodded with you.

jeonghan looked between the two of you, swallowing suddenly. "what?"

you tugged on his hand, then grabbed seokmin's, too, when he didn't move right away, leading them both to walk around the couch. you pulled jeonghan onto the cushions with you, kissing him briefly before he realized someone was between his knees. when he saw him, that was when jeonghan's dick woke up, suddenly realizing what was happening.

"be nice," you muttered against the shell of his ear, your hand running down his torso. "it's his first time."

seokmin's hands were strong but gentle, and despite never having touched a dick that wasn't attached to him, he knew what felt good. he needed a bit of guidance from you to begin, less from lack of knowing the process and more because he was nervous, but quickly found a comfortable rhythm. jeonghan sighed when he finally got pulled out of his pants, and you were sucking a mark into his neck, his arm wrapped around you and his hand kneading at your rear. his eyes could hardly stay open when seokmin ran his flattened tongue up the underside of his cock.

"isn't he pretty?" you asked, whispering, a smile on your lips.

he groaned, threading his fingers behind seokmin's ear, desperately trying to hold back his release because he hasn't even put you in his mouth, yet, jeonghan, for god's sake, keep it together. the younger's eyes flickered up to his, and he nearly came just from the feeling of his soft lips around his member, sinking slowly.

"fuck, you're too good at this," jeonghan said, the half chuckle on his lips falling quickly when seokmin's tongue ran over a vein, the warmth of his mouth feeling like heaven. his teeth bit down on his lower lip, watching your hand run through seokmin's hair. he hummed at the contact, his grip tightening slightly, sending a jolt through jeonghan's system. "fuck, i'm gonna cum already."

"there were lessons," you giggled, your hands wrapping casually around his neck. his breathing hitched, eyes falling shut, focusing on the mouth sheathing his cock as he recognized your fidgeting fingers over his pulse. "merry christmas, daddy."

he inhaled sharply right before you squeezed at his throat, and he thought that he should maybe let you lead more often if it was going to feel this good. seokmin seemed surprised by the feeling of jeonghan cumming in his mouth, but he did his best to pump every drop from him, swallowing thickly. you only smiled when jeonghan sat up, leaving you behind as he pulled seokmin's face to his, his hands running up jeonghan's thighs as he kissed him.

jeonghan decided the sunroom extension was all wrong, and that he'd have to redo it.

"you just built that," wonwoo said, having been the contractor that oversaw the construction. "besides, it's snowy season, we can't do outdoor construction. you'll have to wait til spring."

"not outdoor," jeonghan said, rolling out the drafting papers he had drawn up over the course of his new year break, the final pieces being completed in the wee hours of that morning. he had sent wonwoo a text as soon as he thought he would be awake, asking for a meeting despite it only being two days after the new year. "the shell can stay the same, we just need to build indoors. besides, i need this done in february."

wonwoo blinked at him. "when in february?"

"it has to be fully furnished by the 18th."

the contractor laughed at the deadline, only a month and a half out, as he looked over jeonghan's drafts. it would be a tight schedule, considering the structural changes he wanted, but he recognized his long time work partner's determination and knew there was little he could do to argue. "okay. let's get to work."

he turned down a contract for a café to make time for the new home project, but not before recommending they contact a kim mingyu, giving him the vaguest thank you for introducing seokmin back into his life. he didn't have time to draw several attempted variations of every café he had ever designed, he was too busy mapping out the logistics of adding a lofted space to the two story sunroom. too busy planning to tear out the outer wall of your office and picking the right sliding glass doors that would lead to the loft. you had to ask him several days in a row before he finally told you what he had planned.

"a music room?"

he tried to gauge your reaction. "is it crazy?"

you broke out into a smile, studying his design, gripping the mug that held your latté that morning. "absolutely, but i love it."

he asked you to help him pick instruments, saying his wishlist included a white grand piano and three to five guitars that could be displayed together. he also told you to pick out your dream computer setup for production - you were graduating that year, afterall, and it was about time you started using something other than your laptop and a midi controller to make music - and you almost started crying from how fucking excited that made you.

hiding the plans from seokmin was the hardest part, especially when he started spending weekends at the house. he saw the construction area often, and one friday afternoon, he had even asked if he could help, leaving you to usher him away and assure him that jeonghan didn't like help when it came to these things. he believed the white lie, allowing you to distract him with the option of watching shit television in bed, even convincing him that tonight was the night to surprise his new boyfriend. seokmin laid in bed with his arms wrapped around you, trying not to move too much, fully aware that even the slightest movements in his body caused his dick to come to life, until the last of the workers left and jeonghan appeared, asking if there were dinner requests before he went to take a shower.

seokmin had been training with you for over a week. you had bought him some toys, even helped him try them out in the comfort of his loft, and he got increasingly excited - generally, but also in those moments - to show jeonghan what he had learned. the surprise he had been keeping had already made him beg you to cockwarm him as he waited, but you refused on account of knowing him, and by extension, knowing that he would not being able to stop himself. he had a bit more confidence, though it may have only been fueled by horniness, when he pulled the vaguely sweaty architect toward him on the bed. he tried to say something about how he should really wash up, but seokmin just kissed him, hands gripping around his skull in desperation, his dick already hard against jeonghan's pelvis.

jeonghan's hands wandered, as they usually did, and when he reached down to palm at seokmin's ass, he reacted in a way that earned him a questioning glance.

"we - ah-" his eyes shut, jeonghan's hands getting closer to his surprise. "she's been helping me-"

and that was when he felt it. the small, hard handle of a plug, situated between seokmin's perky asscheeks, easy to feel through the loose fabric of his shorts, and jeonghan felt his arousal tenting his pants just from the concept.

jeonghan hadn't even noticed your movement off the bed until a bottle of lube hit his leg, looking down at it briefly before looking to you.

"i'm gonna go clean up," you said, running a hand through your hair as you retreated to the bathroom, leaving jeonghan with an already flustered seokmin.

before long, he had him on his back, naked, and finally got to see how sweet his little ass looked when jeonghan pushed his knees towards his chest. when he saw the black knob fitting tightly into his hole, he groaned, his own bare cock flinching in need. he put a hand on seokmin's dick, gripping it lightly, then put a thumb against the plug.

"nngh- fuck," seokmin stammered, fingers gripping at the bedsheets as his neck stretched out against the pillows, bucking into the hand wrapped around him. "j-jeonghan…"

"this is cute," he said, slowly moving his thumb in a circular motion, the plug's movement making seokmin let out choked moans. "but i really need to play with you now."

seokmin nodded, hurriedly, brows knit together. "please."

he hooked his fingers under the knob of the plug, slowly pulling it out and relishing in the reaction. the younger's back arched in a way that jeonghan wished he could see from every angle, knowing that the way his shoulders and back looked must have been incredible, but satisfied by just watching the way his mouth hung open and his eyes clamped shut, his fingers gripping at jeonghan's hand where it stayed on his dick.

he began to pump the dick in his palm, setting aside the plug and grabbing the lube, popping it open with just his left hand and quickly squirting a healthy amount onto the tip of seokmin's penis, making quick work of spreading it completely over the engorged member, the slickness making him moan even louder and reach out for jeonghan's shoulders.

he let seokmin tug him over him, kissing him briefly before looking down at where the younger's thighs spread over his, wanting nothing more than to just fuck him already.

jeonghan's hand left seokmin's cock, leaving him whining against his lips, but it was short lived as his lubed fingers slid down to his puckered hole.

"seokmin," he muttered, studying his face. "you're sure, right?"

"fuck, i've been wanting this for since christmas, jeonghan," he sputtered out, eyes barely able to focus when there were fingers teasing his entrance. "yes, please, i'm sure."

jeonghan slid a digit into the tight hole, watching seokmin's face as his brows creased and his head fell back, a moan tumbling from his lips. another finger, jeonghan decided, and the reaction was similar, making him smirk.

"god, you're ready, aren't you?"

"please," he begged. "i want you."

jeonghan sat back, and the musician got on his elbows to watch as he readied his cock with lube, putting more on his finger and spreading it around seokmin's hole. he whined when jeonghan placed the head of his dick at his entrance, tugging him over him again.

"i'll go slow, okay?" jeonghan assured him. "tell me if i need to stop."

seokmin just nodded, eyes trained on his, and they locked lips as jeonghan pushed his hips forward slowly, the man under him immediately moaning and huffing against his mouth.

jeonghan really liked sex with seokmin. he also really liked sex with you. but he was pretty sure he liked it the most when you were both present.

seokmin didn't walk right for a day and a half, and while he was slightly embarrassed, you told him it was a badge of honor he should wear proudly. afterall, he had done the same to you on halloween.

"how's your butt?" you asked when he came down the stairs, the sunday morning after they had done the deed without you, making him choke out a laugh as you got his tea out of a cabinet in jeonghan's kitchen.

"better than yesterday," he said, gingerly seating himself at a stool. "but not as good as friday."

you eyed him. "before or during?"

seokmin thought a second. "both."

"good morning," jeonghan said, quickly planting kisses on the man and then you, cheek and lips respectively based on the convenience as he walked past you, making his way to the espresso machine. "i think i'm gonna work on the sunroom today."

"today?" you asked. "wonwoo's gonna say no."

"wonwoo isn't getting invited. i still have to find furniture," he said, rinsing out the espresso shot glass and wiping down the portafilter. "we're getting close to deadline, i need boo to order the upholstery job on tuesday and i have a meeting tomorrow."

"when's deadline?" seokmin asked, wondering why he had one for a home project.

jeonghan blinked at the wall, not even turning towards the younger. "don't worry your pretty head about it."

you pouted, closing the short distance and wrapping your arms around him, your chin on his shoulder. "it's sunday. can't we cuddled puddle?"

"you mean like we do every night?" jeonghan asked, but grinding espresso beans so you couldn't answer the rhetorical question, packing down the grounds. "if you want to cuddle puddle, don't get out of bed so early."

you huffed as you dropped your arms, leaving him to prep a glass for his americano. "whatever. seokmin and i will have fun without you."

"what kind of fun?"

you stick your tongue out at him, using a teasing voice when you said "wouldn't you like to know."

innocent fun, was the truth, but you thought it was a victimless bluff. you spent the morning sitting on the couch with seokmin while a record played, discussing everything from your favorite movies to your weirdest dreams. you had to get up every six songs or so to flip or change the record, but seokmin liked that every time you rejoined him on the couch, you got closer to his side until you were eventually snuggling into his side, arms wrapped around his torso.

the innocence stopped when jeonghan emerged from his study, joining the two of you for a break. he planted himself on the other side of seokmin, under his arm, letting his hand not-so-subtly run over his thigh. you noticed the contact, peeking around to jeonghan.

"what kind of break are you looking for, hannie?"

he adjusted. "an inspiring one."

you giggled, recognizing the euphemism he used whenever he was stuck on something for work as you leaned back again. "that means he's horny."

seokmin sputtered out a laugh, jeonghan chuckling at your direct observation. "it's hard to not think about you two sitting out here, having fun without me."

"you may not believe it," seokmin said. "but i don't think sex was even on the table for us two today."

jeonghan's eyes met his, and he swallowed harshly. "can it be on the table for all three of us?"

the comfort of returning to bed was hard to deny, especially when they had you laid out against seokmin's chest as he was pressed against the headboard, his mouth attached to your neck and his fingers twisting a nipple, all while jeonghan was digging his digits further into you with his tongue flicking against your clit.

seokmin grunted, rutting his hips against your back. "fuck, he looks good there."

you gasped, nodding, biting at your lip as he kneaded your breast, your fingers digging into jeonghan's hair. "you both do."

jeonghan never struggled to pull you apart, his deft fingers and teasing lips making you squirm and moan until you were shaking, mouth hanging open as your vision blurred and he told you you tasted like candy.

"minnie," jeonghan prompted, making the younger sit up with you whining against him to clean your taste off his fingers. his dick throbbed in need, watching the singer's agile tongue against him, wishing it wasn't just on his fingers.

seokmin had to practically beg jeonghan to fuck him again, but his only hesitation was that he may not have recovered yet. seokmin was on his back and gripped at jeonghan's thighs, urging him forward as your hand twisted around his thick, throbbing cock.

jeonghan swallowed, pausing despite being covered in lube and in position. "you're sure?"

"yes," seokmin said, gasping at your hand on him. "jeonghan, i appreciate you asking, but i'm always sure when it comes to you."

you weren't sure you had ever seen jeonghan blush like that in bed, and you smiled against seokmin's neck as he groaned, his cock firming in your grasp as the older pushed into him. you admired seokmin's silent scream, his head lolling to one side at the feeling.

"angel," jeonghan sighed, settling into the way seokmin squeezed around him. "what do you wanna do?"

you teased a thumb over seokmin's slit. "i wanna ride."

"f-fuuck-" seokmin panted, his hips resting against jeonghan's spread thighs as his knees hung to either side. "i'm not- nngh- gonna last."

"you don't have to," you said matter of factly, adjusting to straddle his torso. jeonghan winced, watching your form as he pumped into seokmin. "we're done when daddy says so."

you put your hand, palm up, over your shoulder, and jeonghan chuckled at the recognized motion for him to spit on your fingers - usually, so that you could slick his dick to sit back on it. you worked jeonghan's spit over seokmin's engorged cock, then slowly lowered yourself onto him.

seokmin stared up at you, eyes fluttering and mouth open, suddenly not only feeling impossibly full, but also absolutely stuffed into you. he moaned out loud when jeonghan bumped into his spot, overwhelmed by the simultaneous pleasure. you fell forward onto his chest, holding yourself up with shaky arms as your face hovered over his, both of you trying to hold off your own demises.

then, jeonghan pushed himself deep into seokmin, who whined, his dick pushing up against your cervix. you nearly collapsed, whimpering as your forehead fell to his, gasping into a desperate kiss. jeonghan groaned, his hand running over your hip as he looked at the intersection of you all, staring at the way you barely contained all of seokmin before he leaned forward and kissed your spine.

"you two will kill me," he said, one hand holding you firmly at your waist while the other gripped seokmin's thigh as he picked up his pace. you both moaned, fingernails digging into the plushest part of your thigh when seokmin questioned how much longer he could hold out at jeonghan's unrelenting pace.

a long, high pitched whine fell from his lips. "fuck, i need to cum," he rushed out, bleary eyes barely opening as he looked at you.

"hang on, baby," jeonghan said. "ladies first."

you babbled against seokmin's lips, somehow never being able to get used to the way he filled you, though jeonghan pushing him into you didn't help. you could do nothing but repeat curses in increasing pitch, pushing your face into seokmin's neck as your walls clamped down around him. his mouth gaped, desperately trying to not succumb to your plush insides before he got the okay.

jeonghan smiled at how seokmin tried to focus on him, despite his hands gripping you as you shook against him. "go ahead, baby."

so seokmin went. and god, he went, coating you internally, immediately squeezing out around his stuffed cock and onto his lap, making jeonghan pant as he kept his hips moving, chasing his own end. he leaned forward, chest pressing against your back as he fucked into seokmin, not stopping until his eyes were clamped shut and he was painting his walls white.

there was a long period of time where none of you moved, then another after you had all managed to untangle from each other. jeonghan sat back, leaning against a hand and scratching his brow as he breathed heavily.

"bathtub cuddle puddle?"

you laughed, chest heaving as you looked over to him, but it was seokmin who spoke. "that sounds nice."

he started to get suspicious when his birthday got closer.

jeonghan told you to suggest a dinner outing for that night to divert attention, but he had caught you moving one of the guitars for the music room only a few days before his birthday, and he looked at you with squinted eyes when he asked if it was for him and you hurriedly said no, hiding the guitar behind your back despite him clearly being able to see it.

"i panicked," you told jeonghan, eyes wide. "he saw it in me. he could tell it wasn't just the guitar."

"it'll be fine, y/n," he said, pushing around potted plants until they satisfied him. "he has to think it's weird that we haven't let him see this room yet, anyways."

you chewed your cheek, looking around the almost completed sunroom. the tall windows showed the light snowflakes falling from the sky, not quite thick enough to leave a layer but enough to make the enclosed yard look slightly pastel. despite the open space that looked out into the cold seoul winter, it stayed cozy, heat radiating from the floorboards and the faux fur rugs laid across them. the space near the entrance had a raised floor with a grand piano, along with several guitars hanging upon the wall, while the area partially covered by the balcony had two heavily cushioned, dark heather gray couches and a bright armchair, adorned with pillows and cable knit blankets.

jeonghan had a slight obsessive nature when it came to his home projects. he was meticulous with contracts, too, but he truly wanted this house to be perfect - not just for him, but for the people he loved. so you watched him rearrange pillows about four more times before you ran up the stairs to the loft to see if he had changed anything there since you had looked the day before.

it almost felt as though it was outdoors, with plants hanging off the edge of the railing and the rustic desk he had originally picked for your office placed to one side. you imagined doing schoolwork here, fantasizing slightly about watching seokmin play piano from your vantage point as you wrote essays. you slid open the glass doors to peek into your new office.

he had painted the walls white, taking a hint from the styling in your own apartment when he picked out a neutral toned couch and light wood shelving, your early graduation present of a computer set up spread across an L shaped desk. he had even paid to have your upright piano moved here, and cut into the next room over to give you more space for an electric drumset. you couldn't help but smile, imagining your friends coming over to record stuff with you. you had always felt strange about inviting them to your rich boyfriend's house, despite him insisting they were welcome, but he had really gone through the trouble of making a room so perfect for all of them that you had no choice.

and it was brighter, you thought. you had told him you worked better in bright spaces.

despite jeonghan's promises, the music room renovation felt like it was as much a gift for you as it was for seokmin. though, maybe he couldn't help it, when the reasons he loved you both overlapped so much.

you went to seokmin's apartment the next day with a bagged gift for him, arriving again right as his client was leaving, and you smiled at the same young man you had seen the first time you had come to visit seokmin. you knew his name now, not because you had spoken to him much, but because you had been told about him by his teacher, and you congratulated him on getting a gig the upcoming weekend.

"oh," jisung said, glancing between the two of you. "he talks about me?"

you laughed and gave him a fighting, seokmin looking upwards to hide his embarrassment as he ushered his student toward the door. "have a nice week, jisung! i'll try to be there this weekend," he said, throwing you a look as you giggled.

"it's not for guitar, you don't have to come," the younger assured. "but if you want to, bring your girlfriend!"

"yeah!" you said, putting your fists on your hips. "i'm getting you dinner for your birthday tonight, the least you can do is take me to an underground rap show!"

"okay, both of you, no more talking," seokmin said, trying and failing to prevent jisung from stopping in his tracks at the news that it was his birthday.

"woah, teach, happy birthday!" he laughed. "you weren't gonna say anything?" he kept talking even as his teacher pushed him out of his apartment.

you couldn't stop grinning when the door closed, seokmin turning to you. he pointed at you, trying to hide his smile as he could only get out a vaguely annoyed "you."

"happy birthday, baby," you said, wrapping your arms around his neck and pulling him into a kiss. he softened against you, smiling as you pulled away, his hands on your waist as he thanked you quietly.

"he asks about you a lot," seokmin said, joining you when you laughed at the fact. "i think he has a crush on you."

you rolled your eyes. "stop bragging about me, then."

"i don't brag," he said, smiling into another kiss. "i just tell the truth. i can't help that you're a dream come true."

you only pulled away from him to grab the two thick paper bags that you had set on his couch. "c'mon, we gotta head out. open your presents."

seokmin's mouth dropped open when he saw the logo on the bag. "wait, you didn't."

"i had to," you said, giggling as he grabbed one and tugged it open, moving to the couch to pull the garment out. "you said you wanted it."

"where did you find one?" he asked, staring at the corduroy parka from the brand you saw him wear constantly. "they've been sold out for weeks!"

"i got it before then, duh." you poked his cheek when he pouted at you, his eyebrows knit. "there's more, stop getting distracted."

seokmin hugged you extra tight as a thank you for his romantic crown haul, and he decisively pulled on the golden yellow shirt with the pizza on the back, making you grin at how perfectly jeonghan had predicted his thought process before you dragged him out of his apartment to go get dinner.

"we're just picking it up," you said, jangling a keychain. he gave you a quirked eyebrow, and you giggled, pulling him over to jeonghan's car. "do you wanna see it self drive?"

you pushed the side door closed with your butt and called out to jeonghan, saying the birthday boy was here. seokmin took the pizza boxes from your arms and put them on the kitchen counter as jeonghan walked around the stairs.

"well one of us has to change," jeonghan said facetiously, and seokmin looked down at the yellow shirt peeking through his half zipped parka, looking back up at jeonghan, who was wearing the same shirt.

"wait wait wait," you giggled, turning around to undo the zipper of your own jacket, pulling it open as you spun around to reveal that you, too, were wearing the shirt.

seokmin looked between you two with wide eyes, his eyebrows creasing. "you got us matching shirts?"

"pizza shirt gang!" you giggled, stripping off your jacket. "do you like them?"

he smiled into a disbelieving laugh. "how did you know i would put it on?"

"because we know you, minnie," jeonghan said, reaching for his hand after he took off his new coat. "before we eat, i finished the sunroom today, wanna see it?"

"hang on," seokmin stopped, making his hand fall from jeonghan's. "that's not the gift, right?" he looked at you. "the sunroom isn't the gift?"

you pursed your lips, looking at the ceiling, and seokmin started to argue, making jeonghan laughed. "who cares if it's for you, i just want you to come look at it."

jeonghan is pretty sure he always loved seokmin. it wasn't something he would ever be able to change about himself, he figured, as he watched his lover cover his face with his hands, sinking to crouch on the floor as his eyes looked around the large room that was lit by fairy light. the first thing he had seen was the piano, which made him gasp, then he saw the guitars, and looked at your smiling face, suddenly connecting dots, unable to stay standing from the shock as he understood why he hadn't been allowed to help.

and then he started crying.

the two of you ushered him to a couch, sitting him down as he sniffed back the tears. you sat beside him, wrapping your arms around his shoulder and cooing, jeonghan crouching on the floor in front of him.

"i'm sorry," jeonghan said, smiling slightly as he gave him an apologetic look. "i didn't mean to overwhelm you."

seokmin choked on a laugh, wiping at his cheeks. "how did you think i'd react?"

"i don't think he thought about it," you whispered, knowing full well jeonghan could hear you.

"i got a little carried away," he admitted, hand rubbing comforting circles on seokmin's leg. "you're special to me, so i wanted to make something special for you."

"this," seokmin said, looking around, gesturing at his surroundings. "this?"

the older huffed out a laugh, almost embarrassed. "yeah, this."

seokmin laughed too, eyes wet as he looked into the other's. "i can't believe you would make something this incredible for me."

"you're incredible," jeonghan said. "i want you to feel welcome in my home."

"i couldn't believe the record wall, either," you offered when seokmin seemed speechless, pressing your cheek against the his shoulder, hand rubbing his back. "jeonghan's love language is a little unique."

seokmin sniffed one more time, studying jeonghan's face, his brow creasing ever so slightly. "holy shit, i'm in love with you."

your heart stopped as you pulled away slightly to look at him, then jeonghan, who was frozen.

"i didn't realize that's what this was," seokmin said, hand gripping the one on his thigh. "i knew i liked you, but this is-"

jeonghan rose quickly, seating himself at seokmin's other side and kissed him. "i love you," he said, thumbs wiping over his slightly damp cheekbones. "it's taken me years to admit it, but i love you."

seokmin kissed him again in response, his face feeling hot from the continued attention. he broke away, only to look around the room again, jeonghan studying his face with a smile as he did.

"i think," seokmin said, clearing his throat when the words came out weak. he looked to you, then to jeonghan. "i think this is the best birthday i've ever had."

jeonghan laughed. "we haven't even had the pizza yet."

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pl-panda · 4 years

Text

The vines that bind us - Chapter 6

Chapter 1 || Previous || NEXT

Elevator took her all the way to the highest floor. When she exited, the floor was back to perfect condition and several more plants were awaiting her. She promised them silently to check on them soon and went to the main office. She knocked several times on the doors, but nobody answered. Hesitantly, she pushed the doors open, but no one was in the office. After double-checking with security, it turned out that Tim Drake did not show to work. She sighed. Looks like more work for her… Just like Nathalie said.

“Didn’t you cause enough drama…” Lila never got a chance to end that sentence, because Mari delivered a straight one strong enough to send her flying several feet back before she came crashing down. Blood pouring from her nose.

The girl was about to launch herself at the liar and pound her into the ground when two strong arms grabbed her. She noticed the characteristic spikes on the sides of black gloves and stated to trash around. “Let me go you overgrown furry!” She screamed. “I will mix her face with the concrete until it’s nice and even!”

She tried to wiggle herself out of his grip. Most of the class surrounded Lila and were trying to help her. It only served to irate Mari more. She kicked her leg back, hitting Batman’s shin. It was finally enough to let her go. The girl fell down... right into the embrace of Chloe and Adrien who managed to get to her on time. The two blondes hugged her tightly.

“There. It’s alright Goldie. You got her good. Rest.” The girl cooed and pressed her best friend to her chest, muffling the sobbing. Adrien was just silently there and hugged them both. When Batman tried to approach again, the boy sent him an angry glare. The warning was clear and the vigilante didn’t really need anything from the girl right now.

After a bit, Mari fell asleep in their embrace. The stress finally caught up to her and she couldn’t hold exhaustion at bay any longer. Chloe easily picked her up and started to walk toward a taxi that was conveniently parked nearby, waiting for them.

