#you can get a betrayal trope in any old media

[goldensunset]

pla was like hey what if you got sent back in time to a world where a bunch of people hate you for existing and think you must be evil and force you to perform herculean tasks daily just to be tolerated except there’s this one guy who seems to genuinely like you and he thinks it’s really cool that you’re an outsider from another world and he’s there for you in your worst moment when no one else is brave enough to help and then later after it’s all been resolved you find out that this entire mess was his fault in the first place he’s the reason that you’re here he’s the reason that the world was ending and you got blamed for all of that and he turns on you suddenly and reveals he was just using you to achieve his own selfish goal and after you put a stop to him he curses you for being an outsider sent here just to stop him and now suddenly he genuinely hates you more than anyone else because it has dawned on him that you are the epitome of all that he wishes he could be

[dairy-farmer]

Tim is the other woman and he's content to be one. He just doesn't have much time or interest in maintaining a relationship. But initiating a casual relationship with any single men, usually ends up with those men urging for more. And whenever Tim actually does try to make it work, Tim just becomes suddenly so busy. There seems to be an uptick in the amount of work in WE and cases to solve. Tim is either called away to help his family with cases or called away by Bruce to work on a project that mysteriously went awry or a new project he thought up and made a fuss about. So Tim decides to just exclusively fuck married men. He's happy with that. He's so happy with this arrangement, he's the other woman in multiple marriages at the same time

And then those men decided that they're done having to hide Tim in the shadows and divorced their wives

😍😍😍😍😍😍 tim falling into the 'other woman' trope like in a lot of angst fics except this time it's his choice because he made the very logical deduction that the only way to get a consistent and casual relationship that had no chance of ever turning into "more" was to go after married men. and tim is familiar with the "other woman" in relationships. his dad's "secret girlfriend" had babysat him a handful of times when he was a kid and his mom's lover would always come to the house once a week to "clean the pool" when his parents were in town. both his parents knew about the other's affairs in some way or another and were only happy that it meant more time for their own engagements and the fact that they didn't have to go through as something as ugly and messy as divorce.

so tim knows how wealthier couples operate and working for WE and being a wayne makes it so tim is much closer to brushing elbows with those kinds of people than any other. sure maybe in the eyes of the general public it was shameful to be the affair partner, the other woman, the slut that's getting banged on the side. affairs are often horrible betrayals of trust and relationships that could leave people mentally and emotionally damaged for years. but for certain levels in society that's not the case.

tim knows that very well.

for the woman, the affair partner was a point of pride just like their shoe collection or the car that they drove. if their husband is having an affair with some 19-year-old college student and paying their rent- now THAT is shameful, that is what gets other ladies whispering about you at galas and charity events. but a wayne? the co-CEO of one of the largest and wealthiest enterprises on the east coast? even if tim hadn't finished highschool or gone to college his numerous projects for gotham have earned him a kind of good grace to most of the media and the upper circles. tim being their husband's affair partner would make women hold their head up high because they were still the wife and someone as respectable as tim was "just" the other woman.

so tim knows exactly the sort of couples he can go after. and it eases many of the issues and concerns he'd had with relationships. tim isn't constantly on call for someone who needs his attention or assurance. there's no hard feelings if he needs to cancel suddenly because tim gets canceled on just as often because he needs to be kept on the down low. the media doesn't publish speculative pieces about one person he went on one date with. bruce isn't calling or updating or demanding tim's presence just as tim starts getting more serious with someone, forcing him to break it off or risk getting dumped.

it's easy. it's fun. tim gets to have sex and get fucked by men nearly twice his age all with the support of their wives and tim commits to nothing. neither do they. they don't have to buy tim fancy clothes or jewels or apartments because they know tim has his own money and the only thing tim wants from them is their cock. sure tim could've just hired escorts but they were just as liable to run to the media with their stories. with married men, they have a vested interest in making sure no one finds out about their entanglements. which is just how tim likes it. he's gotten tired of all the emotional labor expected of him in a relationship, his life was hard enough as it was. he just wanted to be able to get dinner with someone attractive and then be taken somewhere and wonderfully fucked until he forgot the mess of problems that was his life.

tim liked his new arrangement- he loved it even! tim has more time than he did before. and with the nice orgasms he's getting on the side he can focus better on work and actually do a good job without having to worry about whether he misses an anniversary or a date! the circle of people that know he's fucking a married men is very small. the amount of people who know he's fucking multiple married men is even smaller.

