#when he finds out his wife genuinely thinks he got replaced by an alien and decides he needs to get his shit together >>>>>>>

[jamereadsmanga]

Donovan, in distress: Damian has a play coming up and I am debating if I should attend or not

Melinda: you should go and show support

Donovan: But if he sees me there, he'll get stressed out and try to impress me, and then he'll panic and make a fool of himself

Demetrius: So do what you do best and don't go

Donovan: but if I don't go then he'll be sad and unmotivated. And he'll continue to think i don't care about him

Demetrius: Then die

[nancydfan]

Okay but honestly everyone (besides Mia) doubted Ethan and his abilities the entirety of the game- especially Chris.

Obviously all the lords are like “ha ha you’ll never get past me!” And then insert picacho surprised meme when he does.

Even Miranda seems to be like “whAT THE FUCK” when Ethan stumbles his way back to fight her after she swore she killed him. Like yes she knew he was “special” somehow but never realized the full extent of his abilities.

But Chris himself doubted Ethan the most honestly.

I feel like when Chris and his team found and got Ethan and Mia out of the Baker’s house in RE7, he probably just thought Ethan was lucky. I mean, here’s this totally average guy and you’re telling me he killed/ severely injured the members of this family who had been infected with the mold, as well as killed Eveline himself? Like Chris was probably like while this man definitely was able to fight his way out there’s no actual way he was able to do this on his own, maybe he’s over exaggerating or whatever.

But he doesn’t say anything, and offers to teach Ethan military training (at least I think it was Chris, only because they seem to be more familiar with each other in RE8) because even if he’s over exaggerating the man clearly has talent and capabilities to make it out of that house in relatively one piece.

And then they get into training and Chris is incredibly impressed. For what appears to be your typical average dude he’s got pretty good fight tactics and techniques, and can handle a gun pretty well. Of course there’s always stuff to improve on and Chris teaches him to the best of his abilities, and here he gets to know Ethan.

This is a man who always offers help to anyone who needs it, and goes out of his way to comfort people whenever they need it. He truly loves his wife, he never makes a “gotta get back to the old ball and chain” or other “I hate my wife” jokes, he truly appreciates her and respects her with every part of him.

He has a great intuition, both in fighting and just when reading people. When Chris or someone around them has an off day he immediately picks up on it and is able to sense what that person needs. With Chris he will casually mention that his door is always open, he might not know the answer but Ethan is always willing to listen if Chris needs it. And though Chris at first insists that he’s fine, somehow Ethan Winters gets him to open up a bit (not completely, but Ethan’s genuine kindness begins to crack Chris’ ‘tough guy’ mask he puts on that lets Ethan see a glimpse of the real him. Chris’ squad is in utter shock of this because it took them YEARS to achieve this), and they both can sit down and share the horrors they both have experienced and for once in Chris’ life he starts to feel that maybe he can actually recover from what he’s seen.

Ethan also somehow knows exactly what to say. Though sometimes he’ll have to pause to get the right words and thoughts together, when he finally speaks his words are exactly what Chris (and others) needed to hear, even if Chris won’t admit it.

Ethan is the guy who when he sees injustice he doesn’t stay quiet, he is loud and makes sure that whatever happened doesn’t go unnoticed. He somehow remembers everyone’s birthday and gets them the present that they actually want, even if the person and Ethan have only talked once.

And though Ethan has the capability to be serious when needed he can be light hearted and funny, and though sometimes his jokes are simple puns or the same reiteration of the joke you’ve heard 100 times you can’t help but laugh because he somehow made it sound different, somehow breathed some fresh life into it. He has his favorite shows that he always makes sure he is home by to watch, and though he is at his core gentle and kind he can also be tough, and isn’t afraid to call you out when you’re wrong.

Ethan is the least judgmental person you will ever meet, and is truly open minded and will listen to you completely and openly. He isn’t afraid to change his opinion when he realizes he was wrong. When him and Mia throw a Christmas party they always invite Chris and he is always touched by it.

It is through their time together training that Chris realizes that while yes Ethan is a completely normal man he is far from completely ordinary and boring.

And when he announces he’s going to be a father Ethan’s eyes completely light up, and he spends hours of talking about all the beautifully mundane things that accompany preparing to become a parent and dealing with the trials of Mia’s pregnancy. There is no doubt in Ethan’s voice or heart that lead anyone to believe that he thinks that there’s a possibility that Rose might be unhealthy due to both of their exposure to the mold. Ethan runs on optimism and truly believes that she’ll be alright, that though they’ve been through hell him and Mia finally got the happy ending they deserve, and Chris has never been so happy for him.

And then, of course, everything comes crashing down.

When Chris learns that Miranda has infiltrated the Winters’ home he is infuriated on their behalf (can’t this family catch a fucking break?) and does all he can to help them (but little does he know he actually will make it worse). He doesn’t tell Ethan whats going on because they need the element of surprise to get Miranda and Chris knows Ethan will not lie low until he gets there. While Ethan was incredibly lucky to survive Dulvey there’s no way he can survive Miranda’s wrath.

(Also I think there was a document saying they didn’t know if Ethan was compromised or not, hence why Chris didn’t tell Ethan immediately what was going on but still he was over the line)

When Chris discovers that his team escorting Ethan, Rose, and Miranda had crashed and died, leaving Miranda in sole control of Rose he is devastated but thinks to himself that he must keep going, there’s no time to grieve or feel guilty for mistakes when Miranda is moments away from completing her ceremony.

And then he gets word that Ethan Winters has been spotted in the castle. And he shakes his head because of course he’s still alive, Ethan must run on luck and sheer will because how else would he have survived the crash?

And though Chris wants to go after him to tell him to sit his ass down so his team can do their job he can’t because again time is a luxury he can’t afford and he hopes Ethan’s luck saves his ass again this time. And though he hopes for the best can Ethan really take on these god-like creatures?

And then he again gets word that Ethan Winters somehow is defeating all of the lords. He’s going through them as if they’re simply ants beneath his feet and somehow he is still going. And though this is great Chris and his team are rapidly losing the element of surprise they’ve been trying to maintain since coming to this village.

And when he encounters Ethan again it almost hurts to see this man who once sat with him for hours talking about nothing, offering to help him with his taxes look at him with such fury and disdain that it almost sends shivers down his spine, that even though Chris is a highly trained operative he for some reason feels like if Ethan chose to kill him Chris wouldn’t last long. He wants to explain but time won’t let him (or is it the fear that he was wrong all along and once he spits his words out he’ll realize this).