“What!?” Angry Alya looked from Lila who was now being cared for by a pair of paramedics. She turned to Commissioner Gordon who was discussing something with Batman. “You!”

The policeman looked at her curiously. Alya continued her shouting. “You’re letting her go just like that? She just assaulted Lila! She might’ve ruined her modeling career! Arrest her!”

“Miss.” Gordon shook his head. “These are some of the braves men and women in Gotham, but I doubt any of them would dare to try and arrest her right now. They don’t get paid enough.”

“What?!” Several kids started to protest, but Gordon just ignored them and directed Harvey to start taking statements. He wasn’t paid enough to deal with these brats.

--------

Bruce sighed as he exited the Batmobile. Almost immediately, he was swarmed by the rest of his family. Jason and Dick practically carried him, still in the suit, to the movie room.

“Now, Ladies and Gents, we have some of the greatest shows for you. We call it… The Demon Trashing!”

What followed was a clip taken from monitoring in the anteroom of the CEO office in Wayne Tower. He watched as Damian, dressed in civilian clothing, and carrying a simple ninjato on his back entered the room. He walked around for a moment before knocking on the main office doors, but whatever answer he got seemed to have irritated him given the scowl that formed on his face. He walked over to the PA’s desk that stood there, but no one was here. After a short moment, one could see the elevator doors open again and a small girl in a smart outfit walked in. Damian dashed to the shadows before she had a chance to notice him.

Bruce resisted the urge to facepalm. He could already see where this was going.

When the girl started to walk to the desk, his son suddenly reappeared with the sword drawn. He pressed the blade to her neck. From the angle, it was impossible to see either of them expressions. The man did not expect his son to kill a civilian for trespassing, but the amount of glee on Jason’s and Dick’s faces was suggesting that his headache hadn’t really started.

The girl suddenly grabbed the blade and pushed it away. Damian, probably acting on instinct, tried to cut her, but she just walked out of the way and disarmed his son before knocking him out. There was a short skip to when Jason and Dick entered the room. The small girl was clearly very much irritated with them from the start and when she reached her limits, she used a pencil as a projectile to open the elevator doors.

A small smirk made its way to Bruce’s face when he saw her storm past his three sons, carrying the ninjato through a tissue. The video ended with Damian waking up.

“And that’s how Drake’s new PA trashed a certain Demon Spawn. I swear, she could probably give Luthor’s bodyguard a run for her money when it comes to being a badass” Jason commented on the silent video in his typical fashion.

“Tt. She stole my sword.” Damian huffed.

“You mean the sword she later used to stab Riddler’s man before disarming him?”

“I still consider the best part of today when she called B. an overgrown furry,” Dick said trying to hold back on laugher.

“Wait. I have a new personal assistant?” Tim asked half-awake.

“Yeah. She was supposed to be an intern, but apparently, Sarah hired her on the spot and quit.”

“Oh… Cool.” Tim said and took a swing from his gargantuan cup.

“Did you manage to pull the video of her taking down Riddler?” Bruce asked.

“The cameras malfunctioned before she even entered.”

“It was me,” Tim confessed. “I was still in my office when the alarm sounded. I keep a separate copy of my suit in a hidden compartment. To save time I dressed there, but I had to disable the CCTV…”

“Yeah yeah. Whatever.” Jason shut him up. “I also got the part when Damian’s eyes roll back as my new screensaver.”

“Tt. You’re lucky I don’t have my sword.”

“Don’t think you’re getting it back any time soon,” Bruce said in a stern tone and sighed. “What exactly do we know about her?”

“She is from Gotham, but she lives in Paris for some years. She said she was practicing martial arts since she was five.” Dick started

“She is also one bada…”

Jason was interrupted by Alfred, who entered the room with a plate full of cookies and tea. “A young woman just called. She asked me to forward a message to young master Damian.”

“Tt. What is it?”

“I quote. ‘Good luck getting your sword back now. Police took it as evidence. Suck it, Wayne.’ I believe the woman was young miss Chloe Bourgeoise.”

Dick, Jason, and Tim were literally rolling on the floor laughing. Bruce just facepalmed.

“No, you can’t break into the evidence room. You might jeopardize the whole investigation if you taint the evidence.” Bruce said in an exasperated tone.

----------

It was late after midnight (or even early morning, depends on your definition) when the vigilantes returned from the patrol, only to meet Tim and Barbara working on something on Batcomputer in tandem. Whatever it was, they were completely devoted to it since neither realized they had company until Bruce made a coughing sound.

“Not now.”

“What exactly are you doing?” The father inside Bruce resisted the urge to force-feed Tim some sleeping meds.

“We’re doing the background check,” Barbara said while typing frantically.

“On my new personal assistant.” The boy supplied.

“oh?” Bruce raised an eyebrow.

“Like… from what we found she is either the worst bitch on the block or strongest badass around.”

“Langauge master Tim.” Alfred scolded him.

“Sorry. But like seriously! There are so many contradictions.”

“Check this out.” She pulled out a scan of a letter. It was largely creased, but still perfectly readable. “Her adopted parents one day disappeared, leaving her everything they owed sans some of their clothes. It was like they packed and left.”

“You suspect a foul play?”

“I’m not sure. The investigation was a joke and so was the follow-up proceeding. The interesting part is the custody battle that followed.”

“Jagged freaking Stone and Parisian Mayor.” Tim interrupted Babs. “It ended with a compromise that Jagged was lawfully named her uncle and Mayor became her guardian. She was the one who suggested it.”

“How can one be lawfully named someone’s uncle?”

“Apparently one can in France. Or they just made some concessions to a celebrity. Seen weirder things.” He shrugged. “She was also his designer for years now. You remember that mysterious MDC?”

“The one you used to fawn over?” Bruce asked.

“She is brilliant so sue me.” The boy huffed. “Also, it stands for Marigold Désign et Création. She runs an internet boutique where she takes commissions from both commoners and celebrities.”

“What does it have to do with anything?”

“I’m getting to that. Gee.”

“Maybe I will get there?” Babs tried to take over. “She’s been working part-time as a babysitter to get funds to buy materials for new clothes and received nothing but praise. She also became a class representative. A successful one at that. She also holds the national championship in U-17 Mechastrike.”

“How is that important exactly?”

“You wanted to know everything about her B., so we are giving you everything.” Tim sassed

“Just… get to the important parts.” He shook his head. What did he do to deserve this?

“Fine. Her school records are a mess. Skipping that they wouldn’t hold to any official inspection, they straight-up contradict each other.” Tim waved his hand in some undefined gesture. “On one hand, she receives nothing but praise from the teachers, but at the same time, there are multiple bullying reports and even several assaults in here. Most of them were met with harsh punishments.” Tim opened a separate file. “Too harsh according to the school charter.”

“It didn’t help that the letter from her parents also mentioned these kinds of things.” Babs chimed in, trying to regain control of the tale. Bruce just gave an exasperated sigh. He just gave up and allowed them to solve it, mentally already cataloging the information.

“Except! There were statements from several people that contradicted this. Especially Chloe Bourgeois. She said, ‘Puh-lease! Mari is the kindest doormat in the world. I was mean to her for years and she still welcomed me back with open arms.’ Given her track record, I’m inclined to believe it.”

“There was also this Drama, capital ‘D’, with MDC stealing designs. Several tabloids caught the wind of it and it even led to the police investigation. Only after Jagged Stone intervened, the thing quickly shut up.”

“Now onto the juicy parts!” Babs smiled.

“And that was what? An introduction?”

“Yup. She has a certified black belt in two different martial arts, is a master gymnast, has an IQ of over 130 and owns two separate businesses in Paris.” She quickly read. “As we mentioned, she is the honorary lawful niece of Jagged Stone, but also designed for Clara Nightingale, Nadia Chamack, worked with Gabriel Agreste, was offered an internship from Audrey Bourgeois before she became her ward. She was seen hanging out with Kagami Tsurugi, world-renowned fencer, and Luka Couffaine, the rising star under Jagged Stone’s tutelage.”

“That was fast.” Tim summarised.

“Yeah. Also, she was adopted some nine years ago. She originally comes from Gotham.”

“Do we know her biological parents?” Bruce asked, getting serious.

“That’s where it gets juicy. When I tried to pull out her adoption files, the computer shut down to avoid detection. There is some serious encryption on it. Probably due to who her father is. We got some of it. She described her mother as ‘wearing an outfit that showed more skin than her beachwear’, so we suspect she was a prostitute.”

“Hm… It’s not unheard of. You say she was with her mother until she was eight?”

“Between seven and nine the file said.”

“Hm… Do you think she is a threat?”

“No. But I have a different question. Why didn’t the league investigate Paris’ supervillain?”

“We were made aware of him only recently, after what our satellites mistook for Poison Ivy attack,” Batman said in an irritated tone. The fact that there was a supervillain running around for close to four years completely undetected grated on his nerves. “Diana Prince has been investigating for some time now. She has it under control.”

“The only problem I see is that she is only sixteen,” Barbara pointed.

“I mean I’m barely seventeen and I ran this company for two years now. And don’t act high and mighty. You started playing Batgirl at fifteen.”

“Played?!” She screamed.

“You wore a hoodie and carnival mask at first.”

This quickly developed into an insults contest until Bruce finally had enough. He just shook his head and left. Alfred silently followed him, carrying a plate of sandwiches.

-----

The next morning, Mari woke up in her bed, with Chloe and her curled together in a mess of limbs and clothes. Of course, she panicked and jumped up, waking the blonde.

“Honestly, Goldie, five more minutes. I need my beauty sleep!” She murmured.

“Um… Why are we in one bed?”

“Because you fell asleep hugging me yesterday and refused to let go at any point. I swear I wanted to get a crowbar. Ridiculous!”

“Sorry…” Mari gave her a sheepish smile.

“None of that! You ruined Lila’s face in one punch. Adrien texted me that in the end she lost seven teeth and will require plastic surgery for her nose not to look like a mashed potato.”

“No…!” Her eyes widened.

“Yup.” Chloe grinned, popping the ‘p’.

“That’s awful! I can already imagine how much the class will hate me now! And the employees that saw this! There were cameras there!”

“Some people actually applauded you. It could be also because you called Batman an overgrown Furry though…” Chloe’s voice wandered off. Mari collapsed onto the bed, head buried in the pillows.

“Kill me…”

“Can I kill you with hugs?”

“Fine…”

When the panicking bluenette finally calmed down, Chloe got her to sit down and showed her the headlines.

Brave WE employee saves dozens of lives!

A hero without a suit!

Civilian stopped Riddler!

Personal Assistant takes down a dangerous criminal!

They were all overly positive and showed much support. Only one tried to vilify her based on Lila’s comment and her being punched, but it quoted Ladyblog as a reliable source, so it was dismissed. The majority of the comments were also positive. The ‘overgrown Furry’ was already trending too.

Only one of the articles contained the list of names of people killed in the attack.

Ted Black - a security guard, put himself between the bullet and another employee Sigfried Osborne - a security guard, died when he tried to stop them from entering Molly Bishop - a PR specialist, called the police when she thought the guards were busy Heidi Dickson - a security guard, killed in crossfire Craig Lloyd - an HR employee, wrestled the gun from one of the henchmen before he was shot in the back. Ethel Arson - A lawyer, killed in crossfire Christian Thorn - a security guard, shot two of the riddler’s henchmen in defense of a group of hostages.

Their room had several live plants on the rail. Mari walked to them and allowed her powers to flow. Slowly, the flowers bloomed. She picked seven beautiful flowers and put them on the table.

“Mari… I’m sure they will understand if you don’t come to work today…” Chloe placed a hand on her best friend’s shoulder.

“No… No. I won’t be scared into hiding by Riddler of all people.” She said with determination and some coldness in her voice. She stood up and walked to her suitcase. From there, she gathered a different outfit. Now she would wear a red shirt, a black blazer with the Ladybug logo on her right breast, a black pencil skirt, and black leather ballet shoes (she still hated heels). But the greatest change was her hair and eyes. She let go of her twin pigtails and allowed her wavy hair to run free. It was no longer black, instead turning dark blue with purple highlights. Her eyes also changed. Her bluebell eyes also changed. The iridescent green she used to suppress was now mixed with the normal eye color, giving an entrancing effect that was hard to stop looking at.

“It’s time to rock this place.” She smiled at her best friend.

------- (Play ‘Confident’ by Demi Lovato) --------

Marigold and Chloe entered the Wayne Enterprises in full stride. Flashing her pass, she got them through control without the queue or checking, much to the shock of the class (who still had no idea Mari was now technically their boss). Adrien showed the girls thumbs up. Lila was seething, but neither Chloe nor Marigold paid her any mind and guards didn’t let her follow them and straight-up kicked her to the back of the queue.

Mari gave a nod to the receptionist, but they didn’t slow down. Elevator was about to close, but one of the employees held it for her. Once they entered, she quickly checked her tablet and the to-do list she had for that day. First stop: PR. Chloe was going to HR to receive a new mentor after… the previous day.

When she entered the Public Relations department, Mari didn’t stop to chat with the employee that looked at her in awe. Her goal was the department’s head office and that’s where she would go. Gently knocking on the doors before entering, she pushed the doors. While she was smiling kindly, her whole posture screamed professional.

“Hello. Mr. Drake will need the Friday press conference plan adjusted in response to what happened yesterday. There needs to be a mention of the event, as we won’t want to sound too detached. The press would tear us apart. Some gesture to show the public that we care…”

“Maybe a memory board in the lobby? And perhaps schedule Mr. Drake to visit each of the families somewhere next week?”

“I think it will be okay…” For a short moment, Mari allowed her confidence to drop, but she quickly gathered herself and made a note in her calendar.

“If that’s all…”

“I will also need a press statement no later than by lunch.” She said quickly. “Make it a priority and forward it to me to read before you post it.”

“Yes, Ma’am.” The man smiled. Mari was about to leave when he spoke again. “And thank you for yesterday. Many people owe you their lives.”

She stopped in her tracks, unable to say a word. Finally, she regained her composure. “Thank you. I… I’m coping.”

As she left the office toward the elevator, Lila and Alya, who were interning in that department, tried to speak with her, but she didn’t even spare them a glance. Alya tried to grab her, but she was stopped by one of the older employees. As the elevator doors closed, Mari could see the girls receive a serious scolding. A grin made its way onto her face. Lila and Alya would have a really hard life for the next two months. Especially if she had anything to say about it.

Her next stop was the security office. She entered it with a neutral expression, but it lasted only maybe five steps from the elevator. She didn’t tear up. She was a Gothamite inside. Right as one walked out of the elevator, there was a small bar, behind which a board was filled with pictures. Some looked really old, black and white or even sepia, while some others were high-quality and new. Roughly half of them were the clean pictures one would attach to a resume. The other half were profile pictures from social media. Or a photo that was taken in the forest. One was even a detailed drawing of a person. There were maybe fifty of them in total.

“It’s a reminder. Guards who lost their lives since the founding of WE” An older man said. “Silas Wayne started the tradition after he served in the Great War. You’re here for something miss?”

“Oh… Yes. The security on Friday press conference. We must increase it by about fifty percent. And make sure that only those with invites can enter.”

“Yes, ma’am.” He saluted her.

“Um…” Mari suddenly felt a bit uncomfortable.

“Don’t worry. It wasn’t your fault.” He said in a comforting voice.

“Thank you, sir.” She allowed a weak smile to enter her face before she left. Only two more stops.

The elevator next took her to the Legal Department. She had many things that needed to be done here. Chloe met her as soon as she exited the elevator. Mari managed to regain her professional posture and once more emanated the aura of confidence. She wasn’t sure how long she could keep it up, but she was determined to show that she was okay.

“I already forwarded your requests. At first, Madame McKinsley was reluctant, but apparently, our entrance is already the top corporate gossip. Good job Mari-bear.”

“Good. Thanks, Chlo. Now get back to work before someone sees me get friendly with an intern. I have a plan.” Before they separated, Marigold let a smile ghost her face. “One more thing. You’re free to unleash the foxes of war.”

Chloe lit up at that. Her whole demeanor changed to almost beaming light. She immediately started planning. Mari left her to the devious scheming and instead went to McKinsley office. The head of the Legal Department was a middle-aged woman with short, slightly graying brown hair and no-nonsense composure.

“Miss Bourgeoise informed me of your visit. I already had several documents prepared, but I will need clarification on several things.” She offered the young PA a chair, but Mari refused with a shake of her head. She opened her tablet and started to go through the list.

“First of all, the video that caused the attack was leaked by an intern. What actions exactly can be undertaken in response?”

“There are several options. We could terminate their contract entirely, but as it’s their first offense, it could’ve been seen as too harsh. It would also require to terminate all internships.” The woman was clearly unamused by the situation. Mari just raised her eyebrow and gave her a quizzing look.

“I’m not sure who in their right mind wrote their contracts, but when I track them down they are gonna get their ass demoted to toilet cleaner. It’s one big mess.”

“Don’t I know it…” Mari deadpanned. “So, other options?”

“We can move them between departments, so having them demoted to Toilet cleaners could also work, but it’s not exactly a legal punishment. The fact that it was Riddler really threw a wrench in any legal proceeding as he is clinically insane and the video was not directly calling him out and only speaking about him. I could give you the legal mumbo-jumbo, but the gist is that they are somewhat protected.”

“What about revoking their privileges?”

“Take that to HR.”

“Will do. Now, about the next matter.”

“It was much easier. She can’t do anything to you, not even forward the bill. You were in shock and there are several recordings showing her taunting you. If she pushes it, she will lose. You’re a public hero right now. Good job by the way.”

“I was only doing what had to be done.” Mari brushed it, doing her best to keep a professional face.

“Sure…” It was clear that McKinsley did not believe her.

“Now about the last thing?”

“Ah. The slander. I already directed it to our French and Italian departments, but it’s slow-going. That witch made it an international case. It will definitely bite her, but we have to be patient.”

“Brilliant. Thank you for your time.” Mari left the room with a grin on her face. Now onto the HR.

As she strode through the floor, people turned their heads to look at her. In the killing outfit, she looked older than she was and the aura of confidence and professionalism made her seem like a powerful woman. They had no idea just how powerful she was, but the way she carried herself was enough to make them shake in their shoes.

----

When the doors of the elevator opened, Juleka and Rose were waiting for her. Both looked furious. Before either got a chance to say anything though, Marigold silenced them with a murderous glare that took away their voice. She strode past them looking fabulous. Any other employee removed themselves from her path to avoid her ire. The rumors were already circulating and the fact that she took down Riddler before Batman even arrived did wonder to her image.

“Hello. I had an appointment.” She said when she entered the head of the department office.

“Yes. Miss Dupain-Cheng. I was told you forwarded a list of topics, but an intern lost it.”

“Was this intern from my class?” She asked in a cold voice.

“Um… Yes actually.” The woman said after checking a small post-it.

“Then it was probably sabotage.” Mari spat the words. “I asked to have a list of possible punishments in regards to the newest intern group prepared. Two of them were responsible for the leak. Sadly, as one of them is the class representative, she is quite popular.”

“Ah. Well…”

“First of all, both Alya Cesaire and Lila Rossi are to have all possible privileges revoked for breaking the rules. They leaked or were involved in the leak of video. Neither of them is to be handed anything more important than refilling a stapler or bringing someone coffee, to ensure they are no further threat to this company. They will also receive an official warning and an entry to their acts. They are also restricted to the lower floors. If possible, I want their access to electronic devices restricted. Maybe assign them a pager each so it doesn’t negatively impact their work.”

“Hm… I will see what can be done, Ma’am.” The woman replied, already going through her notes.

“Good. Onto the next business, while it pains me to do it so fast, we need to hire more security as soon as possible. But make sure to triple check their backgrounds.”

“Understandable.”

“And the last thing. Why was Damian Wayne allowed to bring a ninjato into the building?”

“There is actually no restriction on bringing swords ma’am. We’re trying to fix it, but we’ve been blocked at every turn even when Mr. Wayne was the CEO.”

“And whose permission is needed?” Mari allowed a small grin.

“Yours would do. Sarah was always too stuck up to even leave her desk unless forced so she didn’t care that much.”

“Consider my permission granted. Forward the paperwork to me.”

“And if Mr. Drake disagrees?”

“He can try.” She said coldly, remembering how close she came to being cut in half.

“Oh…”

“Last thing. When is the top floor scheduled for repairs?”

“It should be done already. It was made to withstand an assault from a much larger force, so we only had to replace the furniture. Following the instructions that were left, we repotted the plants into bigger and more decorative pots. As per your request, we added some more plants.”

“Thank you. Plants always calm me down.”

“I prefer cat pictures.” She pointed at the wall where a cheesy calendar with a cat giving her thumbs-up was hanged. It took all of Marigold’s willpower not to burst into laugher at the image of Chat Noir posing for such a calendar.

“Good. Thank you.” With that, she left. This time, Rose and Juleka did not try anything. They were too terrified of her.

----

#maribat au #maribat #marinette dupain cheng #redeemed!chloe #Good!Adrien Agreste #Batman #miraculous lb #miraculous ladybug #Miracuolous #DC #mlb x dc #Mother!Ivy

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project-paranoia · 3 years

Text

Live Watch: S.C.I. Mystery Episode One

I enjoy camp because I've always enjoyed analysis and examination. I enjoy looking at something from all sides, testing it with my fingertips. When I was a child I would sit for hours just looking at something until I had it all held in my mind and I felt like I understood it. Camp necessitates that understanding the way that imitation and - good - parody requires it. To quote Susan Sontag - who articulated what camp is so well - Camp is "a sensibility that revels in artifice, stylisation, theatricalisation, irony, playfulness, and exaggeration rather than content." Because of this camp takes on head to head gender, sexuality, expectations, any sort of defined norm and sequins it up then shakes it down until understanding comes out. When understanding something there are three major ways to work your investigation - what it is, what it's imitation is - the close but not quite, and what it isn't. Camp handles all three, to quote again: "Camp sees everything in quotation marks. It's not a lamp, but a 'lamp; not a woman, but a 'woman.'"

Why are we talking about camp? Because SCI Mystery is some of the best kind of camp outside of drag or screaming about wire hangers. It deals a lot with mental illness in a way that would destroy a serious show, but in this one "mental illness" is a metaphor for being marginalised and a way to talk about the mouse and cat in the room. This show is about being queer. About being gay loudly and quietly, about resisting specific labels and needing them, about the threat of a cure and the blessing of acceptance. All the messy realities of queer life as varied as queer people. Like Lil Nas X's Montero, you can appreciate the effort without being comfortable with it. While the show's allegory of mental illness when many queer people are still told they are ill is done well and there is reason to the choices and tone, things are said which can be hard to hear. Knowing they're there because they're hard to hear and have been heard doesn't help everyone.

With all that said, it's also a fun, silly bl drama. Don't let the analysis scare you off. While the information about camp can be something to be aware of, all this show requires to be enjoyed is a willingness to be amused and spooked in turns.

You know the drill, spoilers below!

* I have memorised the youku sound, I have a triggered response with it. Not all triggers are bad, this one reminds me of Guardian

* Welcome to episode one where we just leap in! But don't worry, one of them has a cute earring and they are colour coordinated.

* Watching from youtube the episode is 38 minutes long while most of the others are 45. Attach whatever emotion you want to that fact.

* The exposition is handily delivered by asking a question which tells us some things, thank you show, I appreciate it

* First episode and he's already giving his partner an in case I don't come back letter to be opened if he dies

* Wait for me!~ Go!~~

* Slow walk with dramatic music: 1 (don't make this a drinking game You Will Expire) this time with bonus almost looking back

* I've seen a similar shot on Hawaii Five O

* Don't explain what's happening, just knock everything over with a jump kick in some absolutely spotless white tennies

* Running with dramatic music with bonus looking back: Does it count? We have yet to hear back from the judges

* They leap into the water with an explosion behind them, we are less than 2 minutes in and I love that for them

* At first I thought the boats were making a big heart before I remembered that I am very silly and they are not doing that

* This one is going to be long

* I can see his pockets through his trousers, why are his trousers so thin?

* It's not kissing to dramatic music in the surf if it's CPR

* Each story line has its own intro and that's very sexy of them

* Slow walk/dramatic music: 2-6

* These people are totally goofy and and yet the Seriousness

* Two Weeks Ago!

* The police school bus has arrived to shoo away the crows circling around Dr. Zhan staring (dramatically) at the body

* Sport scar policeman dresses even more unprofessionally than Zhao Yunlan who at least looks like a detective who was jumped by so many criminals he just gave up wearing a suit and went for jeans. Chief Bai's clothes are so thin, I'm under constant anxiety someone is going to tear them off.

* Also several of the cast pictures on MyDramaList look like the pictures your auntie insists taking to send to your other aunties and I love that for them

* Triple axil spin from the victim, the judges are loving it - this is the camp I'm here for

* The dramatic slo mo and music budget for this show was so big, just as it should be

* He's mad because he's angy

* Master Psychiatrist can tell all about the killer from crouching by the body, it's a trope and this is one of the few places I like it because it serves the show instead of the show serving it

* When you're almost boyfriend is going away for reasons and it's not your decision but you can't go with him because of your job so you're just low key bitter about it

* "You can't control me"

* The pettiness between these two

* Professional women who worked hard to get where they are still are constantly obsessed with boys according to most cdramas

*The male posturing in those three second has accidentally circled back around to being gay in the way those bro shows accidentally do and I love that

* I live for this 80s-90s police chief perm

* The Pettiness

* I always tend to like doctor characters, I don't know why. Even when they aren't my favourites I like them.