none of those groups included members of his family or his friends.

tim's in no mood to listen to their moral crusades or lectures no matter how hypocritical he could point them out to be (as if bruce or dick had never seen multiple people at the same time or even cheated on their current partner with an on-again off-again flame). so when tim attends the weekly dinners with the rest of the family, he doesn't mention it. not only because it's not polite dinner conversation, but it's also no one's business what tim does in his spare time.

tim is listening to one of bruce's office stories as is the rest of the family when the doorbell rings. jason looks up and the rest of the family pauses as they watch alfred slowly start towards the door. tim can think about a dozen people who would show up during their dinner time, most of them are capes looking to bum off a meal and knowing that bruce will be shamed into letting them stay by the rest of his children if he says no. tim can already see jason beginning to hastily spoon more mashes potatoes onto his plate because speedsters usually always went for the carbohydrates first.

tim is picking at some crispy honeyed ham when there's suddenly commotion from the front door. suddenly tim is much more alert along with the rest of the table that's fallen silent. the sound of more than one pair of expensive loafers speed walking on the hardwood greets tim's ears.

alfred looks a bit flustered as he turns the corner. he barely manages to get out "master tim, there's some gentlemen at the door for you-"

before a handful of very familiar faces brush past alfred. some are in varying stages of distress. one of them has a bruise on the side o their face in the shape of a hand reddening. one has roses missing petals with ribbons printed with the logo of a very expensive flower shop. tim spies various giftbags intemingled between about four of tim's affair partners who are shoving at each other to get through. tim is utterly lost.

apparently so is bruce. considering that he's worked with or shaken hands with many of them at events.

"mikey?" he asks in that default brucie 'i'm innocently confused' voice, "matty? nolan? benny? what are you all doing here? you know i'd never say 'no' to a guy's night but it's dinner time-"

"tim, i've left my wife for you!"

tim's not sure who yells it too busy grimacing with dick at bruce's sudden tone shift. but the words have him freezing in place along with the rest of the table.

bruce's expression flashes in pure confusion but tim can see the slight furrow in his brow that indicates genuine bafflement before transforming into deep offense.

tim finally allows his head to turn and locks eyes with benicio alamar, the shipping mogul of gotham port that is responsible for the import of more than 22% of gotham's canned and packaged foods and 43% of the furniture and tile. tim has been fucking him for months. and now he's in the home tim shares with his family and saying something about how he's divorced his wife for tim-

him and three others are trying to speak over each other while tim sits frozen and thinks 'what the fuck' and how this wasn't how it was supposed to go. it's not as though they all had some deep emotional connection to each other- in fact many of them had been chosen because of their iron-clad prenups with infidelity clauses that would ensure they'd lose more than half their assets if they initiated a divorce for someone else- no way would any of them do something that fucking stupid to squander their very lavish lives without actually getting confirmation from tim that they'd be together.

which they wouldn't be getting.

tim would sooner drop an axe on his his foot before he went back to committed relationships. what he had going on worked.

only it seemed like they hadn't gotten the message.

tim didn't say anything as all four of the men were pushed out of the dining room, shooed away by both alfred and a suddenly furious bruce who was demanding that they leave.

tim could feel the eyes on him when alfred and bruce returned, bruce with his arms crossed and boring a stare into tim who had no idea what to say.

fuck. why couldn't anything in his life ever be easy?

[disorganizedkitten]

#girlsprotectinggirls one shot fic question! Sorta. Are you a fan of Marvel at all? Or any other superhero media? Because I love that forum system, and thought it would be amazing if it connected all sorts of heroes. What other fandoms do you think could use a support system for their heroes?

OKAY SO I absolutely am! Not enough of a fan to always know what's going on, but I have my series and universes (marvel rising is the most recent) and can recognize most of the art.

Have you read You have (1) New message by chipanddealer? Because it's very *mwah* and definitely affects my answer; but yeah! I think if I went around and just added in all my favorites, I'd find a way for there to be a SuperHero one and a Hero one, because I love the trope of 'hero of the story is overwhelmed and meets retired hero from another story and gets mentored'. I love it so much.