And when Chris runs into Ethan at Karl’s factory he finally gives up and figures that he could use Ethan’s luck on his team, if Ethan can eliminate the four lords without any military help then he’s got to be able to have a shot and killing Miranda with Chris’ and his team’s help.

And when he hears Miranda kill Ethan on the phone it is a blow to his gut that he wasn’t expecting, because Ethan Winters has made a bigger impact on his heart than he thought possible. And it is in this moment of grief that he realizes his mistakes, that he was wrong to alienate Ethan, the man who went through hell twice without looking back to save his family.

The guilt only gets worse when he finds Mia, because he has to explain to her that it’s his fault that her husband is lying dead without his heart due to Chris’ own negligence. And when Mia tells him that he doesn’t understand how special he is he desperately wants to hear it, despite his mind telling him that’s she’s wrong, he wants Mia to tell him that Ethan can survive the impossible because he wants a second chance to make things right.

And when he gets the report again that Ethan Winters is somehow alive and is on his way to the ceremony site Chris’ heart soars and he wonders how could he have ever doubted Ethan Winters and his ability to come back to the people he loves time and time again.

(Also I could be wrong here because I don’t remember if Miranda blocked Chris out once she realized he was there but the rest of this is going to go off of the assumption that Chris was present and could see what was happening)

It is not until Chris makes it to the ceremony site and sees the battle between Miranda and Ethan that Chris truly realizes that he has severely underestimated this man for 3 whole years.

He’s seen Ethan fight before- he saw it in training and heard his squad give him the summary of what they saw when Ethan fought the other lords, but this is the first time Chris has seen Ethan TRULY fight, and on his face where Chris is so used to seeing compassion and love and carefreeness is suddenly replaced by anger, resentment, and pure determination because his daughter’s life is on the line and he will fight until there is nothing left of him to keep that little girl safe.

Chris watches in awe, because even though Ethan looks like he is barely staying together, like he is one breath away from falling apart he is still fighting. Maybe it’s because the mold is being destroyed or maybe Ethan’s injuries are so severe that the mold can’t be bothered hiding itself anymore but he finally sees the proof for himself that Ethan Winters is no longer human- Miranda is tearing into him and Ethan does not care- the long gashes she makes onto his body are desperately trying to suture themselves back together with small tendrils of black, this mold desperately trying to keep Ethan together when Miranda is so intent on tearing him apart.

He watches in amazement as Ethan somehow manages to avoid her claws and her own tendrils of mold reaching out to pound him into dust. He watches in amazement as it doesn’t matter how much Miranda damages Ethan- he gets back up again to unload another round of bullets into Miranda without slowing down, and watches in amazement as Ethan actually begins to win this battle- this perfectly normal man versus a god-like creature and Ethan is actually winning despite all the odds stacked against him.

This is Ethan Winters, he thinks, and while the mold might have given him regenerative properties the mold did not give him the drive and determination Chris sees before him- though Ethan Winters is infected but he is still Ethan Winters, each bullet he fires is coming from him, and his pure will to survive and save his daughter. The mold did not change him to a super hero because this is who he is at heart, a man who is willing to risk it all just to make sure the ones he loves are all right.

And if he didn’t already respect Ethan before he certainly does now, and he curses himself for being so ignorant and not letting Ethan in when he had the chance.

But that’s alright- because Ethan Winters has just eliminated Miranda before his eyes and is running to his daughter, and now Chris will have a lifetime to make it up to him.

But then he sees Ethan collapse to his knees in front of him, and his feet are moving before he even thinks to go because there’s no way, this man did not survive this hell just to die on him now.

Chris is relieved that Ethan is still (barely) conscious as he puts his arm around the man to help him out. Time has never been on their side and it certainly isn’t now, as Chris practically drags Ethan out because he has failed him too many times and he refuses to fail him again.

He tries to get Ethan to keep fighting because it seems that all of the life has drained from this man, the only part of him that’s full of life is the arm carrying his daughter because even when he’s on the brink of death he will not let anything happen to her. Chris brings up Mia and it pains him to hear the loss in Ethan’s voice, as if he’s already decided he’s a lost cause. Chris will not let this happen, he points out that they’re going to blow the village sky high and that’s why they need to get a move on and-

Suddenly Ethan is pushing Rose into his arms, and Chris can’t believe he gets the privilege to hold this man’s daughter after all he’s done and Ethan is draping Rose in his worn out coat and begging Chris to teach her to be strong and Chris won’t have this, Ethan Winters will not die on his watch he will get home to his family and live to live a perfectly normal life, when suddenly Ethan pushes Chris out of the way of a mold tendril that acts as a barrier between them and Chris watches in horror as Ethan stumbles backwards, the man looking more and more like a walking corpse versus the man he just saw moments ago, full of life and determination to kill Miranda.

“Goodbye, Rosemary” Ethan chokes out as he starts to stumble his way back to the ceremony site, and Chris can almost feel the pain of Ethan’s loss at not being able to be with his daughter and wife just within the utterance of these two words.

And Chris is calling Ethan back because dammit it doesn’t have to be like this but Chris knows what a man hell bent on something looks like, and Ethan is already almost out of his sight and the whole village is collapsing around him.

Cursing Chris turns around, cradling Rose close because Ethan somehow miraculously chose to trust Chris in protecting her and like hell will he let something happen to her after this. Chris will teach her to be strong and how to be brave, and not because he’s a man and Mia is incapable of it, but Chris will teach Rose how to be strong like her father was, and how to defend herself because both he and Ethan know that Rose’s abilities will make her a constant target for people to use for their own gain.

When Chris hands Rose back to Mia the joy on her face is short lived and suddenly she’s demanding where Ethan is, begging them to put the plane back down because there’s no way in hell he’d leave them willingly and just as Chris utters that Ethan chose to sacrifice himself the bomb goes off and he feels another blow to his chest, and it’s as though he can’t breathe for a second. He sees the realization hit Mia, and that though Ethan has survived the impossible time and time again can he really survive being blown to bits?

Chris can barely contain the grief and guilt that is consuming him as he looks out the window at the site where Ethan Winters’ luck has run out, the site where Ethan Winters has now died for the second time.