* She's kind of adorable, I like her (I've seen a lot of this show and every time I say I like someone it ends badly ;-; )

* "the victems"

* If you love Creative English, this is the show for you!

* Chief Bai's crew is trying so hard to get them back together

* Dr. Zhan is so good at psychology he can tell what someone looks like from some tire tracks - this trope is used all the time in crime shows, but they push it a little farther in SCI and it really helps the viewer know what the rules for the show are

* The scene in the psychiatrist's office hearkens back to queer coded villains and the way they're treated in old black and white horror cinema - but done so artfully it's almost invisible. It's incredibly well done, and the awareness of tropes and types all throughout the series is tremendously successful as much as it's campy fun.

* There's also the trope of someone who manipulates someone into feeling like they've been "purified" and then weaponises them against the "filthy". And of course the fact that the killer's blade is a mirror - that he's killing in others what he sees in himself. This trope hasn't just been queer-coded but has been applied to any sort of physical or mental disorder. Thesis have been written about this trope and the anxiety attached to it. I can't write them better and this is long enough, it's just a small part of the excellent handling of the themes showing up in this genre and I wanted to point it out because it deserves appreciation for the skill and knowledge in the writing.

* The whole you need evidence vs you're saying psychoanalysis isn't trustworthy feels very much like a coded angry exes discussion

* I love the establishing shots, so good

* He kind of deserved that door to the face, what was he even doing

* Police violence in crime shows is supposed to be a release for the viewer, but many countries have issues with police violence so it hits wrong. Here it's far more performative in a way that at least has some awareness

* The weirdest phone call, you call someone to tell them something important and they say two things to you and hang up

* The tongue thing, why always the tongue thing?

* When a serial killer tries to compliment you by calling you a carnivore and you shut down the whole alpha male supposition by calling yourself a vegetarian

* At this point I've written almost fifteen hundred words and taken almost two hours to watch 23 minutes

* This is my life, these are my choices

* Dutch Angles

* You could make this conversation about being gay, I have had this conversation about homosexuality before

* Unfortunately while I had it I was on the bus trapped in a window seat

* The conversation didn't end with me saying something cool and everyone clapping

* They just got off the bus to go to work

* The banality of evil, yo

* Her shorts are Incredibly Short, good for her

* "arrest the perp behind my back" that's his job, broheim

* He doesn't ask why she checked behind their ears

* DUN dun dun!

* Slo mo file drop, and of course the file is blood stained and aged

* Chalk Art of Doom

* Chinese word play!

* Caught almost putting his coat over his crush, embarrassing XD

* Backstory!

* I love all the little character details, I could quote lines I think are funny all day but that would start getting silly

* Bai Yu Tong is marked as clean and having OCD but we don't see what's apparently a huge character trait at all other than the all white, do love that he's good at cooking

* Dr. Zhan: Brilliant! Genius! Cannot feed himself.

* Dr. Gong has indifference level 100% which is true and also I love that for him

* I love that Wang Shao part of the team because he's good at making friends, I love that for him

* Poor Zhao Fu: scared of ghosts and dumb and sweet? At least he has an 8 pack

* Jiang Lin is very tropey except the mention of her nearsightedness

* Ma Han's height 1.7m and legs 1.8m is hilarious and I love it

* I stopped recording the slo mo walks, but if you were drinking along with them you might be dead so I really appreciate you taking time out of your afterlife to continue reading. We appreciate all our ghost readers

* And that's the first episode! Thanks for making it to the end!

#SCI Mystery #SCI谜案集 #watchthrough #let's watch

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frightfurtabby · 3 years

Text

HimiKiyo Week 2021 Day 4: I Am Not Your Queen

// Mastermind Kiyo AU for day 4! Because that’s a pretty good reason to be enemies. Could things be different? It’ll take a while for these two to figure out.

Word Count: 2848

Links-

AO3: https://archiveofourown.org/works/34159447

Amino: (coming soon)

“That’s right. If all other alibis check out…” Shuichi said, hand on his chin. This was the final class trial, everyone’s fate hinged directly on what was going to happen next. It depended on the case they’ve built up so far being absolutely correct. One irrefutable accusation and the mastermind’s entire game was crumbling to pieces like a house of cards. “Then there can only be one person that was behind the lies that killed Kaede, Rantaro, and all our other friends.”

His finger pointed across and to his left, at the person standing between Tsumugi and Maki at their trial bench. “Korekiyo Shinguji, you’re the real mastermind behind the killing game!”

The detective's words echoed throughout the room, bouncing off the walls. Himiko, in spite of how many times others called her “slow” grew increasingly silent as the discussion kept going back to them and their actions from earlier. They had been outed as a serial killer in a previous trial but in spite of everything they helped Himiko at her lowest point immediately after what had happened with Angie and Tenko.

She remembered crying on Kiyo’s shoulder, listening to their soothing voice put her at ease, advice like a wise sage being passed down. Each and every time she needed it, she would go to that anthropology lab. Each time her footsteps took her in, her feelings only grew stronger. Her first kiss was in there, with them. Before what happened there was a pull she felt, but she never got much of a chance to get close with how intimidating they came off as.

Kiyo, who was now replying calmly as though none of it was bothering them. This was how it started in the other trial too, So that should be reassuring right?

“Yes, it was me.” they said, “I just so happened to pick up my own after noticing Kaede had taken one with help from my nanokumas.”

Oh.

Oh no.

And now it felt like the world was crumbling again. Only instead of feeling deflated and alone she was enraged. Enraged that the case against Kiyo didn’t have any holes in it. How could it be true? And now just admitting to it?

“Was all of that… was all of it a lie Kiyo?” she begged that what they had was real. Even now standing across from them as enemies.

“No. I’ve been up front with you this whole time. There were simply parts of the story you weren’t ready to know. And you still… aren’t ready yet.”

“But you- but you-” words escaped the Mage, leaving her unable to think calmly and properly. “You could have stopped this at any point, but you kept going.” She didn’t even notice they felt a tinge of fear underneath the words she was replying to.

“Why assume I have enough control to end it early, that would be going far off-script.” A small bead of sweat formed which the killer wiped away.

Wait… off script? What did something like that even mean?

Himiko turned to notice that Maki was giving them a death glare. “Because you’re the mastermind, obviously.”

“Oh, I see. In that case… no, I wasn’t working alone to do this.” they began to explain. “This wouldn’t have been possible without Team Danganronpa and all the fans watching right this very minute!”

“T-Team… D-Danganronpa?” Tsumugi stuttered in shock.

“Yes, the studio that put together the killing game with me on the ground so to speak to act on their behalf. We are not actually the only ones left alive, there are more humans alive than any other time in history and millions upon millions of them tune into this program.“

“The world is… fine?” Kiibo pondered. The revelation made him tense about what his inner voice may be.

“Why would the world want a killing game?”

Kiyo responded “It works as a kind of release valve, I suppose. Conflicts have dwindled over the existence and increasing popularity of this show after all.”

“Can we… Can we go home? Kiyo please, let me go, let *us* go. You can do that right?”

“Even though it is not destroyed, you still cannot.” The other voice came from Korekiyo once more. Sister was back in action. Sternly she looked over each of the remaining survivors. As though she was looking down on them.

Himiko glared at her from under her hat. “You again.” While she was feeling so complicated about Korekiyo right now, she unambiguously disliked their “Sister”. Then it hit her. Maybe if the Sister personality was the one that was the one really in charge she could forgive them… maybe.

It would take a lot after something as horrible as this. Especially since Maki and Shuichi swore to never forgive the mastermind, she was certain that she wouldn’t either. Even if Kiyo was just a lackey it would take time to trust again.

“I’m pleased you’ve all made it this far.” Sister said, sounding incredibly pleased with herself, rather than anything they’d accomplished. “I wasn’t sure you had it in you. I’d like you all to meet the fans.”

The blush bear sweated, making the cartoon ‘awooga’ sound like a character seeing an attractive person. “Yes ma’am.”

Futuristic gears spun in front of Monokuma, bringing a keyhole to in front of him, he stuck the key in and several screens proceeded to descend. Faces appeared: Asian, white, black, men, women, even children. Various expressions across their features. None of them stayed long enough for any witness to recognize, even if they remembered anyone they had known.

“These are the fans of Danganronpa.” Sister explained. “Danganronpa is their collective favorite show. The 53rd season has been one of the most successful in years.

The discussion was halted. It was surreal, more so than even waking up here originally was. All of those people had been watching the whole time.

Himiko asked “So the fans they saw… everything?” Did they know who the mastermind was?”

“I presume some of them did, but this reveal is equally for their benefit. There’s a vibrant debate each season about who the mastermind is and how they did it. Occasionally spoilers will get leaked.”

“So this… was the killing real?” Tsumugi’s voice wavered as she tried to speak up.

“Yes, that part was real. The people playing those eliminated characters are gone from this world as well as the real one.” Sister took off Kiyo’s hat and put it across their chest looking solemn. “They knew there was a strong chance of that, and signed up like many other fans before them.”

“Was it you or Korekiyo who committed Rantaro’s murder?” Shuichi prodded. The shock was wearing off. The trial was continuing at last in the wake of 2 extremely unnerving revelations.

“I feel like that’s a question dear Korekiyo should give the answer to.” Their shared body pulled up the mask and Kiyo began to speak again

“It was as I said many times, I’m only meant to be an observer. I… admittedly broke that role when I chose to do what I did. I even apologized to them, to myself for it.”

“Then why, surely you must have had a reason.” Shuichi prodded.

“Regrettably for my ethnography, our class that should have been in a completely fresh, sealed environment was muddied when I did it. Sometimes what I want comes into conflict with a higher power and they were banking on Rantaro Amami’s death being the hook for the episode.”

“So then Kaede’s shot put ball really missed…then why didn’t you kill all of us when we got the answer wrong? Simply f--for Television ratings?”

“I’m afraid the answer to that is yes. That is why everyone survived the sham trial. The fans would have completely revolted.”

“But maybe we’d be spared this revolting game continuing. Do you understand all of this is wrong?” Maki shot at them.

“Those are quite the harsh words from a professional killer. Though… maybe I shouldn’t say that, your backstory is fake after all.”

“So then… I didn’t spend all that time…” Maki muttered. That wouldn't stop all of it from feeling deeply real.

“No you did not. That is part of the Ultimate Real Fiction.” Kiyo explained. “It was put into your mind by the flashback lights, as Shuichi deduced. All of our lives were.”

“Being fundamentally changed into a completely different person with a completely different life… what kind of cruel person would force someone to-” Maki

“Forced to?” Kiyo asked quizzically. “No, I can assure you every one of you wanted this. Team Danganronpa takes all of your input very seriously.”

“Our… input?” Himiko asked.

Kiyo clapped their hands together. “Of course. Now I shall show you!”

The screen cut away from the faces of the fans and to some kind of tape. Shuichi Saihara stood in front of the camera. He spoke about how he loved Danganronpa and wanted to be a detective character.

He finished with “ And I’d do anything to be in danganronpa. I will come up with the best, most gruesome murders. Everyone would love it! And, a detective character hasn’t been the blackened yet, so I’m sure I could do that. I’m even thinking about the perfect punishment… for the ultimate detective.”

His glee was evident. Someone so against the killing right now had been one of the biggest fans ever, with a Junko like joy in thinking about how he would be punished as the culprit. It really was like before coming here he wasn’t the same person.

They even went so far as to play Kaede and Kaito’s revealing in part they had said things like “I don’t have any faith in humanity” and “I’m going to kill everyone and win.” respectively.

“So you see… none of us were the same. If you like how you are now then you may stay perhaps? Finish the fight of hope against despair. Or we, as friends, could all stay here?”

“No, we won’t do that.” Shuichi said, pointing dramatically. “Right guys? The only way to get through and win this. It’s to reject hope and despair. The very premise of Danganronpa.”

It was put up to a vote. Before that, the outside world had tried to argue Hope or Despair, reinforcing the choice. But the cast continued to refuse.

“We’ll end this with our own hands!”

It came and went. And… Everybody abstained.?

~~~~~~~~~~~~~~~~~

Kiibo flew out of the trial room, determined to end the entire killing game now no matter the cost. Everyone would finally be free. All he needed was to finish off this prison school with his upgrades. Rocket boosters made it easy to fly to the next part to blow up.

Down below him, the remaining survivors stood in the courtyard. Kiyo had stopped right before outside. Himiko stopped as soon as she noticed they weren’t running like the others. And those three stopped everything because their friend was endangering herself.

She approached them, which caused a curious head tilt. They had been waving before that moment. It should have been goodbye forever.

“I can’t… let it end like this. It shouldn’t end with you dying like Junko.”

“Why not? Do you not doubt my feelings? I’m just playing my part after all.”

“Your part, look… about that, listen.”

“And what a grand p-” It seemed like they wanted their final words to be some grandiose speech.

“We don’t have time, please.” She grabbed them by the hand, watching the school building collapse further as it became less able to hold its own weight with all the holes punched in each wall. Over her shoulder she pleaded with Maki to help move the obstinate murderer.

The rock above must have spurred Maki on. If she had done nothing, surely both of them would have been crushed. And as painful as it was to keep someone who worked for the captors around she wasn’t about to lose another friend after watching what had happened with Kaito and Kokichi getting themselves killed in that harebrained scheme.

If it ended like that, it felt like it was disrespecting their plan to stop the killing.

Maki also helped Himiko pull Kiyo away towards an opening that formed after Kiibo blew himself up to take the cage down with him. Four people crawled through, blinded by a bright expanse.

Birds chirped. Several voices could be heard shouting. It was time to go home.

~~~~~~~~~~~~~~~~~~~~~

The campus was in a bright field. In fact they could clearly see the ruined courtyard from where they all stood. The wall was broken down and so all that was left behind was the twisted, warped metal of their former cage and the buildings they had walked for the several months they were in a fictional world cut off from everything else.

The line separating the two worlds was broken. It was really that thin the whole time. And it reflected the true reality they found around them.

It was as unfamiliar as their memory of waking up inside what they had just left. Nobody but the mastermind retained any memory of ever being in this place.

They were led to a hallway by uniformed employees, many rooms lining each side of it. It looked exactly like the dorms that had been in the fictional hope’s peak. Save for the fact all the placards were for them: the survivors and the deceased.

If there was much spoken, Himiko didn’t pay attention to it. She didn’t know what to say, how to process much of it internally.

Korekiyo was much more aware and listened, chiming in hoping to be helpful in spite of the fact none of them would want their help.

The mastermind was almost always scripted to be killed, to be thoroughly and finally defeated by the hope of the students. It was in fact what they had agreed to happen. This class was very different. Shuichi and Kaito and Maki of course, but the whole time Himiko was special too.

And she didn’t remember why that was.

They had agreed in private at some point before the procedure to fully become their characters but after the first scene’s rehearsal that it would be terrible if only one of the two had to die. In the moment of escape there was a split second where Kiyo could swear a spark in her eyes indicating some kind of memory of this.

Was it an unspoken acknowledgement? They had to check. If she had really remembered something, then maybe there wasn’t a need to perform a routine as enemies. And they could be forgiven for what happened. At least, more easily so than if she did not recall what things were like leading up to the actual game.

After things settled down, Himiko and Kiyo privately met once again. Both were nervous.

“Himiko Yumeno. I… would like to ask you something.”

She didn’t look up, just sitting in the chair and debating whether or not she should be afraid of them. They could go back to being Sister at any point, and that would really freak her out.

“Go ahead.” the redhead muttered.

“Why did you save me?” Kiyo leaned forward trying to listen more closely.

“I don’t know. I… maybe it was a mistake letting you live. For some reason though I felt… like I had to.”

Maki, Shuichi, and Tsumugi certainly let her know how much of a mistake they thought it was. It didn’t feel good, even if the latter two tried their best to be polite about it.

“If it makes you feel any better I’m not sure how I feel about this either.”

“Do you… no, did you want to die Kiyo?”

“Yes. I was quite fine with it.” they held their tongue upon finishing, hesitating. That statement was not entirely true. They had accepted it, but part of them still felt bad that only she would get out of this if they had. And that was debatably the worst outcome. The other two options would have been preferable, and they got one of them!

“I… well you know how much I wanted to die in the killing game. How scared I was.”

“I knew how much you wanted to die before, from your audition.”

That reminded her. “Why didn’t you show any from mine then?”

“I…” Kiyo started, rubbing the back of their neck. “I was sure you would hate me even more than you already should if I showed it the way I did the others.”

“Can you show me it?” she perked up a little bit. Why were they so concerned about if she hated them? They certainly seemed willing to tell her all sorts of things even though they were enemies.

They nodded and produced a USB drive. They walked over to a laptop and put it in. “And if you don’t remember anything after this, I’ll tell you everything.”

“Promise?” she pleaded with them.

“Yes.” a small smile was hidden by their mask. Maybe being enemies wasn’t a forever thing.

#himikiyo #himikiyo week #himiko yumeno #korekiyo shinguji #danganronpa #danganronpa v3 #fanfic #writing #AU

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hecohansen31 · 4 years

Text

Rev Up Your Engines

Team Manager! Ivar x Team Manager! Reader

(A/N): Hello there, lovelies!

I did this small thing for @dreamwritesimagines‘ challenge (her fics are actually one of the first that I ever read and they are the ones that inspired me to start writing and be active in the ‘Vikings’ fandom).

I do hope you’ll like it and this might be a series (although after October I’ll stop writing other stories).

Also I just wanted to give you a few heads up since this is set up in a MotoGP AU:

FIM=the guys who check regulations and other stuff (give penalties and check the circuits).

There are three steps before qualifying (FP1, FP2, FP3) (which are basically free practice) and there there is qualifying and the race.

If you need anymore info, I am here.

If you liked this, please consider leaving me some feedback, either through a comment or a reblog, I’d just apprecciate to know if you like this kind of thing or would be interested in others.

Feedback makes us writers write faster, and our heats beat stronger!

Have a nice reading!

SUMMARY: Having a rival such as Ivarr can be the worst nightmare for many, even more for you, who seems to be his latest prey outside of the circuit.

WORDS: 5,5 K

WARNINGS: Bullying, Misogyny, Mention of Dementia and Herat Problems, Troubled Family.

Women in sports were only welcomed in two ways: silent or in bikinis.

And you weren’t in neither of the positions.

You were actually in the worst position for a woman in a sport like ‘MotoGP’.

You were the daughter of a stable owner, having inherited the whole stable after your father’s heart problems had obliged him to stay behind.

Your hands were already hands in the family business, operating through a more secluded area, mostly in the social media market, when your father had asked you to take care of his beloved stable, the thing that had always brought him away from you.

And you had taken it onto yourself.

Although you barely knew anything about the dangerous sport.

You had at first tried your best through informing about all the important things of the sport, although your researches had been mostly done by yourself, because the team wasn’t very cooperative, even more after you had shown your interest in the more practical side of it.

Everybody expected you just to sign checks and party with the pilots.

So, when you had suggested innovations to both the team and the bikes, you had been met with weirded out eyes and annoyed dismissals.

And you had to admit that the whole thing was heavy on you, who had never liked the whole biking panorama, mostly because although your father had been thoroughly a fan of it, you had grown with your mother, separated by a father that spent more time at the stables than at home and eventually this had brought your mother to exhaustion, making her run away when you were barely fifteen and you had been left to raise yourself on your own.

Still, ignoring your obvious disinterest, you had done everything in order to pass the winter tests and present yourself with a powerful team of mechanics and a duo of young but promising riders, coming to the first competition with hopes and expectations, just to get your idiotic riders to crash into each other.

And you had been greeted with the laughing of all the other teams on the team radio.

To say that you were displeased it was an euphemism and you had almost thought of seriously leaving the reigns of everything to the whole mechanic team, but eventually you had just tightened your teeth and got your idiotic riders to collaborate, through threats and small smiles.

And eventually you had set yourself to become fourth in the ‘constructors’ championship’, something that wasn’t bad, in the slightest, even more because your father, in the latest years, had always hung lower in the gradings…

… but as you had slowly started to raise in the motosport climate, you had soon understood that it wasn’t simply your own team who didn’t like your presence, but also others…

… more specifically the team that was in third place in the constructors’ championship: the Lothbrock.

It was also a family-established stable, the sons having inherited it from their father, but unlike you, they weren’t only an all-male group, but also they had stuck on the circuits for much more time than you, not only having more experience, but also having more complicity with the whole team.

Ragnar Lothbrock had created the team with the few money he had received from his own father, siding with a bigger stable, and eventually growing to fame and success as he gained slowly more and more freedom, which lead to him creating his own independent stable.

His sons had inherited it after his untimely death and if what their father had done was extraordinary, what they did was miraculous and extremely fulfilling, although they hadn’t yet won a championship, unlike their father.

Not to talk about the fact that Hvitserk, one of the youngest brothers, rode on the satellite team, ‘Lothbrock: The White Tire’.

They were highly competitive, even more because exactly like you, in their father’s late years they had lost much of the prestige for their own stables, although as of lately they had come to good places both in the riders’ championship and the constructors’.

All of this had been obtained under the lead of the youngest brother, Ivar, covering the same position as of you, in the team, setting himself apart from his brothers, and being the most competitive, although in a very non-sportive way.

And as of lately his focus had ended up on your own team.

Which was an obvious choice since you were the ones that were the closest to them and had one of your riders ended up on the podium the following week, you would have passed them, catching the third place.

So, flashforward to the following week, and right as you were partying for your first rider’s third place, champagne all over your clothes, you had been asked to follow the security to the commission, because that your rider’s podium was actually being discussed.

‘Your rider ended up on the green’ had tried to explain to the member of the staff, who had come to you to give you the bad news, as they passed you a piece of paper with a written complain.

Signed by the Lothbrocks.

‘I do know of that, but…’ you had shot back, already red from anger, as a few of the spokespeople of your team came near to you, trying to ease up with diplomacy the whole discourse ‘… he fucking got pushed by the Lothbrock driver’.

You knew perfectly that the rules required for the pilot who ended up on the green to lose a position, but at the same time the FIM had allowed your pilot to reach the podium with no complain.

And it was justified since the Lothbrock driver had basically thrown his front bike against your own, without any solicited contact.

Which had made them end up in the green.

They should be actually the one under investigation for having irresponsible driving.

‘… we are sorry, but you’ll still need to come to the headquarters immediately’.

But you had had to take a bit of time to scream in a bag, not wanting to ruin your riders’ party, and once you were halfway done with your breakdown, Cameron, your head of the mechanics, came to you and tried to calm you down, explaining that you hadn’t any fault in this.

‘I just fucking hate Ivar Lothbrock’ you had muttered, as you swiftly changed your dirtied team-shirt with a new one, in order not to give to your mortal enemy any reason to doubt you or challenge you, at the meeting ‘… why do you have to fucking try every dirty trick in the book, when you could spend the same time getting your fucking bike to be better?’.

‘We don’t all get a team manager with a brain’ had commented the man, softly smiling at you, because there wasn’t much he could do, in such a situation.

But you’d definitely report the incorrect behavior of the stables to the FIM.

‘… just breath calmly’ Cameron had then suggested softly ‘… don’t attack him and don’t lower yourself to his dirty tricks. We know we weren’t at fault for doing that, the FIM ruled it out, they are just being annoying’.

‘… more like assholes’ you uttered under your breath.

But in the end, there wasn’t much you could do, except being calm and talk quietly in order to get the FIM to realize that the Lothbrocks’ pretenses were solely abusing their time.

But as you stepped in, facing Ivar Lothbrock’s annoying arrogant smirk, you were halfway through having a hard time stopping yourself from hitting him square in the face.

‘… you were making us wait’ he simply commented almost as a justification for his shit face, as he crossed his arms over his chest, already plopped in his chair meanwhile behind him stood his older brother, Ubbe, looking as happy to be there as you.

‘… sorry your Majesty’ you muttered, gaining an harsh look from the team manager, although it was laced with surprise, because as soon you’d catch him looking at you or trying to stir up a fight, you’d back off, ignoring him.

He wasn’t used to you answering him.

‘… I was partying with my pilot’ you added just for the extra burn.

‘Congrats…’ he uttered, as impressed with you as he was with the dirt beneath his nails.

‘Gentleman and…’ the FIM inspector assigned to your case recalled you order “… lady”.

You sat down, keeping your gaze on whatever was in front of you, not wanting to give Ivar the satisfaction of even letting him bother you.

‘… Mrs. (L/N), you have already received a preview of why we have asked you to come here, but I’d like to explain it to you again’.

Oh Gosh, didn’t you love some ‘mansplaining’?

As if you hadn’t read the regulations yourself, consulting yourself with your own pilots and a team of experts.

‘I do know that it is against the rules to go through the green side, and that if a pilot do end up on it on the last lap, they lose a position…’ you retorted quickly, not wanting to lose any ground you stood on ‘… but my pilot didn’t go on the green, he was pushed in it… by Mr. Lothbrock’s pilot. You can obviously see it…”.

“That’s a whole other process” commented harshly the FIM inspector, sending you a glare that said clearly to stick to what you knew and not interfere with this.

But you were fucking pissed.

Even more when Ivar looked like he was extremely pleased with the FIM inspector’s behavior

“It isn’t a completely different process, but…” you tried to protest “… it is easy actually: hadn’t my pilot been pushed he wouldn’t have been thrown on the green. You didn’t rule him out of the third place after the race was finished, why would you do it now?”.

Because it was Ivar who protested.

And because you were an easy prey.

You were the one thing man like the FIM inspector didn’t want between their feet: a woman.

One in power and with many questions.

You could seem completely paranoid.