Specifically, I think my ideal chat fic at this very moment would include Jackie Chan Adventures, Miraculous Ladybug, (Harry Potter? maybe?) and Danny Phantom, but just a large one for fun would definitely be a huge mishmash. Harry Potter, Trollhunters, Marvel (rising), Miraculous, JCA, DP, some nice Kim Possible but she has to either be the youngest and just starting her website or the oldest and the mom hero, and maybe some Gargoyles? There's not really a Young Hero(TM) in Gargoyles but there are a lot of traumatized old as dirt men and women who have some nice commentary on loyalty, betrayal, and living through grief.

Oh and Scooby-Doo. A chatfic with any of the superheroes-gotta-have-a-plot and scooby-doo-we-invented-and-immortalized-the-episodic-formula would be wild in the best way.

As an actual 'heroes' forum I definitely want it- not quite open but very near to it? Like, there should be a spot for 'I just did a thing and now I think I might be starting a vigilante career what do I do' and a bunch of other new and old heroes can pop in with Things I Wish I'd Known When I Started (like a stretching routine!), and that's a lot more accessible than the rest, which in #girlsupportinggirls is for "vetted" heroes and vigilantes, and idk if I ever decided how they were vetted but it was a thing.

Oh and winx club should be in this.

So glad this isn't an essay there's probably no clear form of thought, but back to the original question of "what other media do I think could do with a support system" and the answer is All Of Them. Except Stranger Things, because while they absolutely do and I haven't watched the series through, I do have to forever give them props for having a parent who not only cares but actively involves herself in the things that are threatening her children, without being an oblivious/clueless/useless/gag character who just causes more problems.

Which is why a non "hero" forum would have a lot of people - Percy Jackson and Magnus Chase characters, for one, because they could do with support and - ooh DP/MC crossover - grow up to be some pretty sick mentor candidates. "I didn't wanna be a halfblood; I didn't ask to be a hero seeking praise," lives rent free in my brain and likely forever will.

I read a pretty awesome Trollhunters/Miraculous pen pal fic once back when trollhunters was the only Tales of Arcadia out, which was lovely, but since we're at it 3Below/DC would be a very nice crossover, there are plenty of aliens to play support and grief counselling.

Um. I lost where I was going with this, I'm very sure, but we should add a Nancy Drew/Hardy Boys/Scooby-Doo either chatfic or casefic to the list of things that exist in a perfect world and also maybe my to-do list.

Okay FINAL list for the current 'perfect' "someone support these kids who are doing their best/thrown in the deep end/need a hug desperately" is Kim Possible, Nancy Drew, Scooby-Doo, Hardy Boys, and maybe Winx Club for the well-adjusted and likely give the best advice, probably play a mentor role; Dectective Comics, Marvel, Danny Phantom, Miraculous Ladybug, Trollhunters/Tales of Arcadia, and Harry Potter for the 'have advice but as peers and also are definitely using solving your problems as a distraction from their own'; Winx Club (the anime), Gargoyles, and Jackie Chan Adventures could be in either of these, and technically I guess so could Marvel and Detective Comics, but Winx and JCA have much more 'they grow up and get their crap together' vibes than DC and Marvel. Harry Potter could also also go in the mentor category which would be lovely, a prophecy child who survived their prophecy travelling the world/the interwebs and supporting other child heroes and chosen ones however he can.

Gargoyles and Batman should definitely meet sometime, it's been a while since I watched Gargoyles but I feel like they could learn from each other.

...I forgot the riordanverse but you know what it's fine they can be there and just log in once every three apocalypses.

[pingnova]

WIP title ask game

@marypsue as if talking about myself is ever a problem outside of therapy

The spn-killjoys crossover sparked from both of them involving apocalypses. I was interested in how they both have different takes on it, and how the sci-fi aspects of Killjoys could make up for the fantasy aspects of spn. They also both deal heavily with resisting fascism (religious doomsday and capitalist technological). I have also always wanted to write a story that involved the real science of digitally preserving human conciousness and saw that as a good mirror for possession. So I put the spn characters and story into the Killjoys-verse! And you know promptly never finished it lol.

Midnight Rider grew up in the rough and tumble life of the zones. He knew how to trick, steal, fix, and charm anything. Restless by definition, he never settled in one place long, hitting the red line through the zones, scouting out his next firefight.