He glances back at Mia and Rose, and each sob Mia lets out cuts him like a knife because he knows he is responsible. He promised this little family that he would protect them and he failed. He failed Mia, he failed Ethan, and now he has failed Rosemary as she must now navigate her life missing a father who would have done anything for her.

Chris will not let Ethan die in vain. He will protect Rose, he will teach her how to fight and how to defend herself. And though he wants to reach out and comfort Mia he knows it will be unwelcome, but looking at Rose he will not fail her again.

He made a promise to Ethan Winters that he fully intends on keeping.

I’m sorry what did I do to be so emotionally attacked like this 😆

I’m SOBBING OMG. Ty really. I feel like I have nothin I can add to this because GAH MY HEART. You get it. You understand these characters and I was smiling so huge as you described Ethan because YES ALL OF THIS. Then the pain as Ethans end approaches. AND CHRIS’ PERSPECTIVE THROUGHOUT AND HIS PROMISE GOING FORWARD.

Anyway someone get me tissues. This was so beautiful. Bless you 💜💜

[countessrivers]

Doctor/Master for 28 (Smoke) if you have time :)

He tells them that it will take three days to dismantle the paradox machine and get the TARDIS working properly again. Jack offers to help, but the Doctor waves him off, and he goes without much of a fight, eager to contact his team. Martha too has her hands full with her family, and though the Doctor checks in with her, he mostly leaves her to it.

UNIT had swarmed the Valiant quickly, locking it down and taking control, arresting Lucy and the guards who had been genuinely loyal to the Master, and questioning everyone else. The Doctor mostly avoids them, keeping to the TARDIS and ignoring the guards posted outside while he works. They don’t try to force their way in, UNIT knows better than that, but the Doctor somewhat resents their presence all the same, and it’s easy to lock the doors, lock everything else out, and concentrate on his task.

In truth, removing the paradox machine only takes two days, as he knew it would. The third day, the Doctor spends preparing the Master’s body.

Whether it’s basic or overly elaborate, all intelligent cultures have some kind of process for dealing with, and disposing of, their dead. However, unlike many cultures, the universe across, Time Lord funerary rites were concerned almost entirely with destroying the body as completely as possible. Can’t leave stray genetic material like that lying around for anyone to stumble across, much less a whole corpse.

Traditionally there’s no particular ritual needed, no words or chants to be spoken, but all the same, the Doctor takes his time, washing the Master’s body and redressing it with care. The blood-stained shirt is left aside and replaced with one pulled from the TARDIS wardrobe. He leaves off the shoes and socks, the suit jacket and tie as well, but after a moment’s pause, slips the heavy silver ring back onto his finger.

Though he tries not to, the entire time the Doctor hopes that something will change, that this will prove to be yet another of the Master’s tricks. He hopes against hope that he’ll feel a pulse beneath his fingers as he wipes the dirt and sweat from the Master’s neck, or buttons the cuffs at his wrists. He waits foolishly for the cold, still body under his hands to warm again with life.

But there is nothing.

Within the shroud he wraps the Master in, the Doctor includes as many of the required plants and mixtures as he has on hand. Some are for the smell, some to help the fire burn hotter, and some are simply remnants of home, burnt with the body in the closest thing Time Lords ever got to ritual sentimentality. He packs a bag with the rest, to be built into the pyre itself.

At the end of day three, his work done, the Doctor emerges from the TARDIS, looking for his companions. He finds Martha first and there must be something in his face because she just silently wraps her arms around him. He hugs her back, and his hearts soar with affection for her.

“All done?” she asks when they eventually separate.

“Yep, she’s good as new,” he replies, forcing cheer. “Just wanted to let you know I’ve got to pop down for a bit. Won’t be long, I’ve just got to…”

He finds himself trailing off at Martha’s inquisitive look, not sure how to put into words what he has to do, not sure how she’ll take it. She nods at him to continue, brows raised.

“We usually burn our dead. Safer that way. Can’t let Time Lord DNA fall into the wrong hands. Who knows what might happen? So, I was just going to…”

Martha smiles at him sadly, but with more understanding than he deserves. “It’s fine. Go.”

When he returns to the TADRIS, he has her land somewhere remote, somewhere far from any settlement. She picks the edge of a clearing, surrounded by trees that are far enough away that they won’t catch alight, but that still provide enough wood nearby to build the pyre.

It’s late afternoon when he lands, but well into the evening by the time he’s done. It’s hard work, picking and dragging and stacking the wood to the proper height, but the Doctor pushes through it, keeps working until he’s sore and aching and it’s done.

He tries to remember the last proper funeral he’d been to. It certainly wasn’t on Gallifrey, and he actually thinks it might have been here, on Earth. Yes, in Egypt, sometime around 1290 BC.

No one did a funeral quite like the Egyptians.

There had been an alien loose in Thebes, ransacking the mountain tombs, and while investigating he’d gotten swept up in the funeral procession for one of the local temple scribes. The Doctor can remember vividly the long line of people snaking from the river up into the mountain.

More so, he remembers the wails of the mourners, how the women wept and pulled at their hair and beat their breasts, their cries echoing across the rocky ridges. The women had been led by the scribe’s wife, and the Doctor remembers how her voice had cracked, had shaken, as she cried out her grief, as she sung, clutching at her husband’s body as it was dragged up the mountain.

Go away? How can you do that?

They’d never done anything like that back on Gallifrey. There would be witnesses, sure, friends and family at least, but no long processions, no piles of buried goods, and certainly no wailing.

There’s not likely to be any wailing now, either. He’d done that, clung to the Master’s body and begged him to stay, begged him not to leave. He’d screamed and sobbed and done it in front of an audience too. But now, he feels wrung dry, empty.

Do not abandon me.

With the pyre ready, he returns to the TARDIS to collect the Master’s body. He cradles it in his arms as he crosses the clearing, the shrouded head tucked against his chest. It’s heavy, but the Doctor feels it should be heavier. He shouldn’t be able to carry the Master so easily. Something should be weighing him down. Something should be stopping him.

But nothing does, and when the Doctor shifts the Master’s body to his shoulder to climb the ladder, when he lays him flat across the top of the pyre, he finally realises nothing will.

He’s gone. The Master is gone.

You are silent, you do not speak.