But had the same thing happened to Ivar, none of these questions would have been sent his way.

“My pilot was trying to overtake yours, the push was accidental” commented Ivar, probably because he had felt like he had been called out by your words, sending the FIM investigator an innocent look as if to say ‘you are crazy if you thought I did it on purpose’.

“… even if it was…” your whole tone seemed completely disbelieving of Ivar’s affirmation “… my pilot didn’t go on the green on purpose”.

“But he ended up on it” muttered the FIM inspector, something that you couldn’t deny, since the cameras of the stewards had caught “… and we have to be stricter with these rules, many have been daring more and more… and it won’t take much before this sport will end up being dangerous than it needs to be”.

“… it has already happened and you weren’t as severe with it as with me, although the pilots used it to their advantage” you muttered, feeling some kind of desperation cursing through you “…in moto 2, there was a similar thing happening and Martin, who went on his own in the green, wasn’t penalized”.

The whole situation was starting to be unbelievable and very much heavy on you, not solely for the fact that being diminished by the inspector in front of everybody was pretty humiliating (and to add something to it, the whole act being witnessed by a smirking Ivar Lothbrock didn’t help) but you couldn’t help but be heartbroken solely at the thought of letting your pilots know that they’d have to step down the podium.

Many would have thought it was a simple sacrifice, but they didn’t know the competition between all the pilots, but also all the sacrifices they made on their own to train to be the best of the best.

“… it’s moto 2” it didn’t seem in the slightest a justification to you, but you had noticed that fighting didn’t help, and neither did calm words or retorting ones “… we’ll announce it, tonight, this way you’ll be able to warn your pilots, and he’ll have to give back the trophy…”.

You had to say that your mind had zeroed after that affirmation, as your eyes found the satisfied ones of Ivar, slowly pushing himself up to talk with his older brother, Ubbe, probably expressing to him his happiness at having managed to make your stable keep your previous position.

Fourth, behind them.

But worse, you felt like a child being reprimanded in front of somebody that you hated.

An embarrassed shade of red coated your cheeks, but you endured it, making a mental note to require another FIM inspector to analyze the case, preferably not a misogynistic idiot.

After the reunion was over the FIM inspector dismissed you and Ivar.

The man immediately raised himself up a bit slowly, to set himself up on his crutches, helped by his brother, although he looked annoyed by the unwanted help.

He had been born with a genetic problem that made the bones in his legs brittle, a big disappointment for a father that had not only been a biker, but also had pushed his sons in the game as soon as they could walk.

So, part of you knew and understood Ivar’s bitterness and his desperate desire to prove his late father wrong, expanding his legacy.

You knew yourself how heavily a dynasty could hang on a child’s shoulder,

But this didn’t allow him to fucking destroy you to simply build yourself up.

You stood after him a few seconds later, seeing and witnessing his strength as he pushed himself on the braces and crutches he wore and trying to still your whole body so it wouldn’t tremble from rage once you got up.

You had to admit that Ivar was as beautiful as he was cunning and you weren’t surprised to know that the whole Lothbrock clan had admirers everywhere, having become a meme on the net, almost like a band with their own groupies.

He had beautiful tormented blue eyes, something that was common among the brothers, but his were definitely the most gorgeous, hauntingly active, unlike Ubbe’s matching glance, annoyed and tight, polite but in no way as firey as Ivar.

You would have loved to have him as a competitor.

But not this way.

And this was enough for you to raise yourself, as you strutted out, having a pilot to inform and a few interesting things to say to the journalists, who had already started filling your own stand.

But before you could do anything, Ivar’s hand shot out to you, hooking itself on your wrist, something that made you turn around extremely fast, hitting the man on the hand which held your hand, the grip loosening itself as he made a few steps backwards.

Probably because you looked like you could have burned him alive, on the spot.

“… I just…” whatever evil thing he wanted to say seemed stuck on his tongue.

“I have a pilot to inform” you muttered immediately, as you exited his grip and moved to turn around, just to have a brilliant idea and turning around for the last word.

Because he might have won the battle...

… but he hadn’t won the war yet.

“I fucking work with my team, instead of using dirty tricks for my own bidding”.

You had many times accused Ivar of using ‘dirty tricks’, but everytime it had been concealed between nice and soft words, the ones you used with the press, avoiding cursing and smirking the whole time to make the accusals seem more a joke.

You almost expected Ivar to reply something mean as you exited the building, but he simply looked like he had lost any ability to talk, his brother behind him having to shake him lightly to get him to react and right when he opened his mouth again to speak, you were gone.

It was better not to waste your words on a crook.

The news of your pilot being dropped from second to third place had been the scandal of the whole following week, which you had spent in a small island in Greece to relax a bit, you had come back home to journalists storming your house.

‘I can’t make any comments’ because you had been warned not to, since a second investigation was in place, although Christian, your first pilot, had had to already give back the trophy already ‘… we’ll see and I am hopeful that the right choices will be made’.

Which meant that you hoped the Lothbrock would push back the appeal.

They had also been stormed with journalists and attack.

Although the FIM inspector hadn’t had much interest for your version, the media had been actually very interested in hearing your own side of the story, alongside the fact that the audience cheered for your squad since it was ‘a true underdog story’.

You had built a team from scratch after years of failures and you were swiftly raising to the Olympus of bikes.

Ivar’s reply had been the same of yours, just shorter and colder, and the Lothbrocks had chosen to make him disappear from the latest posts on their social medias, instead pushing forwards his brother, who had been scoring a lot of points in the latest race, although the satellite team was much slower than the official squad.

But it was a win.

And it had made you regain the strength to face Ivar again the following week.

But you had had another big storm coming for you.

Your own father.

You had a complex relationship to your father: you obviously loved him, but you knew the feelings weren’t reciprocated

Your father hadn’t ever made you miss anything, except love.

You knew it could be worse, but to this day you found it difficult to face your father.

Even more when it happened in front of your mortal enemy.

Your father had been already in the stables when you had arrived, after releasing an official message about the sanction you had been undergoing for the last race’s ending.

He had been talking with your engineers, as you entered, everybody looking as uncomfortable as you, exchanging small talk with the man, although he immediately pushed for more information on the technical side of stuff.

Your pilots looked bewildered and with an annoyed smirk you simply tried to catch your father’s attention, to bring him away from the garage, this way the engineers could work in peace.

But you didn’t arrive halfway through the box that he was already vocally attacking you.

“Where the fuck are Trenner and Lobon?” asked your father, as you grimaced.

“… you have actually fired them two years ago” you muttered.

Your father’s heart problems hadn’t been the only reason why it had been suggested to him to slow down, but he had started showing signs of dementia.

He had forgotten your name the day you had come to visit him in the hospital and even worse, he had asked the names of pilots that had been in your stables, years ago.

“… I shouldn’t have…” he looked shocked as he always did when you revealed to him that he had forgotten something, which you did graciously, having discussed with his doctor about the trauma that acting like that might cause him “… do you think they are still on the market?”.

“They are retired, dad” again, calm tone and sweet words “… but what are you doing here? You should be at home, relaxing”.

“I heard the shit the Lothbrock threw on us” Gosh, you should have told his nurse to stop letting him see TV, even more the sport section “… what the fuck have you been doing in my stables?”.

His disappointment hung heavily on you and it stole your breath for a minute, but you regained your coolness immediately.

“I have been trying to do my best and we have reached new heights” again your tone was attentive and careful, slow and peaceful, but the end of it had an exasperated note and your father sent you an annoyed look.

He was clearly thinking that you were an undisciplined child.

Not that the undisciplined child was actually him.

“… the Lothbrocks have been playing dirty” you said it with your voice on low, since the garage next to you were the Lothbrocks’ ones, and you knew that many eyes were set on you “… I have the medias on my side, don’t worry dad”.

“Instead I fucking worry!” now the attention was definitely on you.

And with the side of your eye you noticed that Ivar was coming up right now, an earpiece in his hands showing that he hadn’t been aware of the convo till right now.

You tried to usher your father, lightly pushing him away to try to bring him away from all this attention.

“Too much of anything, you never know how to quit” uttered your father loudly, again, but he lost the second part of the discourse, lightly, his eyes shifting on Ivar who was suddenly close to you, probably trying to get pass the crowd of journalists.

Stealing a bit more of info and trying to pass unnoticed.

But your father’s eyes caught onto him quickly.

Changing completely attitude as he approached the man.

Although now you couldn’t deny that Ivar now, up closer, and under your father’s watchful gaze looked much younger than you had perceived him.

And definitely blushier.

“Lothbrock, fuck you are grown” commented your father, as you gently tried to catch his hand, playing the devout daughter’s part, as you tried to get him to shift away from Ivar.

Nobody knew about your father’s dementia and you tried to keep it away from the flashes of paparazzi, since it’d get many investors to back off and you needed them for at least this season.

Then had you proved your worth, you could have handled your father’s dementia publicly.

“… Mr (L/N)” Ivar called out to your father, smiling brightly although it was obvious he’d like to continue his trip “… it’s nice to see you again, we thought about you…”.

“Don’t bullshit me, boy” you hated your father’s presence, but you had to admit that seeing Ivar back off from his usual arrogant attitude was a bonus “… I know you fucking took advantage of it, but I am back to fucking stay”.

You stopped yourself from rushing your eyes to sky because if there was one place your father would go to immediately after this conversation, would be the medical center.

His heart was still weak, and he would just bother the mechanics.

And his demeaning behavior made you extremely uncomfortable.

You hadn’t had to take on his stables, after his sickness had made it impossible for him to handle it firsthand.

You had accepted because you thought it’d make him happy and proud of you.

But now his disappointment was heavy on you.

You weren’t certainly the best, but it had been years since the team had been stuck in the midfield and you were slowly bringing yourself to exit it, coming towards the fourth and third place.

If you couldn’t obtain his appreciation and respect through doing this, there wasn’t much you could do.

“… tell your father… tell Ragnar, that we are coming for the podium this time” your eyes opened completely, and you couldn’t deny that your hands started shaking, at your father’s obvious show of his lacking health.

You rushed to try to cover his phrase, but Ivar smiled softly at the man, something that you had to admit didn’t make him look like some kind of dangerous snake anymore and you smirked softly at that, returning the smile, with no intention to.

“… I’ll tell him, but we won’t let it go that easily” his voice was full of playful competition and you wondered where the heck was this guy when you were fighting for the podium, instead of the spiteful athlete you had been meeting constantly “… have a nice day, Mr. (L/N) and (Y/N)”.

And then he moved off, making you aware that he hadn’t ever said your name, till now.

And it sounded strangely so beautifully from his lips.

“That fucking wanker” commented your father as he went away, right as you remembered the assholish behavior he had always had with you.

And that now he knew about your father.

Shit.

Fucking shit.

You had been basically just laying face down on your hotel bed since you had come back.

Your father had been actually joined by his nurse, after you had found him in the paddock, and they’d be staying just for the qualifying set-ups and then see the game from home, since you didn’t want to have to worry about him and the pilots, at the same time.

He had actually gotten to know them and being surrounded by the whole atmosphere had helped calm him down, alongside his nurse knowing how to deal with him.

The entire situation still managed to make you worry, but you had been able to focus on FP1 and FP2.

FP3 and qualifying looked like they’d be stressing, but you had just received the news that the problematic of the previous race had been resolved with a win for you, and soon your pilot would be having back his trophy, and your team would regain the point.

You were officially back on top of the Lothbrocks.

And strangely you hadn’t heard anything from them.

Which was worrying.

Even more now that Ivar had officially witnessed your father’s conditions.

You were already expecting a sanction of having made him come in the garage although he wasn’t on the list of the people allowed inside of it.

So, you were just waiting and trying to ease all the anxiety in your body.

There were so many things that could go wrong.

So, you weren’t surprised when you heard a knocking on the door.

You were surprised when it turned out to be Ivar Lothbrock.

Your first reaction was to almost slam the door, but you held it quickly, knowing perfectly that there were many journalists in the same hotel and it was already scandalous that your open rival was visiting you.

Outside of the paddock.

“What do you want?” it wasn’t laced with annoyance but genuine curiousness, because you couldn’t find many reasons why Ivar would be here.

If he wanted to complain about the fact that you had gained the upper hand in the investigation, he could have reported it to the FIM, not to you.

“… were all the FIM investigators finished?” you muttered, now true sarcasm in your eyes “… and they decided to send you for some fucking idiotic claim, again”.

“I actually came here to apologize” the words seemed to burn on his tongue.

And you were again startled by the fact that he had just done something that you never thought you’d see him doing.

“… what?” you asked, sure of not having heard right.

“I didn’t realize that my behavior towards you was this offensive…” you didn’t understand the change of heart, hence you regarded Ivar as a dangerous beast ready to eat you up, had you lowered your attention “… I might have exaggerated”.

“Erase the ‘might’ “you weren’t able to stop yourself from the pure sarcasm in your reply.

“I have exaggerated my competitiveness against you”.

You didn’t honestly know what to say, simply settling up on torturing your bottom lip, as you bit it to try to keep your face in a calm expression, although you didn’t know whether you should be careful with what you said, assuming this was some kind of proof.

Or you should have just laughed at his face.

Either ways seemed very tempting.

“… I just came here to apologize” he repeated shooting you a look as if to understand your expression, probably because he expected it to be some kind of relief.

You blessing him with accepting his apologies.

“I don’t care” it was the words that you found more fitting for the entire thing “… I can’t even believe you”.

Ivar looked, in that moment, like he might have eaten the sourest of fruits that he was ever given, and he lightly bit off his own bottom lip, before lightly swiping his finger across it and nodding his head.

“… I understand it” he didn’t seem to, but you didn’t say anything more “… I just thought that I’d try my luck”.

“… and I hope that you won’t say anything about my father” you knew that uttering out what you just said might have been dangerous but Ivar looked like he was under a train because you hadn’t accepted his apologies.

“Don’t worry, in the slightest” he replied, raising his hand in front of himself “… I don’t mean to tell anybody”.

Which reassured you greatly, although you didn’t trust Ivar fully.

And you were halfway through pushing the door in his face, when he continued on talking.

“… I actually…” he looked as uncomfortable as you, but strangely you couldn’t bring yourself to close the door in his face.

It must have been because of those puppy dog blue eyes.

“… when did it start?”.

“The heart problems started it” the doctors had also explained to you that your father had been undergoing a rather stressful period that had brought both the problems to speed up during the years, eventually destroying both his heart and mind.

“Shit” muttered Ivar, and you honestly didn’t understand why he wanted to talk about this.

Was he seriously thinking of gaining as much info as he could and then sell you over to the medias?

Because it would have just resulted in a loss for him.

“… yeah, we are in big shit” you repeated “… I am trying to keep it hidden from the investors, since I know they wouldn’t trust my lead”.

Again, that light bite of lips and Ivar lowered his eyes to his feet, something that convinced you that maybe just maybe… he was hiding his own emotions.

“… when my dad died, the investors all left us and went to Lagertha’s side, we almost had to sell it to her” commented Ivar and you couldn’t help but be surprised, because the Lothbrocks had always been one of the best stables, both for the money and for the pilots.

You did know that Lagertha’s stables, ‘The Shieldmaiden’, their rivals, had been having quite the fight with the Lothbrocks, but you hadn’t ever thought it was rooted that far.

And this time you weren’t able to keep your face straight and Ivar probably recognized the surprise on your face.

“… it was all over the magazines”.

“I don’t read that shit” you had stopped since they had critiqued you.

You didn’t want to be held back by critiques or false information about your private life, in your work.

You had always grown up with the constant pressure of what others would say about you, because you were your father’s daughter and now that you had to come onto your own reputation, you would have done everything in your power to build it.

Instead of listening to what others created.

“I might have been wrong about you” commented Ivar, and you couldn’t deny that strangely it seemed almost like a compliment, on the mouth of the arrogant boy.

“Did you peg me for some kind of vain spoiled brat?” and strangely a smile came onto your face.

Becoming even bigger when Ivar blushed lightly.

“… I left out the ‘spoiled’ part out”.

You couldn’t stop the laugh on your lips.

“Well, I still think that you are an entitled asshole”.

“You are not the first one to think that for sure”.

And before you knew it you were both laughing loudly.

Enough to attract a few fellow guests of the hotel that sent you annoyed looks.

Something that made you move closer to hide yourself behind the door.

Although your exchange with Ivar was completely innocent, you knew that the press would have turned it all around.

“… I know this might be… I know that you might have better things to do than listen to an entitled prick…”.

“I said ‘asshole’ “ you shot back, as Ivar’s severe face turned into a smirk.

“… ok sorry… but would you like to come and take out a coffee? It’s on me for last Sunday’s dirty trick”.

You breathed out heavily.

Everything in you itched to reply a happy ‘yes’, but your whole body wanted for you to be attentive and to act in the best way possible.

Because what Ivar proposed might have been a dangerous trap.

But you were just exhausted from acting like you had a broom up your ass.

And you had to admit that you felt like Ivar probably felt the same.

He had clearly opened about the problematics after his father’s death.

And in case it was a coffee less to bother about.

“… I am coming but just know that my bed is very comfy, so if you are annoying… I’ll just ditch you for it”.

“Ok, you are definitely a spoiled brat”.

---

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ladyherenya · 4 years

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My favourite thing this year has been the Korean drama Crash Landing on You (2019-20).

It has something of a ridiculous title (I’ve ended up calling it Crash Landing or sometimes just Crash). But, to be fair, North and South was already taken.

“I can go to Africa and even Antarctica but not here. It’s a shame that you live here.” “It’s a shame that you live there.” -- episode three

To my great amusement, every month or so, Netflix has sent me an email that’s said: “Don’t forget to finish Crash Landing on You” or “Remember this? Watch it again: Crash Landing on You” or “Rewatch your favourite moments - Watch it again: Crash Landing on You…”

And I’m like: NETFLIX! Seriously, WHAT do you THINK I’M DOING?

I have now watched Crash Landing on You five times.

There are several reasons for this:

I successfully dragged other family members down this particular rabbit hole, and in a pandemic season, when things have been unpredictable (or cancelled), rewatching Crash Landing has been an appealing and comfortably-familiar distraction, as well as the source of many, many long, analytical fandom-y conversations, which has been fun.

I needed to watch it more than once to straighten out all the pieces of the story in my head. With 16 episodes, each over an hour long, it’s one of the longest stories I’ve ever watched. I’ve seen other TV series with more episodes, but nearly all have been much more episodic, rather than telling one continuous story.

I kept noticing details that I’d previously missed because I’d been focused on the subtitles or that I hadn’t properly understood some cultural nuance. And some things are ambiguous in translation -- in a good way, a fodder-for-discussion way.

I have ALWAYS rewatched (or reread) my favourite stories. And Crash Landing fits right in with those. Someone in my family described it as: “Like Lord of the Rings on steroids!” However, I think it actually has far more in common -- visually and thematically, and also in terms of my willingness to discuss the characters as if they were real people -- with my favourite historical dramas.

In terms of story, Crash Landing is easy enough to summarise: A South Korean businesswoman is paragliding when a freak storm blows her across the border; she’s discovered by a North Korean captain, who hides her and helps her get home.

But I’m going to need more words to explain why I fell in love with it.

It is fascinating and, first time round, tense and unpredictable. It’s funny and very meta -- very aware of the tropes it’s playing with and of parallels and contrasts within the story. It’s visually and aesthetically pleasing, and the soundtrack grew on me.

There are a number of coincidences and a few ridiculous fight scenes, but the emotions are intensely real and so are the consequences. It has camaraderie and found-family and thoughtfully-complicated family relationships. There are characters I love, and characters who surprised me, and so much time given to character development! It’s romantic. There’s a fake engagement (a favourite trope of mine) and while I’m not a fan of love triangles, I liked how this quadrangle-tangle is handled. And the obstacles to the romance are satisfyingly realistic; characters have sensible reasons for the choices they make.

I love how the story uses flashbacks, particularly the post-credit scenes.

The final episode isn’t perfect, but given that a perfectly happy ending would, realistically, require the reunification of north and south, I thought it came very close.

Let me elaborate.

Cut for sheer verbosity, rather than spoilers. (I’m not allowing myself to list spoiler-ish examples or dive into analysing my favourite scenes, because then I wouldn’t just be here all night, I’d be here all week).

⬦ Fascinating, tense, unpredictable: I knew almost nothing about life in North Korea, so that was fascinating and made the story harder to predict, as I couldn’t anticipate what options the characters had or what obstacles might arise. And that isn’t the only reason I found it tense -- at different times, different characters are greatly at risk if discovered; there are occasions when characters are in danger of physical violence or are injured; and they have a couple of dilemmas to which there are just not easy solutions (See also: Obstacles for romance).

While I’m on the subject of the setting, although I cannot judge how accurate this portrayal of the north was, it’s portrayal of people as people was incredibly convincing. It’s a society where people have differences in personality and in circumstances. There are orphans begging in the market, people who can afford to stay in fancy hotels -- and a lot of people somewhere in between. In the military village, people have varying attitudes, tastes in clothes, privileges, standards of living, etc. Their lifestyle differs from that in Pyongyang, and also in other parts of the country. Amongst the military, some men are compassionate, some are corrupt and some are not obviously one or the other.

Moreover, it’s clear that corruption and villainy isn’t just in the north. In the south, as in the north, we see a range of humanity -- selfishness, good friends, complicated families, happy marriages, criminal behaviour, and so on.

I’ve read an article or two suggesting that the least realistic aspect is Ri Jeong Hyeok being such a sympathetic and honourable officer. I think it’s interesting that he clearly isn’t a typical captain -- he wanted a different career, he’s spent time studying overseas (in a democratic country), and, perhaps most importantly, his father’s position gives him protection from pressures many others face. He has the privilege of being able to afford to act with integrity, and of encouraging such behaviour in the men he leads.

⬦ Humour and meta: I’ve included these two together, because so much of the story’s self-awareness and intertextuality is humorous. I am very amused by so many things -- the village women’s interactions, Se-ri’s wit and banter, Jeong Hyeok’s facial expressions, the duckling's reactions, the way Ju Meok keeps comparing things to South Korean dramas:

Ju Meok: “I haven’t seen any drama characters that don’t fall in love in that situation. That’s how they all fall in love.”

(Because my knowledge of Korean drama is limited, there are a few cameos and references which I suspect would be amusing if one was in the know. The exception is the taxi driver singing, who was funny even without recognising the actor.)

I love the commentary that comes from all the moments when other characters witness the unfolding romance. Others’ reactions are often memorably hilarious -- some of my favouritest scenes fall into this category. (The customs officer! Jeong Hyeok’s dad!) They introduce humour and self-awareness into these moments, allowing the story to acknowledge “Yeah, we know these two are being ridiculous/sappy/emotional”. These moments reveal people’s attitudes towards displays of affection, particularly in the north, and their different attitudes towards Se-ri and Jeong Hyeok’s relationship.

And as their relationship changes, Se-ri and Jeong Hyeok’s awareness of being watched and commented upon changes, too.

Which leads me to…

⬦ Contrasts and parallels: So many scenes which echo/parallel earlier scenes. Most obviously, this allows the story to compare and contrast the north and south, but it also shows changes in time, differences between characters, and differences in relationships too. Sometimes all at once!

It means some plot developments weren’t totally unexpected -- it was Oh, of COURSE, we’re going to now see that character in this situation! or OBVIOUSLY we now have to see what this is like in the south!

But I thought it was really effective storytelling and I so much enjoyed spotting and analysing these moments.

⬦ Yoon Se-ri and Ri Jeong Hyeok: These two are the heart of the story and there are so many things I love about them. Like how, even though Se-ri is dependent upon Jeong Hyeok to hide and help her -- even though they’re initially hesitant about a romantic relationship -- they quickly become very protective of each other. Often to the point of willingly risking their own safety. Often to the point of exasperating the other. It’s great.

That’s not the only thing they discover they have in common. They share some interests. They’re both highly intelligent, driven, successful leaders (he’s a captain, she’s a CEO) who are very private, lonely people carrying around grief about their family and their past. Neither of them likes to reveal their emotions -- he tries to conceal his by suppressing his facial expressions and avoiding answering questions, while Se-ri hides behind play-acting.

I like watching Se-ri trying to get to know Jeong Hyeok. She isn’t deterred by his silences (unlike someone else) and she keeps the conversation going even when he doesn’t respond. She watches him closely, and says or does things to provoke a reaction. Poke, poke, poke.

And the time they spend together is really revealing. They share meals, they share a house. They see how the other responds under pressure, but also in various social and domestic situations. They see each other in a range of moods: calm, happy, grumpy, scared, tired, upset, unwell. Crash Landing takes advantage of spending sixteen episodes with these characters. Going through so many different experiences together, they learn a lot about each other -- about each other’s values, tastes and temperament -- and this means the audience gets a deeper, more nuanced understanding of who they are, too.

Se-ri and Jeong Hyeok are also well-matched in how they show they appreciate each other -- she delights in giving presents, and he is quick to notice things Se-ri might need or like.

And it’s very satisfying when they open up, or when they cry in front of each other, because you know that they don’t do this lightly or easily.

⬦ Obstacles for romance, love triangle quadrangle-tangle: I appreciate that the obstacles in this story are not contrived or fueled by needless misunderstandings. Se-ri and Jeong Hyeok have really solid, sensible reasons to be hesitant to first recognise, then admit to, and then act upon, a romantic attraction. Even once they realise that getting Se-ri home is going to take longer than they’d hoped and she’s pretending to be Jeong Hyeok’s fiancée, romance between them is still a road that leads nowhere. She isn’t safe staying in the north and he would endanger his family if he defected to the south, and they both accept that. And they’re reticent about sharing vulnerable feelings, and Jeong Hyeok is actually engaged to someone else.