He had vague memories of a childhood in Battery City, more shapes and impressions than anything concrete. There was never any color, just starched white, inky black, and neutral gray. He knew he’d had a mom at some point, but he’d never known her, too doped up on BLI’s mind-numbing medication to form any meaningful connections. Despite this, he felt a duty to this dead, mysterious woman. She was almost a mythical being, built up into a tragic, selfless figure by his dad’s stories. It was her death that brought him to the zones, and her life was his mission to avenge.

The spn-LOTR au... lotr is one of very few fandoms I am actually actively curative for, vs purely transformative. It's already so rich lol. I was going to take the Fellowship storyline and plop the spn characters in again - so a fusion. (I really fucking love fusions bc I can make the most clever callbacks and parallels to either media.) I have a lot of NOTES on what I want to do and no actual writing. Bc I was still researching exactly how I wanted to manipulate the lotr lore to get the winchesters in there, lol. 100% started because I wanted Castiel to be a cousin of Galadriel. It all went from there. Inspired by this armor. Dean and Sam would share Frodo's role, and it would be a prophecy from their bloodline the Dunedain. Dean is a ranger partially because of this quote straight from the books.

Lonely men are we, Rangers of the wild, hunters - but hunters ever of the servants of the Enemy, for they are found in many places, not in Mordor only.

And I had a flash of inspiration for the destiel. It's all I've written lol.

[ The elves of Lothlorien are leaving Middle-earth. Dean is angry about it. ]

“You’re just leaving us here? It’s the damn apocalypse!”

“Dean, this was long foretold.”

“So the plan was to always abandon us to burn? Isn’t Lucifer your guy? Fight him yourself!”

Castiel meets Dean’s eyes, shining with such righteous wrath to produce unshed tears. He thumbs them away, cradling the man’s flushed cheek in a palm.

“We are the first children of the valar, made of their song and stars. Middle-earth has never been our home. It is domain that was gifted to men, the second and most precious children of the valar. Our time has passed and we must go home. But you, Dean. You and Sam, those of the Dunedain and all men, your season has begun.”

A glittering tear did fall from Dean’s eye this time. He stank of grief and betrayal. “So you’re leaving too?”

Cas pulled their foreheads together and breathed in the dirt-leather-sweat scent of Dean with closed eyes. The scent of his man.

“I’m already home,” he said. “I would choose a mortal life for you, Dean. Not even the valar may separate me from you.”

A nervous sort of uncontrollable grin split Dean’s lips. He was overwhelmed by the admission, but relieved beyond compare.

“I’m glad, Cas. I don’t know if I could do it without you.”

Old timey vamp and priest was me going "hey that opposites attract trope is pretty great" and then thinking of van helsing interrupted by that romance. I have a fixation on Christian lore and have already extensively thought about how vampires (and most monsters) fit into it, because that's me as a person. So Cas would be a priest and dean a vampire. Enemies to uncomfortable allies to lovers. And discussion of the loneliness of immortality. You know how it is.

Zombie!Dean was another like that, with me going "what if dean came back wrong in Lazarus Rising?" Before anyone was resurrected in spn multiple villains made it a point to bring into question whether the right person was summoned or whether they were now evil by virtue of it. Or just "off." That quickly was dropped and never a question again tho lol. Lazarus Rising is on repeat in my head so imagined all is the same but Dean's body is really dead, or in some kind of non-living stasis - so he's essentially a zombie. And Cas gets reamed for bringing him back wrong, which should be impossible. Its later revealed someone set Cas up for that and he couldn't have done anything about it. I wanted to use it as a parallel to deans lack of self worth and his mental health - he's made dead man walking comments more than once. OK bitch, literally dead man walking now. And i love narratives about coping with your own monstrousness. Dean has a very black and white view of monsters at that point of time so being one would be a lot of angst. Just a good old angst fest for me.