The pyre catches quick, helped by the accelerants he had placed between the logs. Fire licks at the wood, climbing higher and higher until the whole thing is alight. The heat is intense, and clouds of black smoke billow up into the night sky.

The scented wood, the plants tucked in and around the Master’s body, do much to mask the smell of burning flesh, but it’s still not entirely pleasant, the smoke thick and choking and almost blinding. It stings his eyes, sticks in his throat, making it hard to breath without the bypass, but the Doctor stays, remains close by to watch the Master’s body be consumed by the flames.

He doesn’t weep, he doesn’t rage. There are no words to chant or sing or cry. He simply stands there, silently, watching the flames jump and crackle, knowing that soon there will be nothing left of the Master, nothing left but a bloodied shirt and the memories he keeps.

The Doctor stays until the pyre starts to collapse in on itself, only then turning and walking away, leaving nothing behind except his footprints and the pyre itself.

I walk alone.

He doesn’t immediately return to the Valiant though. Instead he sits by the TARDIS, watching from a distance until the pyre burns itself completely out, and the smoke dissipates into nothing.

[disruptedvice]

Pink Tips (GOTG fic)

Starmora Summary: Everything about Gamora running her fingers through his hair as they relaxed by the fireplace together in the super cliche, warm, wholesome silence was perfect. Or, they were in silence, until she broke it. She was still lovingly carding her fingers through his hair when she absently noted, “We need to get you some hair dye.”

Gamora and Peter on their honeymoon

________________ 

Pink Tips ________________

Sometimes it felt like the whole universe was against them, but, at least this one time, the galaxy had their back. Gamora had known better than to hope that there wouldn't be some major universe ending threat that coincided just with the eve of their wedding, but Peter was ever the optimist that just this once the universe wouldn't screw them over and they'd get to enjoy a peaceful honeymoon.

Drax insisted that their post-wedding celebration last a week, though both Gamora and Peter felt like that was pushing it and just asking for trouble. They couldn't leave the kids alone that long unsupervised. Rocket would end up blowing something up, Drax would pick a fight, Groot would get lost, or Mantis would get hurt. At least one of those would happen if they were left to their own devices for more than 24 hours. A whole week? Their team needed a babysitter.

But… so far so good.

It was day two of their honeymoon now, the team having surprised them with the private cabin reservation that was actually planetside as a gift at their wedding.

It was a nice, quaint little thing in the middle of a wooded forest, the image so perfect and wholesome it belonged in a picture frame. Really, it was just… warm. That was the only way to describe it.

They had finally begun to relax (they'd both been worried about leaving the team on their own the first day). By the second day, they had started to settle down into the idea that they were genuinely going to get a whole week together, just the two of them, getting to relax without having to worry about the world ending or any other pressing matters.

They were still unwinding and adjusting to the idea, but as the flames crackled in the fireplace that night in the softest and warmest moment they'd ever had, they seemed to be getting along just fine.

Gamora hummed, running her fingers through Peter's hair as the light danced upon his face. Peter was sitting on the ground, his head leaned against the bed, eyes closed with the most peaceful expression and she couldn't get enough of just watching him. Gamora was actually on the bed, laying down on her stomach and stroking his hair for the past goodness knows how long. Everything was perfect.

"We need to get dye for your hair," she noted absently, carding her fingers through his soft brown curls.

Peter slowly opened his eyes, looking up at her. She seemed pensive, and he wasn't quite sure how that could be a sincere thought, but he was also sure it was. He could tell by the expression on her face.

He sat up straighter, confused by the meaningfulness that seemed to be in her voice at such a random statement. He had no idea where that came from, but it had him smiling in perplexion and amusement as he tried to figure it out. He gave her a look, waiting to see if she was going to offer an explanation, but it didn't appear so.

"Uh, what now?" He asked, amusement still evidenced on his face. "I stopped being an intergalactic fugitive years ago. Do I have gray showing or something? Is it really that bad? Bad enough that I need to go out and get the closest shade to Terran brown I can find at some alien marketplace?"

By that point he was already grabbing at his hair and trying to pull some of it into his line of sight. It was a useless endeavor anyway. While his hair had grown out a little, it still wasn't long enough for him to pull down his forehead to see. That didn't stop him, though.

Gamora rolled her eyes with an affectionate huff. "No," she smiled, shaking her head. "We need to get you some pink dye."

Peter raised his eyebrow at her. "Go on," he prompted. "I'm curious to see where this leads."

She socked him in the shoulder for that. A little hard. God, she was so strong. And it was a little arousing, as he rubbed his arm from her fist.

What? It's their honeymoon. He was allowed to be turned on by how his wife's playful punches to the shoulder actually kinda hurt.

"For real though. Why do I need pink hair dye? For funsies?"

"No, not for funsies," she said in a teasing tone (and it took all he had to not do a fist pump for getting Gamora to say 'funsies', even with her mocking tone). "You're joining my family now. So you're supposed to have pink tips too," Gamora informed him, twiddling said tips between her fingers, playing with the ends almost nervously.

"Okay, cool," Peter immediately agreed, and something about that just made her laugh. Gamora tilted her head towards his, smiling shyly, and Peter grinned right back at her.

"So is it like a Zehoberi thing?" He asked, raising a hand to fiddle with the ends of her hair too. "Did I just marry into the pink tips family or something?"

"Something like that," Gamora conceded, her lips upturning even more, eyes crinkling around the edge with the most genuine smile. She was so beautiful. And he was absolutely in love with her smile. He fell more in love with it every single day.

"Can you tell me more about it?" Peter asked gently.

He always felt so special and… privileged, whenever he learned something new about Gamora's culture. ________________

So she did.

She told him about how the families made their own dyes by picking berries on her homeworld. How it was a regular ritual since the dyes were all natural, and had to be redone every month. How every family had a unique recipe for the color that was kept by the matriarch. How when they redid their colors, it was always a celebration. ________________

"We lived in multigenerational homes. Households," Gamora went on to explain. She always loved sharing these pieces of memories she had been able to keep hold of with Peter. She loved how he always gave her his full attention, how riveted he was even when it was regarding the most banal things, how much these stories mattered to him. She loved how important they were to him. "Everyone that lived under that family's household would wear that family's color," she continued. "Pink was my father's color. My mother's family had some rich, dark color, I think. I don't remember it as well, since we lived with my father's family, I didn't see my mother's family as often. When they wed, my mother joined my father's family, so she took on pink hair tips. If they had lived under my mother's family's household after their marriage, my father would have taken on my mother's colors. And I would be sporting some dark blue or purple color instead of this." Gamora ran her fingers through her vibrant tips as she described them. Pawing through her own hair really, not in a nervous manner, but still a comforting way. It was almost a gesture of self soothing, though she didn't need to be soothed right now. As she ran her fingers repeatedly through the pink ends of her hair, it just felt… familiar. In a good way. A truly good way.