But once they really open up to each other, the narrative conflict revolves around their circumstances, rather than doubts or misunderstandings they have about each other. Because the situations they face are dangerous and difficult, with no obvious or straightforward path to a happy ending, there’s quite enough tension to drive the story forward. They still have a couple of misunderstandings, but I like how they handle those, and I like that they don’t have more of them.

As for the love triangle, it doesn’t have the angst of someone torn between, or even attracted to, two people. Jeong Hyeok’s engagement has been arranged. Having feelings for someone else doesn’t change the foundation of that engagement, nor the pressure to please his family. He doesn’t love or know his fiancée -- not well enough to risk revealing Se-ri’s true identity to her. He’s honest with Se-ri and he makes an effort with Dan.

(I have a theory that, if he had been in love before, he might be quicker to recognise how some of his behaviour towards Se-ri fosters intimacy and sends her messages he doesn’t intend, but this is all new for him.)

He tries not to mislead or hurt Dan, but she’s hurt nonetheless, and I like that Crash Landing doesn’t gloss over that. It explores why she’s hurt, why she’s so reluctant to let him go and why their relationship never really worked. (Neither of them are good at communicating with each other, and I think she takes some of the things he does for her for granted, rather than recognising them as overtures and as opportunities to get to know him better.)

Dan is not just a romantic rival, nor a narrative complication, but a person whose concerns and desire are taken seriously, and who is given space to grow.

Which leads me to...

⬦ Surprising characters, thoughtfully-complicated family relationships: As mentioned, Crash Landing takes advantage of the amount of character development 16 episodes allows, and not just for its lead couple. I was surprised by how much my opinion of certain characters changed, as I came to understand them better.

The character I was most surprised by was Gu Seung-jun.

Each time I’ve watched this, I’ve liked Dan more. I have a lot of sympathy for her now. I also like her mother, even though she’s embarrassingly over the top, because she cares fiercely about her daughter and about advocating for her.

Se-ri’s dysfunctional family are more nuanced than I expected, too. In particular, I love the attention the story gives to Se-ri’s relationship with her step-mother. I was expecting Se-ri’s father to play a larger role, perhaps because he’s nominally the one with the power and influence, and at first Se-ri’s mother seems so passive. But it was really interesting to understand where she’s coming from, why her relationship with Se-ri is broken and sad. The steps the two of them take towards rebuilding their relationship are believable.

(On a related thought, I appreciate a lot of the choices this makes in addressing these women’s mental health struggles. One or two moments arguably could have been handled better, but on the whole it’s realistically optimistic, with enough detail so that we understand the seriousness -- the impact it’s had on these women’s lives.)

⬦ Camaraderie, found family and the ducklings: Se-ri doesn’t spend as much time with the village women as she does with Jeong Hyeok and his soldiers, and when she does, she’s play-acting, in order to keep her identity a secret. But I like how they nevertheless support her, and how meeting her sparks change their dynamic with each other. They grow closer and become much better at supporting each other. It’s really heartwarming.

We gave many of the characters codenames, so we could discuss them when we were still learning their names. (I was surprised by how long it took me to learn some of the characters’ names. Because so many were unfamiliar to me, they were harder to remember; I wasn’t always sure, from just reading the subtitles, how all of them were pronounced, and sometimes it was hard to separate the sound of the names from surrounding sentences, especially when, due to honorifics and titles and so on, subtitles don’t always match exactly what is being said.) Jeong Hyeok’s men are “the ducklings”, inspired by something I saw on Tumblr: Gwang Beom is “Handsome Duckling”, Ju Meok is “Drama Duckling” and Chi Su is just the sergeant.) I love how they function as a found-family, especially in contrast to Se-ri’s real family. They’re funny, loyal and caring, and in spite of their different personalities, work well together as a team. I enjoyed seeing the different relationships they have with each other, with Jeong Hyeok and Se-ri, and how some of those relationships change. And they’re so protective they are of Eun Dong!

Man Bok has an interesting arc -- I could have mentioned him under Surprising characters. I really like how he fits into this story, how he’s connected to the mystery Jeong Hyeok is investigating, how he becomes involved with the rest of the characters and has these moments when he plays a significant role. Or gets to be funny. I like the contrast and parallels too -- he’s in a different place in his life to the ducklings, and he gets opportunities to revisit past choices he regrets.

And I’m trying not to write essays about all the characters, and it’s ahhh, I have too many thoughts and feelings about them all!

⬦ Satisfyingly realistic: I like how -- one or two ridiculous fight scenes and an unrealistic paragliding scene aside -- things which happen have believable consequences. Particularly emotionally. We see men cry! A lot! And it always feels like a genuine expression of emotion, not gratuitous or overwrought. (Well, okay, there’s a very minor character who’s a bit over the top but he’s very minor.)

When one of the characters is gravely ill, she looks it, I found it oddly satisfying that she doesn’t have to be pretty all the time.

And I wasn’t sure if this belonged here or under “Visual details” but I love the attention given to Se-ri’s clothes. She cares a lot about fashion and in the north her clothing choices indicate that she cares a lot about her appearance, while making do with a limited wardrobe and still dressing for warmth. (I’m happy to handwave that she seems to have more clothes than would realistically fit in those shopping bags.) I appreciated the practical streak, and, as winter wore on here, became envious of one of her outfits.

I don’t personally like the style of Se-ri chooses for work, but it’s different it is from what she wore in the north and from what she wears at home -- her power-dressing is like a uniform or a statement of persona she projects in her working life, and not necessarily a reflection of her personal tastes.

⬦ Visual details: I love so many of the visuals. Gorgeous scenery, interesting settings and clever framing for significant scenes. The sky, a place without borders, often becomes a focus and there’s a thematically-relevant flight motif -- paragliders, birds and kites.

I did not start noticing the product placement until a rewatch, when I stopped to think about how often they went to Subway. The first time, it just seemed like a commentary on south-versus-north, and then I was just baffled-yet-amused by it all. (That sort of thing does not make me want to eat fried chicken...)

⬦ Soundtrack: The first time round, I liked the instrumental score and the presence of piano music actually in the story. As I kept rewatching, the rest of the soundtrack slowly but steadily grew on me, and I found myself liking the songs more and more.

Now I not only recognise them by name, I can recall most of them well enough to hum them and know which scenes they’re associated with. Which is a lot harder when the lyrics are in a language I don’t speak and so I can’t use them as a prompt for memory.

⬦ Flashbacks: Instead of “previously-on” segments, Crash Landing employs lots of flashbacks whenever it wants to remind the audience of something.

Sometimes, instead of just repeating part of an earlier scene, it takes the opportunity to show the same moment from different angles or from a different character’s perspective, or to juxtapose it with a different scene or to introduce new information. This was really effective. And when flashbacks were a simple repeat, I was usually happy to revisit important moments in the story (and sometimes, having a different person translating the subtitles meant there was a slightly different perspective on the dialogue).

Then there are the post-credit flashbacks, quite a few of which take places years earlier. I love how they’re puzzle pieces about the characters’ pasts and the connections between them.

⬦ The end: The first time round, after watching the penultimate episode I was so engrossed in the story and so invested in the characters that I had trouble sleeping and I went around the next day with this tight, anxious feeling, unable to get the story out of my head.

The final episode is an emotional rollercoaster. SO. MANY. FEELINGS. There’s one particular scene which packs a powerful punch -- it’s exceptionally emotional and beautifully filmed. I love it, but I’m glad we get the aftermath too.

It isn’t a perfect ending, but as I said, I don’t think there was a perfect ending was possible, not one that was both realistic and satisfying. But this comes very close. In the very final scenes, not everything is resolved or explained, and I like how that ambiguity is open to interpretation -- I like that there are some gaps for the viewer to fill in for oneself, however one prefers to imagine the characters’ lives going forward.

I know I could easily write another four thousand words about this story -- there are aspects I haven’t really discussed but this seems like a good place to stop. For now. I really like this story. I expect I’ll watch it all again soon.

#Herenya recommends things #Crash Landing on You #thoughts I have them #Yet another CLOY rewatch

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leaschuller · 4 years

Link

About Lena Oberdorf:

Lena Oberdorf, 18 years old, became the youngest German World Cup player in history in 2019. She has now 13 international matches (2 goals), and she is also the winner of the Fritz-Walter-Medaille for the best young female player in 2020. In the Bundesliga, Oberdorf played for SGS Essen for the first time in 2018, and now she plays for VfL Wolfsburg (depending on success, Oberdorf’s transfer fee is around a six-figure sum. There is no official confirmation for this.) So far, Oberdorf mainly played in the defense, in the future she could also imagine playing as a playmaker.

Full Interview Translation:

This is where the future of German football speaks

Wolfsburg's new player Lena Oberdorf is an exceptional talent. The 18-year-old speaks about her rapid development, the Champions League restart - and misogynistic remarks on the pitch.

SPIEGEL: Ms. Oberdorf, at the age of 18 you switched to the German series champions Wolfsburg, and according to newspapers they have paid for you an "unusually high" transfer fee for women's football. Does that put you under pressure?

Oberdorf: I didn't even know that, nor do i know the amount. That is why I don't feel any pressure now.

SPIEGEL: In football, it's usually the case that the parties agree not to disclose the transfer fee. With the men the amount of transfer fees often gets out after all, but with the female football players you hardly hear anything at all about them. Your transfer could have set an example - according to the motto: female football players also cost money!

Oberdorf: But then I would feel pressure now. I'm glad it wasn't published. I also think it's nice that you aren't just talking about money in women's football. We are human beings and transfer fees are insignificant. It is clear that transfer fees are not common in women's football, but they are also part of it.

SPIEGEL: The Champions League will continue on Friday and you can play for your new club. At least in theory, the team is a well-oiled machine. With who do you want to compete for a starting spot?

Oberdorf: I'm not even thinking about something like that. In Wolfsburg it's common, that there is a lot of rotation. Four days after the Champions League final on August 30th, the Bundesliga starts again. It's not about taking someone's place. I'm just waiting for my opportunity. It is certainly good that i can play many positions: in central defense or on the six in front of the defense. I could also imagine playing a ten. The main thing is to play in the center.

SPIEGEL: All in all, that sounds cautious for a footballer who has already played 13 international matches und has played in a World Cup, who has already been described as the boss of German national team's defense.

Oberdorf: These numbers don't interest me at all. And I don't see myself as the boss of the defense either. A defense consists of four players, I am one of them. It's better if everyone takes responsibility.

SPIEGEL: The final tournament of the Champions League will take place in Bilbao and San Sebastián. The COVID-19 case numbers in the region are going up, Germany has designated Spain as a risk area. How do you deal with the development?

Oberdorf: We talk about it in the locker room. It's a shame that the numbers are now rising again, also for the tournament. But there are hygiene rules, regular tests for us, and we will live in a hotel with our own floor. We can't travel to Spain with fear.

SPIEGEL: FC Bayern will also be represented at the final tournament. The club has just signed many young international players. Why not you too?

Oberdorf: I only heard that Bayern were interested. But I found Wolfsburg more appealing. Also, the way football is played here suits me very well. Wolfsburg is very dominant, when I used to play against them with my ex-club Essen, we had about ten percent of ball possession.

SPIEGEL: What exactly is more appealing about Wolfsburg than about Munich?

Oberdorf: Everyone wants to go to Munich, at least as a tourist. Living there can be hectic though. I don't think I can make it to training in five minutes with the traffic. It's important to me to be in an environment with short journeys. Here in Wolfsburg, we almost all live close together, I'm only five minutes away from where Sara Doorsoun lives. I need this closeness to feel comfortable.

SPIEGEL: At the age of 18, you are now playing in the oldest team in the league - the average age of Wolfsburg women so far was just under 27. How is the difference noticeable?

Oberdorf: Oh, that's why they brought me in, to lower their average age! No, I'm lucky that, despite my age, I'm already far in my development. My parents did well. Honestly? Sometimes the players here are still like children in their heads.

SPIEGEL: Does it annoy you to be constantly asked about your age?

Oberdorf: I think it's good to be asked about it again and again. So it stays in the memory. Many media outlets forget that i am only 18 years old. But I am not a little chicken anymore.

SPIEGEL: There is a lot of discussion in Germany about the future of women's football. How do you rate the progress?

Oberdorf: The path is good, but the goal has not yet been reached. There could be even more. When the men have an international match, an advertising poster hangs on each advertising pylon. If we have a top game, it only hangs on one in ten. There is still a lot of work to be done.

SPIEGEL: Who do you see especially as taking that responsibility?

Oberdorf: Us players first. We need to use our reach in social media a lot more to bring this sport in the forefront. DFB and the clubs can certainly improve a lot when I think about marketing. the women's department is already well known here in Wolfsburg, even as a newcomer, I am often recognized on the streets.

SPIEGEL: Can you imagine being a strong voice in your sport going forward?

Oberdorf: At 18 you're not taken that seriously. But later i can certainly use my fame as a footballer.

SPIEGEL: You are a fan of FC Schalke. Does it annoy you that there - and also with their biggest rival Borussia Dortmund - they are not betting on professional women's football?

Oberdorf: Absolutely, even if I wouldn't switch to them right away. It's important that such clubs are betting on women's football. Also from an international point of view, it makes a huge difference, whether I receive an offer from Schalke 04 or from SGS Essen. A derby between Dortmund and Schalke would also appeal to a lot more viewers.

SPIEGEL: Schalke now established women's football in mass sports - they're starting in Kreisliga B (8th division).

Oberdorf: Always these excuses.

SPIEGEL: Is popular sport an excuse?

Oberdorf: If so, then do it right - with the aim of playing in Bundesliga. Other clubs show that it's possible.

SPIEGEL: There has been a small revolution in the Netherlands: Ellen Fokkema, a female player, will play in the future for a men's team in the 7th division. Do you find such a concept appealing?

Oberdorf: Yes, I do. I've played with guys for a very long time and benefited from them - I've become more robust, more assertive. I would have spent more time in a boys' team if that had been possible. But the question is whether a female player can help the men. Can she take it physically? At some point I came to the point where conflicts arose, it doesn't have to be of a sporting nature at all, but i can also be that you no longer find common topics of conversation. When suddenly only German rap was the topic in the locker room, at first, I couldn't even say anything.

SPIEGEL: At SPIEGEL, we repeatedly receive letters from readers that football is a men's sport and that women are simply not good enough for it. Have you ever been confronted with hatred?

Oberdorf: There is a story that I can remember. In the B-Jugend, a boy once said to me on the football field: "Why are you here? Go back to the kitchen." Then I just thought we are going to sort it out on the pitch. The guy never won a duel. That was my answer.

#Lena Oberdorf #GerWNT #VFL Wolfsburg Frauen #UWCL #She's so far beyond her years it's incredible #Dragging her Wob teammates already #I could cry #Baby's winning a Ballon D'or one day #woso #wofo #frauen bundesliga #Lena said I am mature and y'all aint

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milarvela · 3 years

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By his own admission, John Barrowman has always been notorious in showbusiness circles. 'I'm known for my jokes, my sense of fun, my high jinks,' he says.

But those 'high jinks' have come back to haunt him recently as a result of serious allegations against his former Doctor Who co-star Noel Clarke.

John's role as Captain Jack Harkness in Doctor Who began in 2005 and the character was given his own spin-off series, the far more adult Torchwood, a year later.

It launched a hugely successful career for John on both stage and screen, taking in leading roles in West End musicals, big-budget US TV shows such as superhero series Arrow, and homegrown light entertainment favourites like All Star Musicals and most recently Dancing On Ice, where he's one of the judges. He was by anyone's measure a family-friendly favourite.

Then a couple of months ago the sky fell in. Following accusations of sexual harassment against Noel Clarke, who played Mickey Smith – the boyfriend of Billie Piper's character Rose – in Doctor Who from 2005 until 2010, historic footage emerged on YouTube of a sci-fi convention, Chicago Tardis, in 2014, released by The Guardian newspaper which had investigated Clarke's behaviour on the Doctor Who set.

In an interview in front of a live audience, Clarke is seen regaling fellow cast members Annette Badland and Camille Coduri with tales of John's behaviour on the set of Doctor Who, exposing himself 'every five seconds'. Clarke then jokes with the audience not to do this at their workplace or they might go to prison.

The allegations levelled against Clarke are extremely serious. At least 20 women have come forward to accuse him of sexual harassment and bullying, 'inappropriate touching and groping' and secretly filming naked auditions before sharing the videos without consent.

He denies all the allegations, but BAFTA has since suspended the Outstanding Contribution award it bestowed on him just weeks earlier, and the BBC has shelved any future projects he was working on with them.

Now John's behaviour on the sets of both Doctor Who and Torchwood has come under scrutiny once again. The furore has led to a video of Captain Jack Harkness being expunged from the current immersive Doctor Who theatre show Time Fracture, a planned Torchwood audio production featuring John and former Doctor Who lead David Tennant being scrapped and doubt about whether he will be invited back to the Dancing On Ice panel.

ITV will announce the line-up for the next series in September. John immediately issued an apology following the emergence of the video back in May, but today he's decided to speak exclusively and candidly to Weekend to give his side of the story.

'The moment has come to set the record straight,' he says from the Palm Springs, California, home he shares with his husband Scott Gill. 'This is the first time – and the last – I will address this subject. And then I plan to draw a thick black line under it.'

Firstly he says it's important to set the scene. On the set of Torchwood, which followed a team of alien hunters and explored themes of sexuality and corruption, he had what might be called a 'relaxed' attitude to nudity, and would wander around in an open robe. But it's claimed that he was well known for flashing and mooning at cast and crew alike on both the Doctor Who and Torchwood sets.

As Captain Jack Harkness I was the star of Torchwood, so I felt it was down to me to lead the company and keep them entertained,' he explains. 'When I was doing a nude scene or a love scene it was clear in the script I'd be naked and everyone would have known about that at least 48 hours in advance. So I'd be waiting in my trailer wearing just a robe with a sock over my "parts". Then, if I were standing waiting to film a scene where I needed to be nude and someone came into view, I'd make a joke to put them and myself at ease. My actions were simply designed to defuse any potential awkwardness among the cast and crew.

'I've never been someone who's embarrassed about his body so it didn't bother me if anyone saw me naked,' he adds. 'The motivation for what I'd call my "tomfoolery" was to maintain a jokey atmosphere. There was absolutely nothing sexual about my actions and nor have I ever been accused of that.' Whether this sort of behaviour would defuse any awkwardness, or actually foster it, is debatable.

WHY I'VE GONE INTO THERAPY

This scandal has clearly not left John unscathed. 'It was upsetting my mental health,' he tells me. 'My husband Scott suggested I talk to somebody. I won't discuss what I've said in therapy sessions – that's a matter of doctor/patient confidentiality – but I don't mind admitting it's helped me a great deal.

'It's made me aware that despite how much cancel culture may talk about respecting people's mental health, too often they don't respect the mental health of the people they're trying to cancel. So I needed to understand what was happening, which is why I went to speak to somebody.'

Has he had more than one session? 'Yes. It's a conversation that's still going on,' he says with a wry laugh. 'Seriously, whatever the situation, if you feel you need to reach out to someone it's very important to keep talking.'

'If what happened had taken place in the changing rooms after a rugby match it would be regarded as no more than a prank,' he continues. 'On the other hand, it's never going to happen in an accountant's office or a supermarket. But my job is not a regular nine-to-five, we're a family working long hours and in close proximity to each other.' Again, one has to bear in mind that a rugby changing room would be an all-male environment. There were many women in the cast and crew of the TV shows.

'In the theatre quick costume changes happen in the wings all the time, with everyone stripping off to get into their new outfits in time for the next scene,' he says. 'Girls might be braless, boys only in jockstraps. That's just how it is and no one gives it a second thought. But I accept that my behaviour at the time could have caused offence.'

Although John's recollection is that no one complained at the time, and he says that no one has complained since, at one point he was called in for a private conversation with Julie Gardner, an executive producer on Doctor Who and Torchwood. She has confirmed to The Guardian that she did receive a complaint.

'My antics had come to her attention and she told me I should rein in my behaviour,' he recalls. 'In blunt terms, she had just two words of advice: "Grow up!" That struck a chord. I did as I was told and my behaviour changed overnight. I'd still be full of jokes and fun, but no more naked pranks. I can see now my actions were pretty juvenile but this was a different time and it's something I would not do today.'

When these rumours were swirling back in 2008, it's also said John exposed himself during a Radio 1 interview in which his behaviour was being discussed. He denies this today.

'I was being goaded by the presenters about my reported behaviour on the Doctor Who set. I went along with it but I didn't actually do anything inappropriate in the studio. What would have been the point, it was on the radio? Still, it created such a stir that the following day I decided to make a full public apology and get on with my life.'

And that might have been that, but for the accusations against Noel Clarke coming to light. 'It seems to me that I've become collateral damage to a much bigger story,' says John.

Given his and Clarke's high profiles and the severity of the allegations against Clarke, this is hardly surprising. Has he spoken to his former co-star since the balloon went up?

'I have not.' Does he plan to? 'I do not. But listen, I'm not trying to cast myself in the role of victim here.' That said, he clearly resents these stories re-emerging, although he has had messages of support.

'In fact many members of the cast and crew have been in touch since this latest storm blew up giving me their support,' he insists. 'I won't name them because I don't want anyone to find themselves in the firing line.'

However, Gareth David-Lloyd, who played bisexual Jack Harkness's lover Ianto Jones in Torchwood, has chosen to go public about working with John. 'In my experience John's behaviour on set was always meant to entertain, make people laugh and keep their spirits and energy high on what were sometimes very long working days,' he said.

'It may be because we were so close as a cast that professional lines were sometimes blurred in the excitement. I was too inexperienced to know any different but we were always laughing. The John I knew on set would never have behaved in a way he thought was affecting someone negatively. From what I know of him, that is not his nature. He was a whirlwind of positive energy, always very generous, kind and a wonderfully supportive lead actor.'

In the weeks following this new public scrutiny John has had time to reflect, and has come to the conclusion there are two issues. One is the aftermath of the #MeToo movement; the other is cancel culture.

'I'm a supporter of #MeToo because no person should ever feel that in order to succeed in their career they can be coerced into doing something sexual against their will.

'My problem with cancel culture, on the other hand, is that it can take the form of intolerance and prejudice. It's a culture with no shades of grey. There's no leeway for forgiveness or room for recognising any change in someone's behaviour. Cancel culture tends to talk at you or past you or through you, rather than listen to you. Dialogue is extremely rare.'

He sounds upset now. 'Look, I'm in a good place,' he insists. 'I've got a great husband, a great family, a great "fan family" around me. But I've found it difficult. And yes, some of the things that were being said have been hurtful.

'Scott and I would go to bed on a Saturday night dreading the stories in the Sunday papers. And then I'd wake up to lies. One newspaper printed as fact that I'd been dropped as a judge by Dancing On Ice. Well, apart from the fact that the new panel isn't decided until the autumn, no one from ITV had spoken to me or my agent about this latest upset.'

Ashley Banjo, leader of dance troupe Diversity and a fellow Dancing On Ice judge, has only worked with John for the past couple of years so did not know him during the time of the behaviour he's now being scrutinised for, but has publicly spoken out in support.

'I've told John I'd readily work with him again,' said Ashley. 'He's always fun on Dancing On Ice and he's been very respectful and considerate. I'd like to see him come back. The impression I get from this story is it's something small and historic, something blown out of proportion. What I'm not a supporter of in regard to cancel culture is when the speed of allegation is much faster than the speed of investigation. Before I make a judgment I want to see and understand the facts.'

There has been outrage on Twitter, with many users pointing out that John's 'tomfoolery' could be regarded as indecent exposure, and that the fact it happened among work colleagues is no excuse. 'You don't do that in work. You don't do it full stop. If you did it in the city centre you'd be arrested,' posted one user.

So does he regret the way he behaved? 'You can't wind the clock back,' he says.

'They were different times, which is why I wouldn't do now what I did then. I've acknowledged that by the way my behaviour has changed. The trouble is that certain cancel culture enthusiasts are not allowing me to acknowledge it. I've always believed that the reason I was put on this planet was to bring joy to people, make them laugh. How I do that has evolved over the years. I'm still using humour, just in a different way than might have been the case ten or 20 years ago.'

Now, he says, he wants to move on, both personally and professionally. Many years ago he bought a house for his parents down the street from where he lives with Scott.

'They're getting on now and I've been their primary carer throughout the pandemic, doing their shopping, getting their prescriptions from the pharmacy and so on. My mother broke her pelvis at one stage but she's on the mend now. I'm just thankful I can keep an eye on her and my father. I'm thankful too to the scientists for coming up with the means by which we can combat Covid via vaccinations, and the healthcare workers for administering them and looking after us so selflessly. We owe them a great debt of gratitude.'

What about professionally? 'Well, I'm at the early stages of putting together a show full of anecdotes and songs that will tour throughout the UK when restrictions are finally lifted. As far as I'm concerned, it's back to business as usual.'

But it remains to be seen later this year with the announcement of the line-up for Dancing On Ice whether John's career too might be put on ice.

***

I can see now my actions were pretty juvenile but this was a different time and it's something I would not do today.'

Well, to be blunt, he’s too old to be doing it anyway, people would just roll they eyes at a pathetic old lech instead of maybe giggling at a younger man’s adorable/innocent/whatever tomfoolery.