Criminal Minds is my favorite spn crossover for fic. I just want more so I was trying to come up with my own to satisfy that. The winchesters get caught by local police during a hunt, and they're transferred to the FBI, thus the BAU. They were on America's most wanted list at least once in canon so it definitely fits. There is an episode I jokingly refer to as "supernatural guantonamo" where the boys are arrested by secret service and tortured in a government black site for supposedly trying to assassinate the president of the United States of America. (Late seasons is just. So bizarre. I kind of love it.) So I figured they'd get transfered there in my fic and then the BAU would be called in on the investigation. They'd find that the winchsters don't really fit anything they think and blah blah blah. Lots of tense interaction. Dean and sam eventually die (in canon they die to escape, like that's where we're at with death as a concept in spn) and there's philosophical jabber about it from the fbi profiler perspective. Meanwhile sam and dean are resurrected and off to do their thing with the govt none the wiser. I really love procedural shows trying to logic with the reality TV levels of nonsense in the spn plot and also the reality of monsters. I think both genres can learn from each other so I have characters play that out. It's also just a good ass time lol. Who doesn't like to pick dean and sam's totally convoluted personal problems apart? want to study them like bugs.

[internalsealpanic]

Love Through the Ages (Tim Drake)

Summary:  Love like baggage needs to be declared.

a/n: This is part two of a series that is a fic rec list disguised as a fic. For these fics, most of the characters will be speaking different languages, so unless specified otherwise assume that the characters are speaking in the first language I mention. They’re all vampires with centuries under their belt. Why wouldn’t I make them all polyglots.  Also, thank you to the proof reading gang for putting up with my shenanigans.  I will have links to the fics I recommend in the fic itself.

Warnings: Everyone is dramatic.

Masterlist

Series Masterlist. 

You watch the rusty green of the warehouse wall disappear behind a spray of orange paint. There is nothing more satisfying than watching paint make old things new. 

A whistle interrupts your reverie, making the can slip from your hand. You swear, the harsh syllables echoing in the empty air. The can bounces down the scaffold and lands in someone’s hands. Tim’s face gets sprayed with a mist of orange. He makes a noise and rubs at his face. You bark out a laugh and he grimaces at you. The begrudging fondness obvious on his face. 

He waves at you, eyes still stinging from the paint. Giddiness flourishes in your chest. “I knew I’d find you here!” He shouts in a dialect of Mandarin that you hadn’t heard in ages.

It takes you a moment to understand him. You’re honestly extremely rusty. It takes you another moment to realize that it made no sense for him to find you. “How?” You shout back in Romanian. 

Tim shakes his head, throwing his hand over his shoulder. “Open canvas.”

You snort, looking down at him. Tim’s breath catches as he stares up at you, your smile. You’re haloed by sunlight. You look like an angel descending from heaven.

Tim’s forced to pick up his jaw when he hears your voice again. You’re tapping your watch. The words are lost to him.

“What?!”

You shake your head, strands of hair coming loose from behind your ear. “I asked...” You shout in a coarse frawl. “... Isn’t it a bit early for you to be here?”

It was. 

He was only 30 minutes early. No big deal. 

He shrugs. “I just wanted to watch you paint.” He says, trailing off. Oh God, Tim thinks. Does he sound lovesick? Is Cassie right? He pushes the thoughts down, opting to look at the building instead. On the side of the building was an immaculate portrait of the Red Hood rendered like a saint, haloed in golden light and surrounded by your orange marigolds. It would look at home in any grand cathedral. Your talents never ceased to amaze him.

“Should I ask why you’re defacing a building?”

You turn back to the building picking up a can of yellow paint. You tilt your head. “It’s a massive improvement, yes?”

Tim looks around. The pavement is littered with wet trash mixed. The buildings were rusted. Everything else is covered in grime. “You’re rude…  but not wrong.”

You preen, electing to ignore the first half. You turn back to your canvas before Tim can get another word in. He knows he’s lost you. 

“So, why *the* Red Hood?” 

You look away from the portrait, setting the can of yellow spray paint. It sprays your sweatshirt and Tim laughs. You stick your tongue out at his face flushing. You liked this sweatshirt. He gave it to you the last time you had meandered into Gotham. “Why not? We’re in the Bowery. He’s like a saint here.” You snip, switching to Russian. Ok, that made sense. You toss your sweatshirt into Tim’s face. The fabric is lousy with the smell of paint and of 5-hour energy drinks. It was an improvement over the pungent odor of garbage. 

He tries to rub the orange paint on his face away before he tucks your sweatshirt beneath his arm. You’re still looking down at him, wry amusement on your face. “I’ll paint your beloved Red Robin when I get to China Town. Heard he was quite popular in those parts.”

Tim’s heart flutters.  He stutters out his next question. “Why are you using spray paint for this type of illustration?”