"The grove that had the berries we picked from for our color wasn't far from the household. We'd often go as a group- similar to the picnic concept you've told me about," she looked back at him then, and saw that he was smiling at the memory. He'd told her before about going on picnics with his mother, sometimes just the two of them, sometimes with his grandparents or his mother's siblings and cousins as well. They were always happy memories for him.

Peter reached out, softly dragging his fingers through her hair too in such an appreciative manner, nodding for her to continue.

"The mothers and the children would bring baskets, and we'd pick berries for the next coloring," she recalled fondly. "My father would come too, sometimes. But mostly I remember me and my mom, and the cousins and my aunts all walking to the grove. It was fun. Happy. Nice." ________________

"I've never seen you dye your hair," Peter noted, remembering how she had said they had to pick berries for dyes often. "Or use hair dye at all."

"Yes, because this is synthetic dye," Gamora said, holding out a strip of her hair. "The closest approximation I can get to my family's color by memory. Most Zehoberi fauna is extinct anyway, so it wouldn't matter even if I was to know the exact recipe. The natural dye had to be replaced regularly. One of the benefits of synthetic dye: it's permanent."

"We'll totally get some dye next time we hit the market," Peter promised, his eyes bright and eager, very excited and looking forward to it. He was also very, very adorable. "You know, if you had told me this before we got married, we could've had my hair dyed before our wedding," he raised his eyebrows at her with a knowing smile.

"I didn't remember until after our wedding happened," Gamora said quietly, shrugging. Not in an especially sad or serious way, just… a bit subdued.

Peter's face softened at that, an instant understanding that made her feel so warm. Because he knew. He knew that good memories could also be triggered. She didn't have to explain it to him, how she only remembered it after their wedding happened. Only remembered it because their wedding happened, really.

Gamora knows that he knew the feeling.

Like when they'd be browsing in a shop and an item would catch his eye, and Peter would softly say 'think my mom would've liked that' as a specific memory was brought forth that had long since been forgotten. And there's that look on his face, like he's surprised by the memory itself. She always grabs her hand in those moments, rubs her thumb over the back of his, and he turns and gives her a sad, sweet, and grateful smile.

She had a feeling her expression was much the same now, and that that was the reason why Peter took her hand. He slowly intertwined their fingers, bringing his other hand up to cup hers between both of his.

"Thank you for telling me," he murmured, bringing her hand that he had cradled between his to his lips to kiss it and holding it there. She knew that wasn't what he meant. He was her husband, he was supposed to know since he had joined her family now. He was supposed to know the things he was supposed to do as Gamora's husband, and he'd do it, because he'd do anything for her. He was her family. She knew he wasn't actually thanking her for telling him that he needed to dye his hair now that they were married. She knew what he meant.

Thank you for sharing.

Thank you for trusting me.

Thank you for loving me.

"Anytime," Gamora smiled, and from the crinkles around his eyes, he knew what that meant too.

I love you too.

[hockeychik13]

Honest Reviews: The Die Hard Franchise

I would like to start a series with this blog called Honest Reviews. In it, I will honestly review some of my favorite pieces of entertainment. Believe me, I am truly passionate about the things I enjoy, but I'm also not completely blind to their flaws or the things about them that may alienate certain audiences. Plus, I just genuinely love talking about movies and TV shows. To kick things off, today I want to talk about the Die Hard franchise.

    I will preface this review by saying I enjoy some of the movies much more than others, but I do not hate any of the films in the series.

Die Hard

    This is by far one of my favorite films of all time. It is witty, entertaining and is a perfect example of an every-man turned hero. It also introduced us to the late, great Alan Rickman and I think we owe this film a sincere amount of gratitude for that piece alone. It is also the first time we got to see Bruce Willis as a badass.

    Believe it or not, the studio didn't want to cast him in the role because of his fame for the TV show Moonlighting. Which had a similar feel to Castle as being a funny, witty crime sitcom type show. That's not really the image you get when you think of Bruce Willis now, is it? Me either. However, at one time, that's what he was typecast as and we almost didn't get the ass-kicking Bruce Willis we know and love today.

    Anyway, the film itself is entertaining. There are sort of bloopers and perceived plot holes (I, for one, never questioned how McClane knew Bill Clay was really Hans Gruber), but from start to finish it keeps you interested. There's enough personal backstory to make you care about the characters emotionally. And Rickman managed to create a new kind of villain in Gruber that almost had you rooting for him out of sheer respect. Die Hard gave us a lot of things that cinema had been missing up to that point and countless films have tried to re-create that magic to no avail. I will also point out that it is a Christmas film. So, if you're anything like me and have a distaste for traditional Christmas films, this makes an excellent replacement.

    Now, comes the criticism: It didn't exactly age well. Now, it is pretty much a timeless classic and those of us who experienced life before high speed internet and smart phones seem to have a better appreciation for films that have outdated technology, however to a newer audience I think all of this films charm would be lost. There are far too many things in the movie that could easily have been solved by the institution of modern technology that for audiences who have never lived life without these modern conveniences would just not make any sense. Also, there have been so many copies and homages of this original film at this point that it wouldn't be new even for a first time viewer. The fashions are very dated and someone laughable at this point, which is something newer viewers would be quick to point out. Unfortunately, at this point in our lives this movie requires a lot of explanation to new audiences to express its true significance. And people really don't like things that they need explained to them.

Die Hard 2

    I will start off by saying that despite the many, MANY times I have seen this movie, it is truly forgettable. Despite bringing back familiar characters and introducing a new and fairly impressive villain, the plot is really quite weak and it seems like a rehashing of the original without the heart, wit or simplicity. The plot is overly complicated and the happenstance by which John McClane gets involved seems really kind of forced. There's a terrorist plot at an airport where his wife is supposed to be landing that makes her plane unable to land and then there's a war criminal that the terrorists are trying to release who is supposed to be flying into said airport. Also, there's a snowstorm.