I think he should name them. Just for fun. Come on! Because I doubt there have been (m)any. If this story teaches anything, it’s that whatever you say/do can come back to haunt your celebrity status years later in most unexpected ways. Or maybe he was always the intended main course, Noel Clarke only the appetiser...

#John Barrowman #Doctor Who #Daily Mail #hmm #I wonder if Noel Clarke has been arrested already?#heh #funny how John's not actually talking about Doctor Who #it's all about Torchwood #and basically saying what everybody already knew #except adding some human touches #hubby and parents #and of course therapy #he should get in touch with Prince Harry #or Oprah #maybe both #lol

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stereogeekspodcast · 3 years

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[Transcript] Season 1, Episode 6. Flashback Favourite – Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn

Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn may be less than a year old, but it's one of the freshest takes on superhero films in a long while. In our second Flashback Favourite, we're talking why this film is such a ground-breaking experience.

We will be discussing spoilers in this episode so please watch the film before continuing with the podcast.

Content warning: Some of the content of the film, and the episode, can be disturbing.

Read Mon's review of Birds of Prey at Bam Smack Pow.

Listen to the episode on Anchor.

[Continuum by Audionautix plays]

Ron: Welcome to our second Flashback Favourites episode! I’m Ron.

Mon: And I’m Mon. Usually when you think of a Flashback Favourite, you’re thinking about going way back. Not this time. In this Stereo Geeks episode, we’re looking at a film that’s not even a year old.

Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn may be a mouthful, but it’s worth every minute of that tongue-twister title.

Ron: Before continuing, please note that this episode includes spoilers for Birds of Prey. If you haven’t watched the film yet, we have to ask? Why are you waiting?

Content warning: some of the content in the film can be triggering, please proceed with caution.

Mon: Written by Christina Hodson and directed by Cathy Yan, Birds of Prey is a vehicle for Margot Robbie’s Harley Quinn.

At the start of the film, she and the Joker have broken up, and now Harley’s got a target on her back.

Said target leads her to work for and against the local crime boss—Roman Sionis, aka Black Mask. Played by Ewan McGregor and ably supported by Chris Messina’s Victor Zsasz, these villains are going to soon be up against the Birds of Prey.

Ron: The film introduces us to the future team - Rosie Perez as Renee Montoya, Mary Elizabeth Winstead as Helena Bertinelli aka The Huntress and Jurnee Smollett as Dinah Lance aka Black Canary. They’re all embroiled in a hunt for Cassandra Cain (played by Ella Jay Basco).

We were in two minds about going to see this film. People loved Margot Robbie’s Harley Quinn in Suicide Squad, but her character was problematic, to say the least. We were worried that this film would continue in the same vein.

And then came the title—we weren’t sure if it was trying to be precocious or precious. But we held out hope because it was written and directed by two women, and Robbie was also one of the producers.

Mon: When I was asked to review Birds of Prey, I took it as a sign that this film was meant to be something special. And it was!

The film kicks off with giving us a little bit of an intro into Harley’s origin story. There's an animated opening sequence that leads into her being dumped by Joker, though that’s not how she tells the story.

And then she's on her own and it's the first time since her supervillain career started that she's on her own. So how does she work in this new circumstance? Who does she turn to? She doesn't have anybody. Everybody she knows works with the Joker.

Ron: Even the few friends that we see her having outside of her supervillain life, they keep talking about how she's going to go back to the Joker. Because that's what she done a million times. And that hurts her feelings.

Mon: Yeah, I like that the film really tries to subvert everything that we know about Harley or how she's been written all this while, which is exactly what makes it different. And you know from the start that yes this is going to be different because they're treating Harley as a person. Not as Joker squeeze.

And then we meet the other character. How do they play a role in Harley's life? And how do they get involved in the search for Cassandra Cain?

Cassandra lives in the same building as Black Canary. Canary understands some of the problems that Cassandra is going through. She has foster family that obviously have issues; Canary lost her mom when she was very young, so she's had to go through that situation as well.

The person who took her in was Roman Sionis and Canary’s been singing and working with him all this while. Canary gets a promotion with Black Mask when Harley accidentally breaks Black Mask’s driver’s legs, and that's how she becomes a bigger part of Harley’s life.

And aside from that, there is Renee Montoya. She’s a detective. She is desperately trying to take down Roman Sionis, but she can't get any traction from her department.

When Renee comes across the scene of a whole bunch of people who are dead, she can envision who this killer is. But she's not being taken seriously. And you find out why. It's because her former partner took the credit for her work and is now her boss. So, she's been undermined at work all the time, even by this rookie cop who's her partner. It's ridiculous, but it's so real.

And the final piece of the puzzle is Helena Bertinelli. Now, we don't actually see this character till well into the film. And there's a reason why; she's supposed to be the mysterious crossbow killer. So, who she is and how she plays into the final storyline comes to the fore much later in the film.

So, these are the main character and I think they’re the main reason we love this film so much.

What do you like about them?

Ron: Well, from the opening sequence we're just hooked because, even though you and I aren't huge fans of Harley especially because of the Suicide Squad version, the writers give us this quick-fire origin story that made Harley believable and funny.

And her origins were about beating every obstacle to become successful and then chucking it all up for a misguided romance.

And I also love the fact that they, kind of, snuck in Harley's bisexuality, without making a big deal out of it. So that means there's a possibility that we might see her with Poison Ivy, which I understand that Yan is very interested in exploring in Birds of Prey 2.

But I also love the fact that Harley is just a hot mess. Like the whole thing with her breaking the Black Mask’s driver’s legs, it's because she's super drunk and she just can’t take any crap anymore.

The entire scene where she's at the Black Mask’s club just drinking away and dancing and having the time of her life, all the while knowing that she can only do this because everybody still thinks that she's with the Joker. It's quite an unusual way of exploring the character’s mental state.

And then when she opens up to the Black Canary, it's such a sweet bonding moment even though you can see from Black Canary’s face that, a) she doesn't care, and b) she's also worried about what's going to happen to Harley. I just love that. You don't get to see stuff like that.

Mon: And it's a subversion of what Harley Quinn was like in Suicide Squad, where she is very much on display rather than being a character who's having fun. That's exactly what she does at Black Mask’s club. As long as she has the protection of being Joker's partner, she can have as much fun as she wants, because she's invincible.

But the bubble pops when she confesses to Canary the truth and it's such a believable scene where these two women are bonding at a club; having a good time. And some creepy guy overhears what she's talking about.

That puts Harley in a rather difficult and uncomfortable circumstance, which Canary gets her out of. Despite that fact the two of them, throughout the rest of the movie, continue to have snarky banter. But that scene, where Harley is in danger: we're so used to seeing roguish male characters come to her rescue—the knight in shining armor—but instead we have Canary and she's got this gold trim going on and she's beating people up. I love it. I just love subversion.

Ron: And I also love the fact that Canary doesn't want to get involved and this is unfortunately very true to life. You see something bad happening and sometimes you just don't want to be a part of it because you don't know what's going to happen to you.

Canary is very capable of taking care of herself, so she’s able to get involved. But you see that hesitation in her, even though she knows that if she were in Harley's position, she'd want Harley to come and save her. And she does finally act on it and she saves Harley.

Mon: But, in essence, I think there's a lot of underlying fear inside Canary. Because if she gets involved, she’s working for Roman Sionis, how does that affect her? So there's a lot going on.

Ron: Especially since, soon after, she gets the driving gig, which she really doesn't want. Because as long as she's a singer, she's still slightly apart from the Black Mask gang. But the moment she becomes involved as something as important as a driver, who can sometimes be a getaway driver, then she's embroiled in this. She can't get out.

Mon: Yeah. And you can see how beholden Canary is to Sionis, even though she doesn't want to be. But there is this amazing scene after she's got the new driving gig and Sionis is showing her around his office. Now she's never obviously been there, because she was just a singer, so, she's never had to be in his office. He's showing her all stuff, all the conquests, all his travel mementos that he's got and she is so not interested. But she's putting on this act and it is amazing, amazing acting by both of the actors over there.

Ron: I love how understated Jurnee Smollett is. She just embodies a real person in a really uncomfortable situation. And Ewan McGregor is having the time of his life in this scene! You know, I'm thinking about one of his best roles which kind of went under the radar for him for some reason.

That was in The impossible. He was really good in that. But that was a movie which was very dark, very suspenseful. It is based on a true story. Real people were very badly hurt. And his character has to embody that. This movie? It is completely the opposite. He is mean and horrid and flamboyant. He is enjoying every second of being on screen. And you can see that Ronan is so self-involved. He doesn't even realize that Black Canary isn't paying attention. It's not about her appreciating what he's got. It's about him showing off. I love it!

Mon; Honestly, the characters are what makes this entire movie come alive. You can see these little nuances that actors have put into creating these characters and making them these full-fledged people that we can understand. I mean, they're in Gotham, which doesn't exist. They're faced with these weird, crazy situations that probably aren’t realistic. But they themselves are very real.

Ron: It’s not what you expect in what is technically a superhero film. Even though this is basically a supervillain film. I know Joker tried to do that. But it was so in-your-face that it didn't feel real. Here, they go in the opposite direction. They are loud and colourful and they are out there. But you believe it.

Mon: That’s because these characters are relatable. The problem with a lot of superhero and genre films is that sometimes they are so interested in the spectacle, that they forget to make the characters relatable or real.

Ron: The spectacle in Birds of Prey is secondary to the characters. Now I do want to mention the fact that Black Canary is essentially race-swapped in this film. In the comic books and in most of the iterations of the character, she's always been a white woman. Here, she's played by Jurnee Smollett, who is a black woman. And I love it because it doesn't matter. Why don't they keep doing this?

Mon: I would have loved it even more if Huntress had been played by a Latina woman because in the comics, Bertinelli is a Latina woman in some iterations. So, people were a little bit upset about that. I understand. That being said, Many Elizabeth Winstead is so fun in this film. She has a really curtailed role but she is incredible. She's this ball of rage that doesn’t know how to fit into society because she hasn't been part of society for so long. She has a mission. She has to execute this mission and she goes about doing it the only way she knows how. But when she has to deal with people? She just doesn't know!

Mon: And then there's Renee Montoya, who is technically the everyman. In a movie about supervillains, Renee Montoya should be the obvious bad guy. But you can’t help but root for her. A – she is in a position that a lot of women find themselves. They do the work, they don’t get to take the credit.

She also has an ex who is doing quite well for herself. But she's kind of mean?

Mon: And they constantly have to work together and also Renee keeps using her ex's name to get stuff done, which her ex does not like.

Ron: Her ex, played by Ali Wong, the two of them have this really great antagonistic chemistry, so, I really love their scenes together. But she's the Assistant District Attorney, who is obviously somebody that a detective will turn to for the most part. They've got this really difficult relationship so, everything that would have worked before? Now, not so much.

Mon: What I liked about Renee’s characterization is that she’s so dogged. She doesn't become bitter because of all the promotions that she's lost or that her status at work isn't that great. Instead, she's rather dogged. You can see her obsessed with this one case, because she knows that this is the linchpin that can get her all the glory that she needs, and she deserves. But in the end, even that is snatched away. Because that's just how life is unfortunately, sometimes.

It's really the believability of Renee Montoya and how are understated Rosie Perez’s performance is. She was my favorite character in the film. Despite not having those kinds of action scenes. You can really see yourself in her. She's just a good person trying to be a good guy in this really rotten world. And she's not getting anywhere. Until she finds a team who understand her.

Ron: Also, let's not forget the fact that we get these little snippets of how good she is at her job. The scene which we mentioned earlier, where she's looking at Huntress’ work, she can immediately imagine where the killer was standing. Who the actual target was. Who the collateral damage was.

Mon: What their motivations were.

Ron: And she's conveying that as she's looking at it. Her partner doesn’t care. He’s decided that oh, this must be a mob hit. No, it's not a mob hit. There is a very particular reason why this person was killed. Also, that scene is interrupted by Harley blowing up the ACE chemicals factory, because she wants to get back at the Joker. And the moment Renee gets there, and she sees what's happening, she's like, Harley is in trouble now, she's put a target on her back. Because she knows how Gotham works. Do her partners know that? Does her boss know that? We know that Renee's really good at her work. We know that she's got the experience, but nobody else in the film realizes that until she meets the Birds of Prey.

Ron: So, the characters are fun because there’s a ton of humour in this film. And it's not forced humour. I feel like that was one of the problems with Suicide Squad. There were these moments of humour, which I just felt like somebody had shoehorned into the film. It wasn't natural here. Here, it comes off naturally. One of the people in the film that I didn't expect to be as humorous as she was, was Black Canary. The moment that it was announced the Black Canary was going to be in this film, I went back and read Gail Simone's run on Birds of Prey. This film was partially based on that. But it's quite dark. It doesn’t really have the kind of humour that you get in this film. Which I feel like harks back to the Birds of Prey: Rebirth comics, which is much lighter, more humorous and Black Canary in that is just the best. She is so adorable. I just loved her in that and that made me want to see Black Canary in Birds of Prey so much more. The balance that we get in this film is really quite enjoyable. She's harsh, she’s humorous, she's witty, but she's also sarcastic. And she understands what her role is in the world around her. So, I quite enjoyed that.

Mon: She's not unsympathetic. That's what I liked about this character. And in a way that how you feel about most of the characters. They don't come across as unsympathetic. You really want to root for them. And even Harley. We've already mentioned that we weren't all that enthused with this character, or how much she’s pervaded all of pop culture. But this film really made you want to love this character. And protect her. Because she gets into scrape after scrape, because she really doesn't know what she's going to do with herself. She's a little bit guileless. And the biggest problem is, in Gotham, people see her as an easy target. They’re wrong. They find out soon enough.

It's hilarious, the way when it becomes obvious that Harley is no longer attached to the Joker. How these people come out of the woodwork because of all the things that she's done to them. We even have Renee going after Harley because if she doesn't get Black Mask, getting Harley is another coup for her. But she doesn't succeed either.

Ron: I love those screen cards, which explain to us exactly what Harley did to these people, and some of them are so hilarious. Like, really dude, move on, it's fine! And then when she sees Huntress? She's like, ‘huh, what's this?’ And there's just like question marks? It’s so funny. It’s these simple, silly little gags that make this film so much fun to watch. Like, we watched it with a huge smile on our face the entire runtime.

Ron: And you know what, because the characters are so enjoyable, that's what powers the plot. You care so much about them because everything that happens, matters. The story is just so well structured You have the protagonist finding her team. They all start off in a bad place. By the middle they’ve found their footing. But then the villain gets the upper hand. And the final act is about this team working together to win. It's a very classic storyline. But the reason why it's elevated is because the characters are well written and the direction for this film was excellent.

Mon: A lot of people might find it jarring that Harley is basically narrating this film. But what makes it work is that Harley is an unreliable narrator. And we find that out from the very beginning. She's talking about how she dumped the Joker or that they have an amicable relationship despite the break-up. All of that is untrue and so you have to ask yourself are we seeing the truth when we are seeing it from Harley's eyes?

When Harley really gets involved in the actual plot of the film. We see her going to the police station, searching for Cassandra Cain, because Cassandra has the MacGuffin of the film. We see Harley shooting with glitter and paint. Now when I first watched it, I was sure that, oh this means that Harley has turned over a new leaf. She's not going around killing people. She's actually knocking them down with glitter guns. But are they glitter guns?

Ron: When I watched the film, I was like, hundred percent, this is Harley's imagination. That's how she sees the world now. Maybe the ACE chemicals, they got to her brain somewhat. I wouldn't be surprised if that was the reason why she sees things differently. But there was no way, in hell, that those were glitter guns.

Mon: So, there's a lot of dead bodies that we didn’t see. And that is such a cool thing to do with the direction! It makes it friendly. It makes it watchable without making it gory. But at the same time, it makes you question what's happening on screen and it makes you question Harley's mentality.

Margot Robbie has a lot of action scenes in this film and she's brilliant. She and her stunt double—I know she does a lot of stunts herself, but you can tell in a few scenes, that definitely a stunt double was used. They are so good, so impactful. But even those action scenes, they're not just about fighting. They're about relying on who this character and advancing her journey, as well.

One thing I had read about the action scenes for the film was that the choreographer specifically tailored the stunts for the characters in them. So, it's not like these small, tiny, slim women going around judo-kicking everybody. It's about them using their powers as well as using their surroundings to get the bad guy.

Ron: That becomes most obvious in the evidence locker that Harley finds herself in when she's trying to protect Cassandra Cain. She's using the cages. She's using whatever weapons that she can find. She uses a cell phone at one point. And one of the scenes that I absolutely loved was when she's hiding behind this massive crate of cocaine, which gets shot up. So, there's cocaine everywhere. She inhales some. And at this point she's a bit tired, she's been fighting for a while. She gets this jolt because of all the cocaine, and it helps her fight even harder. And I was like, you know what, it really works!

Mon: Yeah, I completely agree with you. It's these moments in the writing and the direction that really keep you immersed in the film. It never takes you out of it because it feels like yeah, that makes sense.

Ron: Every single thing that happens in this film, whether it's in the background, the foreground, around the characters, around the bad guys, everything has some kind of relation to the plot. I love that about it that's really tight writing.

Ron: So, we've talked a lot about the good guys, or rather the good bad guys, because there are bad bad guys. But the villains here, they really are engaging in themselves. What did you love about them?

Mon: First of all, Ewan McGregor as Black Mask, I never saw that coming.

Ron: I've read Black Mask in the comics. He tends to appear in a lot of the Jason Todd/ Red Hood storylines. He's so boring. I don't care about this guy.

Mon: He's a generic crime lord. He's nothing exciting or different. But here in Birds of Prey, Roman is more than that. And what works with Roman, he isn't just an evil bad guy. He's an insecure, petulant, man-child.

Ron: Absolutely. And what better villain in a superhero film for 2020? Because for the last four years, we have seen an insecure, petulant, rich, man-child, run a country, and the world, to the ground.

Mon: Ewan McGregor is such an unlikely casting for this character. First of all, we think of him as Obi Wan Kenobi. He's this really, nice Scottish gentlemen, we really like this guy. How can he be playing Black Mask? It's obvious that he is loving every moment of playing Black Mask. And more than Black Mask, he is loving every moment of playing Roman.

Roman is so flamboyant, so larger than life, that you can make out that everything that he's doing is to stave off that insecurity that he has. He didn't live up to his father's expectations. So, everything he does is to get back in his good books. Roman’s plan to do that is by being evil, by making connections with other mob bosses. And when they don't go his way, he sets Victor Zsasz on those people and their families.

Ron: Speaking of Zsasz, it took me a little while to realise Chris Messina was playing Victor Zsasz because he looked quite different from what we've seen especially in the video games that we've played for Batman. I really like Zsasz. He is so creepy. The version that we get in this film is quite different. But I feel like he's kind of a good mix between the video game and comic version of Zsasz and the version that we get in Gotham, who was a little quirky, a little bit funny, really enjoyable to watch. Chris Messina is a bit darker and kind of smarmy. But also injects a little bit of unintentional humor into Zsasz.

Mon: There was a lot of talk about Roman Sionis and Zsasz, and what their relationship would be. People wondered if there was something a little bit more than just a professional partnership. I feel like the creators were smart enough to not go deep into how their relationship works. But you can really tell that there's a kind of closeness between the two. For example, it's obvious that Sionis sees Zsasz as his right-hand man. But Zsasz isn't too sure about his place next to Sionis.

Well, he's Roman Sionis. He's like a fairweather friend. So, with Zsasz, he's always trying to grab intention. Anytime he sees that Roman is interacting with somebody else, or somebody else seems to be getting higher in Roman’s affections, Zsasz tries to bring the attention back to himself.

So, we talked earlier about when Canary is in Roman’s headquarters and in his office and she's being shown around all the stuff that he's got. So Zsasz is in the background. And he's very uncomfortable with how much attention is being given to Canary. So, you can just see in his mind he's thinking oh no, becoming his top favorite, I have to bring it back to me. And then immediately he drops a bomb on Roman. Attention is back on him.

And, even later, when they capture Harley, he's like all in your face about it. He's just putting up a performance for Roman. So, you can tell that this isn't an equal partnership. Zsasz is trying very hard to remain indispensable. So, he trying every possible way to be relevant.

Ron: Yeah, kind of like the fact that eventually we see that it's not a romantic relationship between Zsasz and Roman. There's a power dynamic that would make it a bit uncomfortable. Queer-coded characters tend to become villains so often, we really didn't need to go in that direction for this film. It's up to everybody's imagination and that is the best way to go about it. Because it would be alright if we already had a huge bunch of queer characters who were on the good side. But we don’t have that and it's going to take ages for genre films to catch up that regard. So not making this obvious, worked.

But you can see that whatever Zsasz does feel, whether it's romantic, whether it's some kind affiliation, he really needs to be all up in Roman’s business. And the way he keeps that physical closeness constantly, and the moment Roman steps away from him, it makes him so uncomfortable. Those are the little things that I really liked.

Now, this is something that we were talking about. I have been noticing that in film and television recently, sometimes you can see that characters who aren't involved directly within the dialogue or the action in a particular scene, they blank and they’re just waiting for their turn to speak. You don't get that in this film. Whoever is around the main cast, they still have something to do. So, in that scene where Roman is showing Canary around his office, yes, they're both engaged but even those Zsasz doesn't really have anything to say or do, his expressions tell you so much about the character. And that's throughout this film, which is really good.

Mon: So, let's talk about that scene. Man, that was an uncomfortable scene in Roman’s club. Hoo boy!

Ron: Okay, so let's describe it. Now, what we’ve seen is a bunch of people just enjoying themselves, and Roman seems to enjoy fostering that kind environment, he wants people to enjoy themselves.

But we find out just how difficult Roman can make things when he's not happy. He gets some bad news and instead of acting like a normal person and letting the party continue while he seethes inside and tries to plan his next steps, he decides to take it out on a patron.

We meet Erika, just for this one scene. She's played by Bojana Novakovic—apologies if we didn't pronounce her name properly. She's just a party-goer; she's enjoying herself, she's with her friends. They're laughing. Roman takes that as an affront. He thinks they're laughing at him.

Mon: And let’s just point out here that Erika and her friends are on the other side of the room. They couldn't possibly have heard what happened to Roman, or why he's upset. They wouldn't have been laughing at him in any respect. But this is his insecurity coming to the fore.

Ron: He tries to embarrass her and initially she takes it as a joke. So, she doesn't really act on it but then he’s so aggressive about it that she has no choice. The whole scene becomes so uncomfortable for everybody—for Erika, for her friends, for Black Canary who's literally standing quietly crying in a corner. And for every single viewer in the hall, you're holding a breath and just feeling sick inside.

Mon: When we very first watched this scene, I felt Ewan McGregor wasn't quite connected with what his character was doing. By the time we watched it a second time, maybe because I knew it was coming, I was more appreciative of how hard he was trying. He was definitely uncomfortable as well. Just as uncomfortable as the rest of us, but the entire scene is made for that. It's supposed to make you recoil in horror.

Apparently, director Cathy Yan had to fight to keep this scene in because the studio couldn’t why it needed to be there. One could argue that we didn't need to know how evil Roman can be. But, you know that if it was any other kind of director they would have made it very sleazy, very salacious. But with Cathy Yan, you can tell that this scene is supposed to highlight the discomfort of the characters and not make it gratuitous.

Ron: I'm not surprised that the studio fought back against it, because I don't think they would have understood what it means for the people who are watching it. When we were in the hall and this scene happened, there was a pin drop silence.

Till then, we were all enjoying ourselves, we were laughing. The discomfort of every single viewer was palpable. And none of us could breathe till this scene was finished.

Mon: One thing I noticed was that when this scene begins, Ewan McGregor is very obviously made-up a little bit. You can see he's got a little bit of eyeliner going on. He looks absolutely gorgeous and then he does this, and you just forget about how good he looks.

You know that there is a constant argument that people are more likely to acquiesce to somebody who's good looking. But in truth, if somebody is evil, they're evil. So, with this scene, I think the creators really highlight that.

And then you can tell that Roman knows that he’s probably lost a bit of respect in the eyes of everyone in the club. And so, he's trying to grab on to the last vestige of respectability. So, he immediately grabs Canary, and goes, ‘no, no, don't go’. And she's literally trying to run away from him because he's a horrible person.

Ron: But let’s talk about how this scene was shot. You mentioned how, if this was any other director, it would have been quite different. I love that this scene does not involve the male gaze at all. You know that there's a person standing without much on, but we don't get to see that.

And that’s where the female gaze comes in. We are put solely in the shoes of Erika, of Canary not in Roman’s shoes, or Zsasz’s.

Ron: And that is where the difference between a female director and female writers comes in. I'm glad Cathy Yan fought that battle and won, because we rewind to the beginning of the scene when Erika and her friends are laughing and Roman takes that as an affront. That’s something that happens a lot. I mean, there's the whole joke about how men can't stand being laughed at, whereas women are terrified of being killed. That's pretty much exactly what this scene is envisioning. Yes, in a slightly more heightened fashion in the world of Gotham which isn't real. But this is something that could happen as clubs tend to be uncomfortable places at times for somebody who's not a guy. I'm glad Cathy Yan won this.

Mon: And this scene also pushes Canary away from Roman. Up until this point, she's been secretly working with Renee Montoya, but now, now she really wants to take down Roman.

Ron: And she's desperate. You see her in the bathroom, hanging on her phone and she's desperately yelling into it, telling Renee that they have to find Cassandra Cain and get that diamond back and take down Roman. And that's the kind of frenetic movement that we haven't seen from Canary up until now. Because all this while, the threat was away from her. She was just the driver. Now, she's involved.