“Kon said I couldn’t do it.”

Tim snickers, “As if Kon could tell the difference.”

You frown only realizing your mistake. You curse under your breath. Tim doesn’t stop laughing at you. “Shut up!” You snarl.

Tim dodges the next paint can you throw but the next one hits him square in the face. You grin triumphantly. Tim raises a middle finger at you and you giggle in response. You feel bad, seeing him wince in pain. You’d buy him apology tea later but for now, you clasp your hands and call out to him sweetly. “Sorry, Timmers!”

Tim, equally as mature and well aware that you’re only half sorry, blows out a breath, muttering something colorful before shouting back: “we should get going if we wanna eat out after looting the museum.”

At that, you launch yourself off the scaffolding, your body feeling weightless as it falls. Tim drops your sweatshirt as he holds his arms out to catch you. He catches you easily. You two spin as you wrap your arms around him. 

“You are certifiably insane.” He laughs. His nose smooshed against yours. 

“And so are you.” You snort, hugging him. 

He hugs you back. You hum so softly into his hair that Tim wouldn’t be able to tell it from a breath if he were human.  Tim holds you close, hugging your waist tightly. He doesn’t really want to let you go. You don’t either.  You and Tim stand there for a bit when you hear his cell beep. 

“Why does your phone sound like a pager?” 

“Because Babs told me how to.”

“That literally explains nothing.”

“I’m not taking crap from the gremlin who had ‘Baby Shark’ as their ringtone for 12 months. WILLINGLY.”

You pout at him, your face so close to his. Tim’s only half paying attention to your defense. To be fair, it basically boiled down to ‘it isn’t that bad’ and ‘Bart’s ringtone is worse’. 

After a short shopping trip and a cab ride later, you arrive at the museum in fresh clothes and less paint on his face for Tim. 

“All the World’s a Stage. They botched it! The nerve! The barbarity of it all. It's just like when they botched ‘Words with Friends’ or ‘In Ice We Trust’ or even ‘Tomcat’. That last one was pretty much gift wrapped for them!” You say throwing up your hands nearly hitting Tim and whatever poor bastard was unlucky enough to be behind you. 

“For someone who isn't invested in modern media, you're getting fired up.” Tim chuckles, eyes flickering behind you. You had managed to miss the people behind you but you do have a rather conspicuous space behind you. 

“They had such good material to work with”  you say, gesticulating wildly. “And- and they butchered it.”

“You need a 5 minute breather?” Tim asks, resting a hand on your back. 

 “Shut up,” you laugh.

Tim grins at you as if he had no idea what this ultimate betrayal feels like. 

Determined to prove him wrong, you say : “C'mon, Timothy,  you ranted like this when they botched the star thingy.”

“It’s Star Wars, you heathen.”

“Star. Thingy.” You repeat, crossing your arms. 

Tim squints at you. You know he’s not gonna blow up at you but somehow that’s scarier. 

“You can pay for your own cab later.” He grumbles. 

“Star. Thing-Y.” 

Tim turns to leave. This always worked. Always without fail, you grab at his hand, lacing your fingers with his. Tim tries not to smile.

“Fine.”

“Was that so hard?”

“It was excruciating actually.”

“You're being dramatic.” He says, showing the woman behind the ticket counter your passes. 

“Excuse me, I left all my drama in the Renaissance.”

“Oh really?”

“Ok not really but admit that both Andromeda and Stars, Forgive Me have better writing.“ You bite out.

 “I- That’s unfair,” he says. You raise your brow in response. 

“...”

“Fine,” he sighs. “But admit that Andromeda should have been named ‘Space Whores’.”

You squint at him then smile. “Oh abso-posi-tute-ly.”

 “Have you seen this dirty old hockey mask?” You ask, tapping the glass as if the hockey mask would react if you just agitate it enough. 

 “What is that?” Tim asks, looking over your shoulder. His brows crinkles when he sees the mask. “How is that romantic?”

You hum. “Ask the curator?” You suggest, looking around. He was usually out and about. He could never sit still even if he tried. You lean down narrowing your eyes at the plaque. “Says here some dude called Jason terrorized 3 kids over summer.”

“That’s very romantic for our Jay to do.” Tim says, crossing his arms and switching to Cantonese. It was a weird habit but you knew why. Apparently for all Jason’s skill in languages he somehow could not get a handle on Cantonese. 