    So, John McClane is back, doing what we love him doing. Fighting bad guys, saving the day, doing the impossible because if not him, then who? The movie's setting is really what will ruin it for modern audiences. Anyone who has traveled in the last 10 years can tell you that if you even mention certain words in the airport you're rush tackled and smuggled away for questions and a cavity search. In this movie we have people firing guns in airports, baggage claim attendants being murdered and no one noticing, terrorists dictating flight patterns and whatnot. And yet, the airport seems to be pretty business as usual. Today, it would be a media frenzy and the entire airport would be shut down before anyone could blink. For anyone watching the movie today, the airport and security response would be unfathomable. And the need for McClane's involvement would be completely laughable. Also, the bit about his wife being trapped on a circling plane running out of fuel (with the dickish reporter from the first movie no-less that she punched in the face) just feels tacked on to add a human element to a film that seems to have dropped any semblance of character development in favor of a confusing plot and lack-luster action sequences. It's a good watch for a lazy day of silly entertainment, but it is easly forgotten and that isn't a bad thing.

Die Hard: With a Vengance

    This movie makes a triumphant return to the franchise's roots with a clever plot and engaging characters. They went simple and moved the action to John McClane's home turf of New York. They introduced Samuel L. Jackson as a new every-man hero to play off of McClane's tired and too-often tested anti-hero at this point. I call him an anti-hero because when we first see him he is a rough-looking, hungover shell of the man that we came to know and love. We learn that things never did work out between he and Holly and he has been living with the consequences of the previous two movies in the time we have not seen him. We don't usually get a glimpse into the reality of the weight being a hero can put on a man and it's refreshing to see a movie deal with that head on. There are also touches on the issues of racism that are dealt with in a far more realistic sense than I've seen previously. The lines aren't black and white between bigotry and acceptance and that is depicted beautifully in this film.

    The plot itself is simple. A so-called terrorist is sending John and his reluctant partner Zeus on a series of scavenger hunts and having them solve riddles to find and diffuse bombs around the city. It all turns out to be a cover up for a heist, which is wonderfully reminiscent of the original film. It manages to pay homage to its origins without copying what has already been done. The villain is engaging and interesting, much like Hans Gruber was and Jeremy Irons manages to create a villain that keeps us guessing and wanting more. The pairing of Willis and Jackson was also a fantastic choice as they play well off of each other with banter but they are also equally intelligent. They work as an equal team, not hero and sidekick.

    This film has actually aged a little better than it's predecessors. Although the use of pay phones wouldn't make any sense to modern audiences (what's a pay phone? lol) there is little else that wouldn't make sense overall. The police responses make sense with current times and the cast is more recognizable to newer viewers. Given that it came out in 1995, the fashions were less dated the locations in New York were more recognizable. The film also has a more updated look instead of the grittier look of the older films. It is smooth and higher definition which is a medium that modern audiences are much more accustomed to.

    My only criticism of this film would be the somewhat tacked on personal relationship stories. Despite Bonnie Bedelia's (Holly McClane) absence from this installation completely, there is still the underlying theme of John calling his wife to try to reconcile. Given the fact that the first two films take place two years apart, it is conceivable that after the events of the first film they would be able to reconcile and still be in a good place by the second film. However, there are 5 years between the second film and this one, making it probable that the issues the two had at the onset of the first film would have become issues once again (they were never actually solved by the events in the first movie. She was just really happy because he saved her from terrorists and stuff). It's evident from the first film that they have very different expectations for their relationship and their love for each other really wasn't enough to overcome any of that. There's also the random relationship between Jeremy Irons' Simon and his right hand henchwoman Katya. Although it's completely conceivable that they grew close and forged a relationship while working together for their shared cause, it seemed tacked on and served little purpose other than to add a sex scene somewhere in a movie where it doesn't really fit.

    This movie is worth watching multiple times. It's a great Saturday afternoon bit of entertainment and the nice thing is it can be watched completely independent of the other films. Although they are still dealing with McClane's failed relationship, you don't need to know their rocky background to assume that the cop who started the movie as a drunk would have an estranged wife. Even if you're not a fan of the original, give this one a look. You might find your interest in this franchise piqued.

Live Free or Die Hard

    This installment came out 12 years after the previous film in 2007. It gives us a John McClane whose life has gone pretty much in the direction we could have assumed from the last film. However, this movie chooses to address his relationship with one of his children. Lucy McClane was present in the first film and her brother John was only mentioned given that he was the baby of the family. She makes her adult debut in this film as a central character with closer ties to the plot, giving John that personal element to his heroism that was slightly lacking in Die Hard with a Vengance (although this isn't a bad thing in this film).

    The movie itself deals with more technological themes which makes it much more complicated. However, the addition of Justin Long as his sidekick in this film helps to diffuse some of the tech jargon with wit and bits of comedy. Although the joke is that McClane doesn't understand modern technology, few of us actually understand the technology (besides cell phones) being referenced in the film. McClane is us and that's part of the joke. However, Justin Long's Matt is also us. He isn't a fighter or a physical hero like McClane. He needs McClane to protect him and I'm fairly certain we would need that too. This movie allows us to be more involved in the story because we can see ourselves more clearly in it. Yes, there are unbelievable moments and things that aren't physically possible in the real world, but that doesn't diminish the movie's entertainment factor.

    Also, part of the fun of the film is that they chose not to use CGI and instead rigged up incredible special effects to get what we see on screen. So, yes, they did actually throw a real car at a real helicopter. The movie is worth a watch just for the special effects knowing that they didn't use computers to create them. They also actually demolished pieces of freeway (a piece that was scheduled to be demolished anyway and the film was able to use for their special effects) as well which makes for both a more realistic feel to the effects and fantastically interesting behind the scenes footage of how things were created.

    Unfortunately, the technology is actually a detriment to this film. Although it was attempting to move the franchise into the modern era with its inclusion as a main plot point (not a bad idea given our reliance on technology), it actually serves to date the movie even more than the use of pay phones. Technology is growing and changing at an alarming rate in modern times, which means that even when a piece of it is brand new, it is quickly outdated in a matter of weeks now. Which means that the technology used in a movie now 10 years old seems ridiculously antiquated and silly by today's standards. Which is sad because this is actually a very enjoyable film. But, modern audiences are fickle. And I'm not sure that Justin Long's charm, Bruce Willis' reluctant hero shtick, Timothy Olyphant's sociopathic villain and a guest appearance by Kevin Smith are enough to entice new viewers to look away from their cell phones long enough to appreciate anything this movie has to offer.