Mon: And this scene cements Roman’s arc into being an actual evil person. Up until this point, he's been a bit comical. But from this scene onwards, he becomes the real villain of the piece.

Ron: Going back to the face slicing off scene, he was still kind of funny in it. He wasn't also involved directly in it. He was telling Zsasz to do everything. And he was enjoying himself. And you were like ‘okay, this is a bad guy. He’s cutting people's faces off, that's fine’. But here, it's completely different. And I really appreciate how the creative team made this happen.

Mon: And that segues into the final arc of the film, which is when Harley and the Birds of Prey get together. So, it’s just them, these five women—well, four women and one child—against Black Mask and his hordes of henchmen. And interestingly, I noticed that they specifically cast only male extras as Black Mask’s henchmen.

So, the final action sequence takes place in Amusement Mile, where Harley needs to get the Birds of Prey on her side so that they can together fight Roman. And, it’s another fun scene. It brings to characters to the fore; it shows how out of touch Harley can be with just how unimportant she was in Joker's life as well as in the world of supervillainy. Poor thing. You just feel sorry for her.

Ron: Somebody give Harley a hug!

Mon: But the way the characters come together…that final action sequence is exquisite.

Ron: It is so much fun to watch. And you know what? It's so colorful. Where is the color on genre films? I love that about this. They're in a theme park. There’s gonna be all sorts of colourful rides around. And again, they use their surroundings as an advantage against the bad guys. It's so enjoyable.

And, of course, let us not forget the epic hair-tying scene.

One of the most annoying things about genre films is these beautifully made-up women with their open hair gloriously flying around them. And somehow it never gets in their eyes when they're fighting people.

Mon: Anybody with long hair can tell you that it's a pain in the neck.

Ron: It doesn't matter how long it is, it will get in your way. It will always get in your way!

Mon: So, there is this moment where Jurnee Smollett’s Black Canary, she’s fighting and her hair’s getting in her face. Because she's literally just run off to fight this battle. She hasn't really had time to think about it.

And Harley, as we know, she's always had these cute little ponytails. So, she obviously keeps hair-ties with her. As somebody who uses hair-ties, you know that sometimes they snap, so you got to keep extra. So, Harley's got extra hair-ties, and she goes up to Canary and says ‘hair-tie?’, and Canary takes it and she can fight better.

Ron: These are the moments that you get in a film when you have diversity behind the screen and on the screen, and that's why this film works.

That final battle, why is it so enjoyable? Because it’s four women and one child, who we can relate to, being written by women and directed by women. So, it looks, it moves different; and it just feels like something that we haven't seen before.

Mon: And with Cassandra, she's a young teenaged girl. She's not going to go out there and start beating people up. So, the entire premise of that final action sequence is really to protect Cassandra, not only from being captured but also from being hurt. They're all trying their best to keep her out of site.

Ron: And everybody gets in on the action. Renee, who is drunk, and doesn’t really have any weapons also gets in on the action, because she's a detective. She knows how to fight.

Huntress, who has her crossbow, does a great job keeping everybody at bay.

Black Canary, who doesn't really have any weapons, she more than holds her own in this fight. And Harley, just loves smashing things.

Mon: If anybody has read the comics, or is vaguely familiar with the Black Canary, you'll know that she actually is a meta-human. She has a superpower.

Throughout the film, Black Canary does not use that superpower. But why? We find out during this final action sequence.

Renee is the only one who knows about Black Canary’s past. She knows about her mother. That's another sweet little moment, because we find out that Dinah Lance’s mom was also a superhero and she was obviously killed before her time. And that’s why Dinah is obviously afraid of using her powers/

When she finally unleashes the Canary Cry, it takes so much out of her, she actually collapses.

Ron: But the scene is epic. You've kind of been waiting for it throughout the firm, but I felt like I didn't miss the fact that we hadn't seen the Canary Cry before them. But when she does, it's amazing.

But let also talk about Renee's bulletproof vest.

Mon: I love that so much. Harley uncovers a chest which includes a lot of her old stuff. So, she finds her giant hammer, she finds her old outfit. She suggests that one of the others, Renee especially, tries to put it on because it's bulletproof. And, of course, Renee scoffs at it because, have you seen Harley’s outfits?

But it turns out that Renee did take Harley’s advice and she'd actually got the bulletproof outfit underneath her clothes. So that when she does get shot, she's actually still alive. Phew! I was really scared for a moment.

Ron: The final act was kind of setup to make you think that we were going to lose a character, but fortunately we don't. Instead, we got this extremely fun moment when Harley rips open Renee’s jacket to check that she's going to be okay and she's so impressed because Renee is wearing her suit, and she's so impressed; and Renee looks great in it.

Mon: Once again, you have to commend the creators. It’s not like Renee rips off her rather practical detective outfit and starts walking around in Harley’s skimpier clothes. No, she has it hidden underneath, because you don’t want to advertise that you're wearing a bulletproof vest. Otherwise, you will get shot.

Ron: That's a good point.

But we’ve forgotten to mention the central romance in this film.

Mon: Oh yes, of course. It's the most important relationship in all of DCEU.

Ron: Absolutely. Now, Harley and Joker have been a part of the DC world for a very long time. You could say that their pairing is iconic. This film makes you forget the Joker was even a thing, because Harley has a new and proved love interest: the simple egg sandwich.

There is no better scene in cinema than Harley running through the streets of Gotham hanging on to her freshly-made egg sandwich. And then just as she is close to being freedom, Renee’s car stops her, Harley falls to the ground and her sandwich flies out of her hand.

The sheer magnitude of her loss is felt from within and without the screen.

Mon: It really is these sweet moments in the film that make you love not only the film but the characters.

The entire scene is shot to show us that Harley was having a really good day. It's not really about the egg sandwich. It’s just about her being herself. And once again, every moment in the film is about advancing—each character’s arc and their journey. This egg sandwich was a very huge part of Harley's journey. And now it's gone.

Ron: But it's these simple little things that you don't expect to see in genre films. But also, they don't get to be associated with female characters.

Mon: You're right. Tony Stark and his burger have gone down in the annals of comic book history. Now, it's been dethroned.

Ron: And I love the fact that we weren't the only ones who loved that relationship. Twitter, the day after Birds of Prey came out, was awash with tweets about Harley and her sandwich and I was like, ‘You know what? This is a small moment.’ I don't know whether the writers and the director even realized how much it would matter to people but it was so good to see a character like Harley, who has been sexualized and demonized and discarded, just become a person that you absolutely and utterly loved.

So, the plot, the characters, the cinematography is beautiful. But let's not forget that this film has an amazing soundtrack. We could not stop listening to it when we first watched the film. We listened to it on loop for weeks. And then again when we re-watched it for our birthday—we were listening to it again.

For me, Diamonds is one of my favorite songs this year. I can't not dance when I hear it. It’s sampling Diamonds are a Girl's Best Friend, but with this super cool hip hop beat. And it just makes me move.

But I also love Boss Bitch, which is noisy and fun. And really gets your heart pumping.

We also have Jurnee Smollett’s It's a Man's World. It's so soulful and beautiful. It's very different from Boss Bitch and Diamonds, but it just penetrates your soul.

Which songs do you love?

Mon: I love Joke's on You. It pretty much kicks off the film and echoes Harley's journey. Plus, it's really beautiful to listen to.

But the arrangement for Hit Me with Your Best Shot in this film, it is so surreal and eerie. The song itself is a huge contrast to the scene that it plays along with. But I think it fits with this scary, haunting world of Gotham, especially in that final arc when everything is all foggy and mysterious.

Ron: And what I love about this film is that the soundtrack ties so beautifully into the score by Daniel Pemberton. That's something that I'm always looking for in films. You hear these songs, and you hear the background score, but somehow, they don't work together. This film, for the first time—at least for me—that works brilliantly. When I heard the score, you can hear parts of the songs as well. And that segue between the two of them is absolutely magical.

Mon: Was it just me, or was the entire soundtrack only sung by women?

Ron: That's absolutely right, it was. It's another great way to showcase diversity behind the scenes when your film is about diversity as well.

And that comes through, also, in the costumes. I read about Cathy Yan speaking with the costume designer, and the actors. So, Margot Robbie, because she was also involved as a producer, had some input into how the characters would look.

We have spoken about Suicide Squad and Harley’s costumes, which were extremely impractical, highly sexualized and kind of disturbing to watch. The clothes in Birds of Prey; are they revealing? Yes. Harley walks around in shorts for a lot of the time. Black Canary has a golden sports bra on view most of the time. But they aren't sexualized, and again it comes back to the gaze of the person behind the camera. Plus, the clothes are fashionable versions of what we see in everyday life.

Mon: The practical look of the costumes, apparently, was the start of a lot of backlash towards the release of this film. I would say a lot of it was unnecessary. There's no point in having Harley walk around in tiny hot pants, because it isn't practical. And also, I feel like a lot of people used the costumes and the general casting of these actors as an excuse to not watch this film.

There is a very vocal set of fandoms, usually the most conservative, who've decided that some films aren't for them. We'll never know why they feel like this.

Films like Birds of Prey cater to a larger audience—not to a different audience—a larger audience. Because superhero and genre fare has, for a very long time, targeted a very narrow demographic. It's the 21st century, there's a whole world out there, and they’re bringing in the money. Who do you think helped Birds of Prey, make buck? It was the larger; marginalized female audience who were flocking to see this film.

And they were watching this film because the characters were given agency, were given storylines, were given fleshed out characterizations.

Ron: Some of the criticisms towards the film was that it became a Harley vehicle, instead of being about the Birds of Prey. But if you look at the DCEU universe, and the fans that are watching it, you can't just say this is a movie about the Birds of Prey, you need to have some connection with the rest of the canon, because otherwise people won't know what's happening.

Mon: And they don't even try to find out either. It's like ‘oh, who are these people? I want to see Harley’. Okay, this is a good way to get them in.

Ron: Exactly. So that's a criticism that I don't understand at all.

Another thing that people were saying was that the Birds of Prey has always had Batgirl in it. Not having Batgirl in this film, yes, her absence is felt, because she is a huge part of this group in the comics.

But we don't know the inner workings of Warner Bros. and the DCEU. We don't know why Batgirl couldn't be in this film; we don't know whether we will see Batgirl on screen anytime soon. Apparently, there was a movie being written by Joss Whedon, but fortunately that is gone. That man should not come near superhero films at all.

But what happens to Batgirl? We don't know. There is going to be The Batman movie. We have seen Jeffrey Wright’s Jim Gordon in the film trailers, but we haven't seen whether he has grown-up daughter who can become Batgirl. So, we don't know which direction this particular franchise is going to go.

So, yet another criticism was about Cassandra Cain and how she came across as a bit of a generic teen character, instead of as the Cassandra Cain/ Orphan that we meet in DC Comics. That is a valid criticism. But on the other hand, Orphan is a very different kind of character, and perhaps trying to explain her backstory without giving viewers some time to connect with the character before she becomes the superhero that we know in the comics, would not have worked.

Maybe we’re giving the movie a lot of leeway because it was an enjoyable experience and we do like the diversity that was showcased in this film. But in all honesty, the kind of things that were being said about Birds of Prey would not have been said about films that feature male leads.

Mon: The only valid criticism I'm willing to take against this film is that we don't necessarily need assault storylines in a film empowering women. I know that a lot of people were disturbed by that.Perhaps if it had come with trigger warnings. People would have known what to expect.

But aside from that, the way that these scenes play out are very subtle, very nuanced; again, not gratuitous. The film based itself in reality, despite being fantastical.

Will we get a second part?

Ron: I am desperate for Birds of Prey 2. I want to see more of Black Canary, of Renee, of Huntress, and maybe even our first glimpse of Batgirl in the DCEU.

I think the wider reception of this film, amongst the audience that doesn't usually get catered to, is really positive. It does deserve a second part, especially when films like Suicide Squad are also getting sequels, and that film was critically panned and widely disliked by the fan base that it was catering to.

Mon: I completely agree with you. There's so much scope to expand the universe of this film. We could possibly see Poison Ivy, we could possibly see Oracle, who knows, it would be so much fun. Just getting to see those Birds of Prey fight and work together as a team, with no strings attached, would be worth every penny.

Ron: Absolutely. Bring on Birds of Prey 2, DC.

What did you think of Birds of Prey? Let us know.

Ron: You can find us on Twitter @Stereo_Geeks. Or send us an email [email protected]

Ron: We hope you enjoyed this episode. And see you next week!

Mon: The Stereo Geeks logo was created using Canva. The music for our podcast comes courtesy Audionautix.

[Continuum by Audionautix plays]

Transcription by Otter.ai and Ron.

#birds of prey #harley quinn #podcast #stereo geeks #black canary #renee montoya #huntress #dc comics #dceu

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rockandrollfool · 3 years

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Stay Beautiful

When one considers representation and inclusion within the arts then it seems there is a huge omission in relation to people with a learning disability. Goddard (2014) argues that people have very little or indeed no say in the in the development of the inclusion agenda when considering the professional arts from a UK perspective. The lack of any real and meaningful engagement with the arts would undermine any notion of being taken seriously as a starting point. The field is highly competitive and success is often based on existing relationships. Menger (2006) asserts that any work or opportunity is generally 'piecemeal' this then links to reputation or standing within the immediate community or group. Accordingly this then serves to magnify the power of differences in talent and work opportunity to increase inequality.

When considering people with a learning disability as a "professional artist" then one could argue that identity and the ability to grow and understand self are the prerequisite within "creative learning" but if as Menger offers the field is limited then how are people going to access the chance to perform on their own terms and equally develop a sense of self value as an artist? Fundamentally if access is the issue then where are the spaces where people can access the arts and contribute on equitable terms?

I was introduced to the “Nice n Sleazy” festival four years ago and it has been overwhelming watch it grow and develop. The festival is named after The Stranglers hit song from 1978 and has been part of the live music scene for fifteen years. I initially I thought it was a 'punk' festival though defining that term is virtually impossible. Tait Coles (2014) refers to punk as a state of mind" and attitudinal. Danny Baker writing in 1977 in the D.I.Y magazine 'Sniffing Glue' argued it is "something new" and furthermore that confusion is all part of the underlying philosophy of the movement and therefore "f*ck it, you go and figure it out" Baker (2104)

With this in mind then what has been created by the organisers is a music festival. The difference here however is that it is evident that the team have adopted an approach to support equality, diversity and inclusion through their own understanding and definition of punk. If ‘actions speak louder than words’ then one can see the huge push to creating a space that is safe for all. It equally provides opportunities for employment and performance and then sets the scene for four days of music and entertainment.

In 2019 the festival was awarded ‘Disability Confident’ status. The tangible reality of this is that people with learning disabilities both perform and work on site For the full duration of the event. The Disability Confident scheme claims to support employers "to make the most of the talents disabled people can bring to the workplace" (on-line 2020) Moreover the scheme is seen as a way of addressing how employers engage with people with a disability.

According to the web-site there are 8.1 million people in the UK that have some form of disability. Defining disability can be problematic however Shakespeare and Watson (2001) perceive the term as complex and assert that one cannot reduce a definition to just biological circumstances. Equally important are psychological and socio-political factors”. This seems to capture the idea that a disability could be a social construct, Hiranandani (2005) and here in is the overriding philosophy of the Festival.

When viewed through this prism 'disability confident' argues that by adopting more inclusive strategies for support then an organisation can change behaviour and cultures within "businesses, networks and communities “on line (2020) The reach is measured way beyond the immediate employer. By embracing inclusivity and by people having a visible and valued presence the potency of the message is magnified.

Running parallel with this is the notion that whilst exploring and having access to arts people with learning disability have a very real chance to "express themselves through different creative opportunities and media. According to idonline.org (2020), people can "gain confidence" in terms of self-development. More importantly though is the idea of the person being seen and valued as an artist or performer in their own right. Creating our own selves through the arts reflects Stuart Hall’s concept of identity being understood as identification, that is an evolving process rather than a fixed identity that is often ascribed to us by society and particularly for people with a learning disability (Hall, 1990).

Whilst trying to steer clear of labels, Becker (1963) and being mindful of respecting how people may want to self-define it is noticeable that "Sleazy" has given a platform and equal standing to the following bands

The Ec-Tix https://en-gb.facebook.com/ECTIX/

The Positives https://en-gb.facebook.com/pg/ThePositives3/about/

The Dead Rejects https://www.facebook.com/deadrejects/

Clan Of Anarchy https://en-gb.facebook.com/officialclanofanarchy

It is easy to see why the bands sit well within the festival due to their own punk ethos. Aligned with this therefore one could argue that "Sleazy" is a world away from how other festivals organise and promote what they do. There is no fuss and no huge banner proclaiming and asserting inclusivity.This reflects Beresford and Croft’s ‘democratic / citizenship’ approach to inclusion that emphasises people’s rights as citizens (as artists) to create and set their own agenda and identities, rather than as ‘consumers’ or ‘service users’ to be consulted in an often reactive manner to ‘tick the box of inclusivity’ (Beresford & Croft, 2003).

This philosophy is captured perfectly by Pauline Murray lead singer of Penetration who when asked what is it like being a woman in rock offered she never considered her gender an issue. Murray explains "I just thought I was part of the band" in retrospect however "it seems quite revolutionary, the way women were behaving. Females in bands were breaking down stereotypes" PR Intern (2017) Could the same be said of the bands appearing at Sleazy?

If pushed it is doubtful the bands above would describe themselves as having a learning disability. The idea that a group of musicians would want to be categorised in this way seems wholly at odds with my understanding of the rock persona. Joe Strummer of The Clash in defining 'self-awareness suggested it has something to do with 'an ability to trust your own judgement' and more importantly "an ability think for yourself" as cited in Coles (2014) The chances are the respective bands just want to be musicians, performers and artists and consequently this is how they see themselves.. Doubtless that is exactly how the promoters at "Sleazy" make sense of it all. One is left to ask therefore, is there any other way to see it?

I wanted to do a piece here about inclusivity within the arts and I have focused on this festival as the yard stick by which others could measure their impact. In considering Sleazy I haven’t spoken about the broad range of opportunities it presents for people (with a learning disability) to work as sound engineers, stage managers, lighting technicians, stage runners and the wealth of talent it embraces to do this.

I haven’t discussed how the festival supports and promotes the White Ribbon Campaign which was founded in 2005 and is "part of a global movement concerned with ending male violence against women. “Much of the work we do is concerned with engaging men and boys regarding attitudes and behaviours, raising awareness, influencing change and providing resources to make change happen in relation to domestic violence and abuse of women and girls" White Ribbon.org.uk (2020)

I also would have wanted to raise the work that Sleazy have been doing since 2016 in promoting The Sophie Lancaster Foundation. As part of their developing agenda regarding equality and diversity the organisers have been instrumental in challenging ‘hate crime’. This has allowed a further opportunity to increase and raise awareness and address discrimination and prejudice on an individual basis. Sophie Lancaster was a young woman that was murdered and her death was treated as a Hate Crime by Judge Russell who sentenced the murderers accordingly. Under the current UK Hate Crime Legislation (Section 146), as the motivation behind the murder was hateful, he was able to use his discretion to class it as a "Hate Crime". The work the foundation does focuses on creating respect for and understanding of subcultures in our communities. Where better to do that than at a punk festival?

It is probably worth mentioning that the team also support Morecambe food bank. There is a donation point in the foyer at the festival where food can be left and once the weekend is over the donations are then transported to the charity. Again this evidences how “Nice n Sleazy” has an alternative perspective when considering how to promote and host a music festival.

The tangible reality of this is not only do people with learning disabilities perform and work on site during the weekend, there is a massive emphasis on inclusion, diversity and equality. This is a world away from how other festivals organise and promote what they do, so in conclusion one could say “Nice and Sleazy does it every time” The Stranglers (1978)

The Rock And Roll Fool

#rocknroll #festivals #indy #punk #equality #rights

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strangledeggs · 3 years

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Strange Nostalgia For The Future – or: Death By A Thousand Taylor Swifts – or: This Is Pop?

Holy shit, when did this article get to be over 8 pages? Sorry everyone, Tumblr isn’t letting me do a cut, so this is just going to clog your feed for a while.

This began as a long-form review of Dua Lipa’s album “Future Nostalgia” with comparisons to the styles of a variety of other pop artists, but has since turned into something much broader and more nebulous. Call it my (incredibly subjective) attempt at defining a current “state of pop music” as it stands in the year 2020.

I’ll admit, I have a bias here, so I’ll lay that on the table: I didn’t particularly care for Dua Lipa prior to the release of “Future Nostalgia”. Actually, if I’m being completely honest, she didn’t really register on my radar until the album’s release, and so I didn’t hear any of her earlier songs until I spent a few minutes on Youtube scrambling to remember who she was and why this release was supposed to be such a big deal. I came up relatively empty-handed, with “New Rules” having more interesting production than anything in the way of a vocal hook and “Be The One” sounding blandly forgettable.

But music journalists were spinning this narrative that “Future Nostalgia” was Dua Lipa’s big moment, her “disco” album, her album full of “bangers” (yes, I know, that’s an archaism at this point, but what am I going to do, call them “vibes”?). We’ve seen hype like this before (at least I have), so we should always take some time when an album arrives with this much fanfare to ask that crucial question: is it justified? Does it live up to expectations?

I’m going to answer that question, but before I do, I want to take a step back and place that music journalism narrative within a broader music journalism meta-narrative that has been slowly gaining traction over the last decade. About 7 years ago (so around 2013), I wrote a guest article for the (what I assume is now defunct) blog Hitsville UK on another meta-narrative called “rockism”, by which older listeners and journalists tended to use to justify their dismissal modern pop music through the glorification of (and comparison to) the canon of rock music. This was not a unique article – many music journalists were writing about this same phenomenon that year; it will likely mark some sort of watershed moment in music journalism. Frequently contrasted with the meta-narrative of “rockism” (not so much in my own article, but definitely in others’) was a countering meta-narrative named as “poptimism”. It’s basically what it sounds like: an optimism that current pop music could be just as good as music of the past, or even better. This was, of course, already known in a lot of mainstream music journalism circles, but it did cause a bit of a stir in independent music journalism, especially since it seemed awfully hard to deny; then-recent examples of indie stars like The Weeknd and Frank Ocean* aspiring to make genuinely great pop music seemed like they were making a pretty good case for the poptimist outlook. Plus, as a new generation of music journalists raised on hip-hop began to cover the genre more seriously, it soon became clear that, given the crossover-laden history of rap, they would have to take pop music seriously too.

Needless to say, poptimism gained a lot of traction as a new paradigm, until it became the default outlook of music journalism by the middle of the decade. It has, as far as I can see, yet to relinquish its grip, and that’s not such a bad thing; arguably, a lot more women, queer people and people of colour have had their music taken more seriously since the shift. Before we get back to “Future Nostalgia”, however, there’s one more piece of this puzzle I want to put in place: coinciding with those early years of poptimism, pop itself hit a bit of a turning point in the year 2014. This was, of course, the release of Taylor Swift’s album “1989”.

What was so special about “1989”? It’s still a bit hard to answer that completely coherently, but it clearly changed the pop music landscape in meaningful ways. For one, it demonstrated that the overcoding of global pop music made at the hands of big-name producers was not just an approach reserved for the “born pop star” figures of Britney Spears or Christina Aguilera. Taylor Swift, formerly a country singer with pop leanings, now went headlong into Max Martin-penned chart-topping smashes, and just like that, she had become deterritorialized. It was a huge success, and, interestingly, one of the first albums that got a lot of independent music journalists (and me) to take her seriously despite being her most overtly commercially-driven. I think this speaks to the power of poptimism in 2014 from two angles: for the journalists, the lesson seemed to be that if someone is already doing something near-enough to mainstream pop and then breaks through with a mass-appeal hit, why not see this as a kind of fulfillment of artistic intent? And for Swift, if you’re already doing something near-enough to what’s playing on pop radio, why not go all the way with it and sacrifice your country “credibility” for the ability to have hits beyond the genre-specific? “1989” marked a turning point at which pop music, formerly seen as something people “sell out” to make, became something you “sell into”, erasing a specific, localized identity that could be exposed as a construction anyway and replacing it with the ambition to conquer the ears of the masses.

I should clarify here, however: there are two possible conclusions one can draw from poptimism. The one I just documented, that pop music as a global/commercial phenomenon can be great and should taken seriously by music journalism, is the more frequently-taken interpretation, but it’s not my preferred one. I would rather the alternative view, which is that most music that people have tended to hear the last several decades, whether marked by the seal of “pop” or not, has been pop music. Rock is a form of pop. So is country, so is hip-hop, so is jazz, folk, metal, etc. We can distinguish between, say, the commercial radio pop – which I’ll from this point on designate as “Pop” with a capital “P” – and the pop tradition, but everything descends from pop tradition in the end, and Pop is just one more subgenre among many, albeit by definition the most popular at its given moment. Seeing that this is pretty indisputably true (and if you don’t believe me, you a) haven’t been reading my blog for long enough and b) have some serious research to do), we might as well take Pop as seriously as any other form of pop and subject it to the same criticisms, while simultaneously adjusting our criticisms of other pop subgenres in relation to our new appreciation of Pop. Who created the texture of this Pop song? Does this metal song have a hook? Is the phrasing in this hip-hop song conducive to its overall rhythmic feel? And so on, and so on.