    Once again, it's an enjoyable film. Fun on a day when you have time to watch special features along with this film to see how things were done. Although it doesn't work as well as a stand alone film. Without knowing the backstory of the McClane family and why Lucy may be angry with her father, this movie feels more like a rip-off of Taken with some tech thrown in than it does a Die Hard movie. So, it's really something that should be watched in context, not out of it.

A Good Day to Die Hard

    This movie was released six years after the previous film in 2013. Since the last movie dealt with the relationship between McClane and his daughter Lucy, this one deals with his relationship with his son John. This seems like a great idea on paper, but in practice it lacked a lot. Overall, the movie felt out of place in the Die Hard franchise. Instead of being the every-man hero, McClane is shown as the antiquated dad with good intentions who is really just in the way. It is obvious from the start that the sole purpose of this film was to kick start a revitalization of the franchise following John Jr (or Jack as they like to call him so we don't get confused) as the new hero.

    There are two huge issues with this movie that made revitalizing the franchise virtually impossible:

   The first is the plot. For the first time in the Die Hard franchise we leave the country. A big part of McClane's appeal was his quiet patriotism. Doing what's right for his country and the people he protects despite great personal sacrifice. This film has him in Russia trying to bail his son out of a Russian prison. Then it turns out his son is really special ops. And is an angry child even though he's a grown man. He has no respect for his father or the lengths to which his father has gone previously to do the right thing (which plays into the cliched "daddy didn't love me enough" theme so common in action films). The plot is way overly complicated and involves double crosses and sub plots and a climax in Prypyat (which is the city now laying abandoned after the meltdown of the Chernobyl nuclear reactor) that never really seem to come together to form a coherent plot. Although the plot didn't seem to be what was important. At the center of it all seemed to be the desire to introduce Jack as the new hero who will step up so his father can retire.

    Which brings us the the second issue with this movie. The casting choice of Jai Courtney as John Jr/Jack just didn't work. He isn't horrible. Don't get me wrong, I don't hate him and he is a good action star. However, to take the place of John McClane both on the big screen and in our hearts there needs to be a certain spark that he just doesn't have. He's not an every-man. He's insanely muscular, which is impressive but really just makes him another Schwarzenegger-like invincible hero. Which has been done to DEATH. Looking at him, he's the hero we expect. But he isn't he hero that we know. He's not the beat cop who would show up to a routine 911 call and save the day. He's not the guy on the street who would help someone because it's the right thing to do. He's the guy in the movie who saves the world and looks good doing it. Fitness aside, he doesn't have the personality for the role. Yes, he's good as an action hero, but he's not a McClane. He doesn't have witty one-liners and when he tries they don't work. And the way his character was written in the film, I found myself rooting against him and pitying his father. Which made the whole "saving the world" plot fall into the background and seem sort of useless.

    I'll be perfectly honest, despite having seen this film multiple times, I don't actually even remember what the main plot really was. I know that the relationship between father and son felt forced, but not in the way they were hoping. The previous film addressed the tensions between McClane and his children but allowed that tension to have layers that made sense given the history we know about John. This movie just goes right to the cliches and never lets up. Jack is angry at his father, rebelling in every way (despite being way old enough to have established his own life and moved on from the anger at his father) and seeming to consist of nothing but a distaste for his father. He is the embodiment of an angry teenager dealing with his parents divorce inside the body of a grown man. Even though they end up working together for the greater good, just like there was no true resolution of the issues between John and his wife, there isn't between John and Jack either.

    Jack also isn't likeable. I can't imagine following him on similar adventures like we've seen John, but only because I can't see Jack being humble enough to take on the role of a true hero without his pride getting in the way. If I were to suggest a better casting decision for Jack it would have been Channing Tatum. I know, I know, but hear me out. He's good looking, much like Bruce Willis was when the series started (he's still good looking but not exactly heartthrob status anymore) and he's in good physical shape so his ability to fight bad guys wouldn't be questioned. However, unlike Courtney, Tatum has an endearing quality about his features and has proven to be quite adept at both comedy and wit. Although the movie wasn't fantastic, White House Down had a feel of Die Hard in the White House because of his ability to be a believable every-man hero and give the audience the wit and humor needed to break up the tension and violence of an action film. He's also proven more than once that he has the ability to carry a feature film on his own or work beautifully with ensemble casts. Courtney has also struggled in these areas with his other films making it next to impossible for him to be able to carry the franchise beyond this film. Tatum's humor would have also played well with Willis' and as a duo they would have been more believable as father and son with a rocky relationship. Tatum also has more similar features to Willis like a trademark smirk and softer eyes, whereas Courtney never seems to be able to break serious face.

    Although I'm not saying that this film isn't worth a watch, if you haven't seen it, you're really not missing much. It was a disappointing installment in an otherwise impressive franchise. If you're a fan of the franchise already, give it a watch, but if you're new to it I wouldn't bother. It wouldn't encourage new audiences to give the rest of the franchise a shot and is really quite forgettable as a stand alone movie.

Overall

    I know this has been a long-winded post, but if you have made it this far with me, I thank you! This franchise holds a very dear place in my heart. I know I got a bit harsh with the last installment, but that's mostly because my expectations have been set so high by the rest of the series. I'm proud to own all of the movies. I'm happy to introduce new people to the series and I'm always thrilled to discuss it with other people. It's a great set of action movies and Bruce Willis is a great hero to root for. Now excuse me while I settle in for a Die Hard movie marathon.

Yippee-Ki-Yay!

[row-a-blog]

IN THE NEXT ROOM REVIEW by Cameron King

Sarah Ruhl

Playwright Sarah Ruhl (known for her off-beat pieces such as Dead Man’s Cell Phone, Passion Play, and Melancholy Play) supplies us with an ironically out of date rendition of the discovery of womanhood.  Her 19th century vernacular juxtaposed with the shockingly modern subject matter creates a play that caters directly to Ann Arbor Civic Theater’s audience - which is not necessarily a compliment.

In the Next Room centers around the invention of the vibrator and it’s immediate effects on the Givings family and those around them.  I walked in knowing Ruhl’s reputation - a strong one here at Michigan.  I was excited to hear her words, assuming that they would be the only good or redeeming thing about this suburban attempt at art.  However, not even she lived up to my hopes.  

The play is trite and predictable in places you crave excitement - but wildly unpredictable in jarring ways.  I mean of COURSE there’s going to be unbreakable lesbian tension when a beautiful female nurse is fingering a horny house wife.  But the scenario is displayed as clearly unrequited - the housewife falls for the nurse and finds herself embarrassed and coy around her.  The nurse remains strictly professional and doesn’t - or pretends not to - take notice.  BUT THEN!  OUT OF NO WHERE!  The two kiss in the living room of the Givings’s home.  I found this to completely neglect the intense social construct of the time.  If these people don’t know about the female orgasm and chock genuine physical weakness and sensitivities up to “hysteria”, then how would they even begin to fathom the concept of two women falling in love and EXPRESSING that love with not a “hand on the cheek” or a moment of graceful confession, but with the modern make-out?  There were many moments where I believe she wrote something that any playwright would consider unrelated or strange - but kept them in because it fit the style of play that she is emulating (a dry, parlor drama with domestic cabin fever and absolutely nothing revolutionary.)  Perhaps she assumed the subject matter would pop and shock next to the vernacular of style she uses, but it just wasn’t enough.

Melissa Freilich - Director

Although I was impressed by the clean blocking and smooth casting of what I assumed would be a much clunkier show, I found that Melissa Freilich took on a project that she simply couldn't not do full justice.  She had the types, the costumes, the props to do this show, but when one chooses a show with as many strange plot holes as this one, it is up to the director to fill them for the audience.  Now, I realized that Freilich was VERY much catering to the people she knew would attend her show.  (That is - family members, friends, locals, all the regulars at a community theater performance) And she likely was watching rehearsals from the eyes of theatrical amateurs.  That is called lazy directing.  Perhaps now that she knows she’ll be reviewed, her directing style will become less passive.

Leo Babcock - Set Designer

The set was simple and well done in the challenging space that is the Arthur Miller Theater.  The dressing was intricate and accurate, with the pieces implying an ornate 19th century home.  The final scene was done well; the walls opened up to reveal a stark “garden” (giant cardboard trees) and the audience was at last relieved of the dreadful sight lines that we were working to overcome for the previous two hours.

Costume Design - Molly Borneman, Abigail Zielke, James Zielke

Surprisingly alright!  The amount of dressing and undressing that takes place right over the audience’s faces made it impossible for these costumes to have any sense of fakery.  The women had detailed, ornate gowns, gloves, and corsets and changed to represent the passage of time.  The men had equally detailed and accurate costumes; however, I found it inconsistent and lazy when the light would come up on a new scene and the woman would be panting from her quick change while the man wears the same tie as the week before.  In the final scene, Dr. Givings is written to strip completely naked.  Seeing that this production was intended for a family-friendly audience, I understood that this step was not taken; however, the replacement for bare loins were nude briefs?  Which is like… no?  Like at least hit me with a man thong because I was looking at a strange alien butt that had no crack.  You can’t expect us to hoist our sails of disbelief in the final scene of the show - just because these Michiganders didn’t want to commit.

Lighting Design - Brad Pritts

Brad did pretty well.  His use of practicals was appropriate to the play and gave just enough to this quaint home.  I only wish I wasn’t able to see that weird butt thing.

Mrs. Givings - Liana Abela

Clearly a theater major at a SHIT college.  She decided that theater was her thing when a director gave her a nod and a wink after she nailed her 5th grade solo.  Liana has too many bad habits to be regarded realistically.  I felt no pity for her plight, nor did I root for her female take-over.  This young actress washed this complex role with a fake 19th-century vernacular and little to no stage presence.

Annie - Ellen Blanchard

This girl was sweet and well cast, but lacked the attention she deserved.  I think that the major lesbian plot hole could have been filled if the director had spent just a little time with this actress.  Perhaps if she didn’t completely flip from stark professionalism to tongue hockey in a beat, both Sara Ruhl and I would be happier.

Dr. Givings - Greg Kovas

Oh, Greg.  Greg is clearly a sweet little nerd who lost his virginity at 28.  I was impressed by his performance basics, but my expectations were unfortunately met when he didn’t surpass anything beyond foundation.  He, like his wife, used the character as an opportunity to practice playing a two sentence character description.  As he marched like a constipated constable from one end of the stage to the other, I could hear him repeat to himself, “He is cold.  He is sturdy.  He is smart.” - a mantra that barely got him off the ground and out of the script.

Leo - Joseph McDonald

Well, sir, congratulations on being the best community theater actor in Washtenaw County!  But I know you know that.  Although Joseph had a more nuanced and tortured performance than any of his cast mates, I couldn’t get over the fact that he knew that.  We’re all guilty of these performances - ones where we can’t help but say, “the moms are LOVING me right now!” as we flail and billow and butcher and overdo.

Elizabeth - Maegan Murphy

The first day Maegan got her script, she flipped through scanning for her lines.  At first, she was disappointed.  It’s been too long that she’s been cast as the lesser human, the maid, the nurse, the cook.  But then, like a mirage in the distance, Maegan reached her show-stopping monologue.  This would finally be her time, her show, her chance.  Rehearsals whizzed by and she would look forward to each chance she got to deliver her speech and work on it with Melissa.  But, Melissa didn’t pay much attention - was this a good sign or a bad sign?  Perhaps she was just that confident in her casting.  As the show approached, she pictured herself up on the Arthur Miller stage - all eyes on her, the unsuspecting, unassuming wet nurse.  She was about to make her big break.  What a time to be alive.

Yeah, Maegan was wrong.  She loved that stupid monologue, and it had me rolling my eyes in the third row.

Mrs. Daldry - Amanda Photenhauer

Bad.  Tried.  But bad.

Mr. Daldry - Rob Roy

I was impressed by the casting of Rob Roy, his presence was a majorly realistic catalyst for his wife to run to the other team.

The Audience -

Take your GODDAMN program off the stage.  Shut up.  Stop pretending you are a theatrical expert because you’ve seen your daughter in four other shows.  And for god’s sake, stop fucking calling the show from your seat to show off in front of your date?  What’s that???