I prefer this approach because it doesn’t necessarily assume a supremacy of one genre so much as level the playing field to allow for a more robust and less prejudiced criticism. It also doesn’t let listeners off the hook, as many (non-critics/journalists, most likely), given the opportunity raised by the previously-detailed interpretation of poptimism, would lazily slip back into listening to Top 40 radio without attempting to seek things beyond the charts; this alternative interpretation challenges us to try and hear the similarities between Led Zeppelin, Rihanna, Young Thug and The Clash while recognizing what each do uniquely. Unfortunately, it seems like the former interpretation has won out, at least for most audiences, and we now have a listener-base that, instead of keeping their ears peeled for next-big-thing indie groups like Arcade Fire as they might have circa 2008-2012, is content to wait for an already-famous star to drop the next “1989” crossover smash**.

This brings us back to “Future Nostalgia”, the latest in a line of Pop albums that seem primed to vy for that coveted position. There is, however, a bit of a gulf between “1989” and “Future Nostalgia”, and it’s not just because the moment of “1989” and poptimism has already happened. It’s also not because Dua Lipa isn’t “crossing over” from any outsider genre like Swift did with her move away from country – if anything, Dua Lipa is doubling down on her Pop ambitions here by putting them up-front and trying to make this album as blockbuster-signalling as possible. The biggest gulf is the musical one: compared to “1989” (and, I should add, a slew of other blockbuster Pop albums from the last decade, which I’ll get to discussing soon enough), “Future Nostalgia”’s songs are oddly lackluster.

Let’s start with the good, though. On my first listen to the album, I wasn’t completely baffled that critics were hearing something momentous in it. There are absolutely (again, sorry) bangers on this. Ironically, the two that stood out to me immediately were two that I later learned weren’t even released as singles, which might speak to the marketing team’s inability to judge the quality of the music they were handling here. “Cool”, easily the best thing on “Future Nostalgia”, rides a sort of bouncy warping of the riff from Cyndi Lauper’s “Time After Time” as Dua Lipa gushes about how she just can’t control herself in front of her lover; it’s sweet, both lyrically and musically. “Love Again” (no relation to the Run The Jewels song) is perhaps the album’s most explicitly “disco” song with swelling strings and everything, and expresses a similar sentiment to “Cool”, though perhaps from a more reluctant angle: “God damn,” Dua Lipa sighs in the chorus, sounding simultaneously annoyed and amused, “you got me in love again”.

The songwriting on “Cool” and “Love Again” also happens to be some of the most basic on “Future Nostalgia”; the beat loops, albeit with some nice flourishes and rhythmic quirks, and Dua Lipa cycles through a few simple melodies, the catchiest always winding up in the chorus. “Love Again” is practically a blues song with its AAAB-repeat phrasing. I highlight the virtues of this simplicity because it throws much of the rest of the album into a stark contrast and exposes its greatest weakness: many of the other songs on “Future Nostalgia” feel fussed-over and patched together out of pieces that don’t always fit, as if the several writers*** involved in these songs weren’t in the same room when the track was finally put together. The album seems to be a case study in throwing everything at the wall and not bothering to consider whether it will stick. And yet it seems to have a small army of critics defending it, even going so far as to call it the pop (or at least Pop) “album of the year” – which has me wondering exactly what all the hype is about.

“1989” has something that a lot of other blockbuster Pop albums since its release do not: a personal touch. Taylor Swift worked hard prior to that album at building her brand as a confessional singer-songwriter, and even with the big-name productions and radio-primed hits, she maintains that image: one of her biggest “1989” hits, “Blank Space”, explicitly addresses her (supposed) romantic history and relationship to the media. Elsewhere, she does some fantasizing about classic movie archetypes and the impulse to drop everything and run away from it all, strongly reminiscent of her past work. It’s not as easy as it might sound to pull off this kind of thing, and I think Swift deserves credit not just for the excellent musicality of the songs she put her voice to, but the consistency of the strong personality she built across her career (with misstep “Reputation” sticking out as the glaring crack in the portrait).

So I won’t compare “Future Nostalgia” to “1989” beyond the initial poptimism narrative it bolsters. No, “Future Nostalgia” isn’t particularly personal – its mode seems to be more in line with what Robyn was already doing a few years before Swift, anticipating a poptimism that would effectively result in her deification over the course of the 2010s. Similar to Robyn in her “Body Talk” series, Dua Lipa seems to approach “Future Nostalgia” with a kind of assumed confidence as a dancefloor queen – more celebratory than confessional.

The celebration, however, proves to be pre-emptive; “Future Nostalgia” lacks two crucial things that “Body Talk” had in spades. The first is a general willingness to experiment. Robyn’s albums were packed with silly throwaways, but some of them stuck, and the best are featured on the collected version of the album, from the Snoop Dogg collaboration “You Should Know Better” to the cybernetic-pop-anticipating “Fembots” to the sassy “Don’t Fucking Tell Me What To Do”. The title track of Dua Lipa’s album demonstrates a little bit of adventurousness, but it unfortunately flops, arriving in the form of awkward half-rapped verses that aren’t fun enough to leave a lasting impression. The only other potential outliers are the aforementioned “Cool” (which just happens to sound less disco than the rest but is otherwise a fairly standard, if well-written, pop song) and the album’s absolute nadirs, “Good In Bed” and the closing ballad “Boys Will Be Boys” (we’ll get to that in a bit). Otherwise, the album carries its aesthetic pretty consistently between tracks, giving little impression of any desire to experiment.

The second missing element is the consistency of the songs themselves. When Robyn’s songwriters toss her, say, a pseudo-dancehall song, they commit to it, making sure there are no weird melodic/harmonic/rhythmic hiccups and that the pieces fit together. And unfortunately, the majority of “Future Nostalgia”’s songs are full of exactly those kinds of hiccups and disjointed structural assemblages that leave me scratching my head. A lot of it’s subtle to the point that I can almost understand other critics missing these details, but I pick up on this stuff fast, and once I hear it, I can’t unhear it.

A lot of it’s in the phrasing; too often, Dua Lipa will go for a quick succession of staccato notes in a chorus when a simpler, slower phrase, or maybe just silence would have worked better (see “Break My Heart”, or the post-chorus of “Future Nostalgia”, in which she sings the 100% non-credible line “I know you ain’t used to a female alpha” – side note, has she even listened to top 40 radio in the last decade?). “Physical” is almost fun until you realize that the phrasing, melody and harmonic structure of the chorus would fit perfectly into any godawful Nickelback song.

Actually, “almost fun” is one of the phrases that I feel best describes so many songs on this album. Too many of the tracks set up something great only to follow through with some baffling songwriting choices. The second track in, “Don’t Start Now”, disrupts an excellently-phrased verse and infectious bassline with a chorus awkwardly parachuted in from what sounds like a 90s house song. The more in-character post-chorus that follows can’t help the song recover once you realize that it’s nowhere near as endearing as the original verse melody. That half-assed rapping makes a re-appearance in the bridge of “Levitating”, which is otherwise perfectly acceptable. If not for that moment, “Levitating” would come close to being the third pick of my favourite songs here, although you can’t fool me, Dua Lipa: I know that chorus is just a sped-up re-hash of the Jacksons’ “Blame It On The Boogie”. “Pretty Please” is also fine, funky and subtle, displaying some restraint on part of the songwriters and producers for once – though there’s also nothing about it that jumps out and grabs me. Besides the two standouts, is that the best I can hope for on this album, a song where nothing goes horribly wrong? At any rate, it’s better than the bland, shameless Lily Allen rip “Good In Bed”, which also features an utterly confounding “pop” sound effect in the chorus replacing one of the mind-numbingly repeated words.

There are some exceptions with regard to singers that can make use of this kind of disjointedness. Ariana Grande’s “Sweetener” walks a thin line, but it often pays off. See, Grande is a singer’s singer, at least by Pop standards; she’s known for crooning, for belting, for singing her lungs out. But she also wants to be a Pop icon to young people right now, and that means staying up-to-date in her production and songwriting. The trouble is, one of the most popular genres with the kids these days happens to be trap, which doesn’t exactly lend itself to Grande’s showboating vocals, favouring short, choppy phrasings and half-mumbled half-singing mixed almost low enough to blend with the music. So she compromises: some of the songs on “Sweetener”, such as the title track, have verses and choruses that feel as though they’re pulling in opposite directions, with Grande getting an opportunity to flaunt the long high notes in a percussionless section before dropping into those staccato bursts that suit the heavy 808s of trap. Despite it being more drum’n’bass/R&B throwback than trap, a similar dynamic is at play in Grande’s biggest hit from that album, “No Tears Left To Cry”. Unlike Dua Lipa’s lurching song structures, Grande’s feel intentional and thematic; the songs aren’t always bulletproof, but I feel like I learn something about her by hearing the tension of styles she’s struggling to stretch herself between. All I feel like I learn about Dua Lipa from the messiness of her songs is that either her, her songwriting team, or both are very confused about what goes into an effective pop song.

Of course, Ariana Grande is also operating in a slightly different mode than Dua Lipa in the first place: whereas Dua Lipa is engaging Pop radio in the recent tradition of satisfying formulaic hits like those of “1989”, Grande has one foot (or maybe even one and a half?) in the parallel tradition of R&B. While the two traditions frequently mix and crossover on the radio, they represent very different approaches to music whose distinction might provide some insight into why some of what Dua Lipa is trying to do isn’t working.

To put it simply, the basic unit of what we’ll call traditional pop is the song, and the performer of the song is meant to convey the essence of that song as a relatively unwavering whole – the performer is effectively the conduit for the song, which reaches the listener through the medium of the performer. The singer has some room to “interpret”, but once a given interpretation is found to be effective in its “hook” potential, it’s typically kept as part of the formalized song, written in stone, more or less.

R&B, true to its roots in “rhythm and blues” and, before that, jazz, essentially reverses this. Songs are present in R&B and not necessarily unimportant, but they typically become conduits for the performer’s own expressiveness. In this setting, the performer’s “interpretation” is actually the most important ingredient, as the performer’s style is effectively the product, the listener’s focus. This places greater emphasis on experimentation with phrasing, melody and other aspects of a song, as well as the potential differences between multiple recordings and performances of that song.

These two paradigms have consequential implications for singers of songs operating in a given mode. A traditional pop singer, for example, is going to be more likely to defer to the song as-written in their performance of it for a recording. An R&B singer, by contrast, is more likely to improvise, often delving into explorations of how to make their voice a more expressive instrument – in many cases, actually, it can be a matter of making their voice more like an instrument, full stop. The notes aren’t sung to express words so much as they are sung to express pure sound. Vocals can vary wildly in rhythm, giving off phrasings that might normally be considered unnatural, but, if placed artfully enough, can re-shape our expectations of pop music in the first place. These aren’t ironclad rules, by the way – the genres cross over frequently and the lines are often ambiguous. But I think defining the differences here can at least help us understand the split in the approaches of, say, Taylor Swift vs. Janet Jackson.

Arguably, the biggest R&B star in the world at the time of writing this remains Beyonce, and with fairly good reason: her powerful voice brings a lot to what are often already well-written songs. Take note here: something like “Formation” (which I have previously written about in my article on hip-hop’s inheritance of the post-punk legacy) or even “Drunk In Love” probably wouldn’t fly in the realm of Pop. Tracks like these are mainly embellished not necessarily with flashy songwriting or production flourishes (although they can have those too), but with Beyonce’s vocal interpretations of them, sometimes approaching something more like rapping than singing****. Note also: vocalizations in this context are given a certain freedom, a license to be weird within a certain range of acceptability. Need I remind you of “surfboard, surfboard, / Grainin’ on that wood”?

My point here is that R&B singers are playing by different rules than Dua Lipa. This isn’t just me arbitrarily deciding that what she’s doing isn’t “R&B enough” – you can here it in her approach. My criticism of her awkward phrasing is based largely on the fact that it doesn’t sound like she’s doing it to “experiment” with the songs she’s given. She repeats these phrases exactly the same way each time, as in the chorus of “Break My Heart”, just so you know it’s intentional. If she is, in fact, improvising, the songs aren’t very suited to it and her attempts are mostly unsuccessful; they become hooks that highlight their own weaknesses rather than bold forays into new rhythmic territory.

The most interesting part of “Future Nostalgia” is, by far, the backing music. Even when Dua Lipa’s singing and hooks fail, the production shines through (even here, though, there’s a caveat with regard to the last two tracks). Consider the sublimely gauzy vocal(?) loop at the beginning of “Levitating”; the sweeping disco violins of “Love Again”; the finger-popping funk bassline of “Don’t Start Now”; even the Justice-lite bass synths in the chorus of the otherwise by-the-numbers “Hallucinate”. “Physical”’s best aspect is, in fact, a small countermelody running in the background of the obnoxiously bland chorus.

This is where I can most understand what got music critics hyped up on this album in the first place: superficially, at least, it sounds pretty damn good. But I suspect the willingness to overlook its other obvious faults stems from a tendency among “poptimistic” critics to treat singers as interchangeable in a system they perceive to be dominated more by “sounds” than by music proper. In fact, the singer is a real make-or-break point in much of modern pop music (Pop or otherwise), likely due to the focal point they occupy; a great singer can occasionally salvage a terrible song, while a bad (or even just mediocre) singer can easily bring down the most well-constructed powerhouse hit.

A case against valuing “Future Nostalgia” solely on the basis of its production: the last Pop album I remember listening to where the production outshined the songwriting was Billie Eilish’s “WHEN WE ALL FALL ASLEEP WHERE DO WE GO?” Eilish’s songs aren’t bad, and are frequently even good – but I was surprised at how conventional, or even “traditional”, most of them were. “Bad Guy” and “All The Good Girls Go To Hell” are basically jazz songs. “Xanny” and “Wish You Were Gay” (the most lyrically immature, it must be acknowledged) are pretty standard singer-songwriter fare. Others tend to play to a type: either sleepy ballads (“When The Party’s Over”) or, the most interesting songs on the album, the hip-hop influenced minimalist pieces (“Bury A Friend”, “You Should See Me In A Crown”).

But of course almost all of these songs are transformed in part by some rather astonishing production. No one who’s heard “Bad Guy”’s synth-squiggle chorus would mistake it for jazz, and the chorus of “Xanny” squirms in a shroud of distorted bass that pull back when you least expect it – hardly typical sonic territory for most singer-songwriters. Even the already-powerful “Bury A Friend” hits harder than it might have without the surging crunches it’s afforded in the production.

My point, however, is not that the production is what makes this album – it doesn’t, at least not entirely. The production is roughly half of what’s interesting here. The other half is comprised by two things: the fact that most of the songs are fairly strong already (though I think Eilish could lose a few of the ballads and come out better from it), and the fact that Billie Eilish also happens to have a very distinct vocal style. Actually, that last part alone is probably the selling point for most people: Eilish’s eerie half-whispered delivery plays more of a role in constructing her album’s overall dark mood than the production. It has its limitations, and I wonder what her future will bring in terms of her ability to move beyond the role she’s effectively typecast herself in, but it has something on Dua Lipa: it has personality.

So vocal style is important, but that’s not all: as I mentioned, Eilish’s songs are also consistently stronger than Dua Lipa’s, even when both are at their lyrical worst. Sure, “Wish You Were Gay”’s self-absorbed whining about unrequited love and sexuality sounds exactly like what you’d expect to come from a undeveloped teenage singer. But the lyrics are the only thing wrong with that song; take those away, and the melodies and instrumentation sound pretty damn great. The same cannot be said for the overblown dollar-store balladry of Dua Lipa’s execrable “Boys Will Be Boys”, which, despite projecting an ostensibly more “progressive” outlook than “Wish You Were Gay”, falls flat on its face anyway. And I’ll take an Eilish ballad over “Good In Bed”, which sports an obnoxiously repetitive chorus – static, plastic, it sounds like a strained smile looks, desperately trying to convince you that this is fun, right?

“But wait,” you might say, “pop music is supposed to be fun! And isn’t that what most of ‘Future Nostalgia’ aspires to? Shouldn’t we forgive Dua Lipa for some of her mediocre songwriting if her goal in making us dance is at least a defensible one?”

And the answer is no, because Pop is already full of music more fun than this. The way I see it, there are several ways in which one could make music more fun than “Future Nostalgia” (better songwriting being one I’ve already discussed to death here), but I’ll wager that a fairly reliable method is that frequently employed by Lady Gaga: do something musically outlandish and downright weird.

“Bad Romance” is the obvious lodestar here, but Gaga’s career is full of the absurd: just take pretty much any song off of “Born This Way”. Even the “normal” songs like “Yoü and I” (at least pre-“Joanne”) come across as weird by virtue of being placed next to something like “Electric Chapel”. And all this is done in the service not only of raising eyebrows, but in the name of fun. Even some of Gaga’s weaker efforts like “Venus” (or many others on “Artpop”) have a winking slyness to them that lets you laugh along with her. It rarely feels like she’s “serious” when she’s singing about love, sex, or dancing all night, but she gets you dancing anyway.

“Future Nostalgia”, by contrast, has few attempts at any kind of weirdness, and those it does have fall flat. I’ve already mentioned the cringe-y pseudo-rapping, but the spoken-sung pre-chorus of “Physical” is just as embarrassing, bringing the song’s momentum (its second-greatest virtue) to a screeching halt with an awkward phrase that feels totally unnecessary. And then there’s that sound effect on “Good In Bed”. These moments detract from the album because they feel half-assed, like Dua Lipa never bothered to commit to the bit she tacked on. And aside from this, “Future Nostalgia” remains pretty conventional Pop – she’s not exactly reinventing disco here, just emulating it for a new generation with mixed results. If only she could pull a “Heartbeat” or “Love Hangover” out of her bag, but the album is so radio-oriented that the songs rarely reach the 4-minute mark even when they find a groove worth hanging on to. It’s as if she mistook the law M.I.A. ironically lays down at the end of her biggest hit for sage advice: “Remember: no funny business!”

There is one more aspect of the poptimism that helped propel this album in the eyes of critics I have yet to discuss: the paradigm’s coinciding with the recent wave (is it the fourth? I’ve lost count) of popular feminism. This was significant for Taylor Swift at the moment of “1989” because it allowed for interpretations of songs such as “Blank Space” to reach beyond a simple commentary on her stardom and discomfort with media coverage, branching out into a more expansive reading of the song as representative of the ways in which women in general are demonized for their past relationships. Feminism, as a cultural framing device, was crucial in shaping listener perceptions not just of “Blank Space”, but of many other songs on the album. It also helped to launch a whole wave of emerging and returning Pop artists’ albums and singles that traded in similar (vaguely) politically-charged lyrics.***** In the years that followed, a veritable opening of the floodgates would happen with regard to public feminist consciousness-raising, culminating in specific incidents such as the #metoo movement.

For the record, I think this was largely good. I’m under no illusion that “1989” is in any way a politically radical album, but I think the return of pop feminism has generally had a net positive influence in getting pop artists of all kinds of re-think their music’s relationship to gender politics. That being said, there are two things I resent about its lasting impact. The first is the kind of forced extrapolation of songs that bring up gender in any way into “feminist” anthems when they’re largely about relations that have little to do with the matter. One case in point might be Dua Lipa’s pre-”Future Nostalgia” hit “New Rules”; inexplicably, I often see fans trying to make the song’s lyrics out to be some kind of political diatribe about the cruelty of men to women or something like that, when in fact it sounds more like a typical “bad relationship” song, the kind that have been on the charts for decades by now.

But the other thing I’ve come to dread from pop-feminist Pop is the inevitable half-assed “message songs” that seem designed to cash in on using feminism as a signifier that an otherwise apolitical artist is still hip and knows what’s up. Whether through “New Rules” fan encouragement or her own hubris, Dua Lipa has regrettably chosen to end “Future Nostalgia” with such a song: “Boys Will Be Boys” (no relation to the significantly better-written song of the same name by Stella Donnelly). I don’t really want to write a lot about this song because part of the problem with it is that it’s bad in a lot of boring ways, but I do think it’s significant that it was singled out by several other critics (even those who liked the album) as the album’s worst song by miles. I’m hoping this shows a change in perspective here, as critics get harsher about flops like this one, and hopefully the eventual end result from this pushback is that Pop stars will stop trying to convince us they’re “real feminists” with empty songs like “Boys Will Be Boys” that are tacked on to the end of their “bangers” album as a kind of placating afterthought.

So a number of critics have indeed placed too much stock in this album: contrary to the feeling you may have gotten from my relentless criticisms here, “Future Nostalgia” isn’t necessarily bad, but I wouldn’t call it “good” either. It sits in a mid-tier of Pop albums over-enthusiastically pushed out during this era of high poptimism. It’s not the next “1989”, or “Lemonade”, or “Body Talk”, or “WHEN WE ALL ETC.” It’s just a mediocre album with a few great songs that were somehow never released as singles.

Is the inflation of “Future Nostalgia”’s reputation a sign of poptimism’s imminent bust? Are we entering a period of critical groupthink and gradual decay? These questions are too big to answer here, or perhaps at all for now (likely we’ll know the answer for sure in another decade). But I want to end this on a positive note by singling out a singer I haven’t mentioned yet as perhaps the greatest Pop artist of the last 20 years: in all these comparisons, I never got around to bringing up Rihanna.

On one hand, much of the poptimist revolution in criticism has involved taking the studio albums of Pop artists as seriously as their counterparts in other genres. On the other, Pop has never really stopped being a singles genre, and few have demonstrated this better than Rihanna. This is not to deny that she’s released some totally listenable, or even great, albums in her own right: “Talk That Talk” and especially “ANTI” stand as excellent records that came along relatively late in her career. But, well, raise your hand if you’ve actually listened to, say, “Good Girl Gone Bad”. Now raise your hand if you know “Shut Up And Drive”, “Don’t Stop The Music”, “Disturbia”, and, of course, “Umbrella”. See what I mean?

Perhaps I could blame “1989” again in part for this shift in focus from Pop singles to Pop albums. It’s pretty remarkable, after all, that the album is as consistent as it is, and I think that might have caught a lot of critics who were expecting otherwise off-guard. I think another problem, however, resides in the dominant mindset among critics in the first place, the idea that albums are the more valuable art form, the standard by which greatness is measured. Even I find myself incapable of breaking free of that format of evaluation – I’m much less likely to seek out more of an artist’s stuff based on a few great singles of theirs compared to if I hear an entire album from them that I like.

This might be slightly unfair of us critics, but there are workarounds to help correct this bias. One of those workarounds is the compilation. If an artist can make an album’s worth of great songs, but they happen to be spread across a number of their otherwise-mediocre albums, they can still win favour by collecting all (or most) of those gems in the same place, a “greatest hits” collection being the most common******. This seems like a pretty reasonable way of enjoying singles-oriented artists for those of us who are still stuck on the old album format.

But compilations have also never been as popular to review among critics as studio albums (I don’t know, maybe many feel like it’s cheating to collect the best stuff in one place?) and, as stated, it seems like poptimism’s paradigm shift has only reified the bias towards albums by putting more weight on Pop artists’ studio albums than before. Further, as compilations have started to die out (since anyone in the streaming age can assemble their own “greatest hits” playlist that will have all their own personal favourites on it), recent Pop artists often aren’t even given the chance to be evaluated at their best in a compilation format. I wonder if this is also a contributing factor in the hype surrounding “Future Nostalgia”; though it would probably be better remembered for its singles which could be collected on a later “Best Of Dua Lipa”, the fact that such a collection is unlikely to materialize pushes critics towards trying to sell listeners (and themselves) on this being Dua Lipa’s “definitive statement” and reason to take her seriously as an artist simply because it’s the most consistent thing she’s released so far.

Regardless, Rihanna is a model artist in terms of being a singles-oriented Pop singer deserving of a great compilation. If someone were to put it together, I’m fairly certain it could rival Madonna’s “The Immaculate Collection”, the former (basically archetypal) gold standard for a Pop artist’s greatest hits. Imagine hearing “Umbrella”, “Work”, and “We Found Love” all in the same place, uninterrupted by the inevitable string of lesser artists’ hits you’d inevitably hear if that place was the radio or some poorly algorithmically-generated playlist. My concern is that with the death of the compilation and shift in the expectation for the Pop artist’s studio albums to be their defining moments, such an album will only ever exist in an unofficial capacity. Which is fine, I guess – if you hate pop canon. But I don’t, so I patiently await the return of a collective memory for singles that extends beyond the radio and the playlist.

*Interesting to see how these examples have aged.

**Don’t get me wrong, I like “1989”! But its potentially negative influence will be detailed further as I continue.

***This isn’t a criticism of songwriting teams in general – certainly great songs have come out of the modern collaborative approach to pop songwriting, and I’ll get to those soon.

****And of course there’s a whole other conversation to be had about the ways in which hip-hop and R&B, formerly more separate genres, have been in the process of merging for the last two decades as performers in each have realized how much their interpretive approaches have in common.

*****It should be noted that this trend started several years earlier in “underground” and “indie” scenes and only just made its way into the Pop mainstream around 2014, but that’s a discussion for another article.

******Actually, even if an artist has only one great song, multi-artist compilations can step in to help. But since I’m focusing mainly on the respective cults of personality of specific Pop artists here, I won’t get into those. I should also add that Pop is by no means the only genre in which this happens: there are definitely so-called “classic rock” artists who I wouldn’t bother listening to outside of a compilation of their best stuff (Queen, for example).

#Music #Music criticism #Pop music #Dua Lipa #Future Nostalgia #Rihanna #Billie Eilish #Beyonce #Taylor Swift #Robyn #Lady Gaga #Ariana Grande

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