 “Not that Jason.” You say, smirking. 

“You sure?” Tim asks, leaning closer to you. 

You snicker,  “As in character as that would be...”

“True,” he says, edging closer and closer to you. You rock on your heels nervously at the proximity. “It’s a shame, I thought there would be a machete to match too…” You can feel Tim’s breath on your cheek. 

“OH LOOK AT THIS.” You say twisting away and pointing to a black and white photo. Tim’s hands leave his sides to grab for you, to pin you to his chest, but he has enough self control not to. Instead, he follows you.

“It’s just a man and a woman in business suits. Yanno something you can see in any metropolitan city.”

“Yes but,” you say, tracing a nonsensical pattern into the air, “I’ve heard a story about this, they were both extremely rich and heads of their companies, went from enemies to lovers - my all time favourite.” 

Tim looks closer at the photo of the man and woman with their backs to the camera just holding hands along the NYC sidewalk. It’s cute. “I thought your favorite was lovers to enemies.”

“Well of course, it is! The drama, the absolute tragedy. It’s better than any trope in existence. But I love that this is just black and white. You don’t need anything else to indicate they’re in love with each other.”

Tim is all too tempted to point out that that likely wasn’t intentional, that it was a limitation of the time, but the look in your eyes robbed him of his breath, so he swallowed his thoughts. 

Your eyes rove over the room frantically in search of something. 

“So is there any reason you wanted to go to this exhibit instead of watching lavalantula 10 in theaters?” Tim says, tapping another case. 

You turn to look at him, shock etched into your features.“10? We've seen lavalantula 1 through 9 in theaters? Why did I agree to that?”

“Cus you love me?”

You narrow your eyes at him. “Probably not.”

Tim gives you a hurt look. 

You scowl at him. You have no idea why everyone thinks he’s the nice Wayne sibling. He is a manipulative little shit who plays you like a fiddle. And yet here you are falling for it. An absolute buffoon. 

You grumble an apology under your breath before continuing. “This is more cultural Timmers and lord knows we need more culture.” You wave sarcastically. 

“I think we've lived enough culture.”

“it cannot hurt to experience more Tim,” you snort. He rolls his eyes. You grab onto his arm and look up at him bright eyed. Two can play it at that game. “Please Tim....”

He scowls at you. “Fine-”

“Yes!”

“-but you owe me a movie marathon.”

“Fine. Fine,” you nod, “just don’t pick something dumb.”

“I just got the new star trek box collection.” He beams. 

“You could just shove me into a grave.” You sigh dramatically. 

Tim grins. “The Renaissance called-”

“Oh fuck you, Grackle.”

He snorts and you hate that you fall in love with him more every time he laughs. 

You cross your arms giving him a hard look. “Fine but we have to have an intermission of my choice.” You say, offering a hand. 

“Deal.” He says, shaking your outstretched hand. 

“Great, you've just agreed to watch the Great British Baking Show with me.” You say smug. 

Tim curses himself. 

"Are you still looking for that one painting?"

You tip your body back to look at him, your eyes wide and startled. It takes no time at all for them to shift to their usual angry shape. "Yes," you say quietly. It's Tim’s turn to be startled. Your hands curl into a fist. "It wasn't done and those bastards took it." 

Tim reaches out to put his hand on your shoulder. 

You cast your hands up to the sky dramatically.  "The barbarity of it all!"

Tim smiles, letting his hand fall to his side. You would be ok. 

You two walk on as Tim rants about StarGate  could have had a bigger fanbase if it hadn’t excluded so many people. You add StarGate to the list of things to not remember. 

You stop.

Your heart presses a bruise in your throat. 

Framed in  wood laden in ivy and marigolds is a painting that was painfully familiar.  Even unwashed, you can still see the bright reds of rose petals, the wild greens of the women’s skirts, the brilliant oranges of marigolds, and the blinding whites of cobble stones. The image was a practice in entropy made into perfection. The chaos of Valentine's day in a small town square reduced and captured in an infinitesimal moment.

Damian told you that people had started calling them Warsaw’s Faceless Sweethearts. You hated that.  A part of you wants to scream. You want to tell them that this wasn’t for them. This painting was made for one person and one person only.

You’ve been staring at it too long. Tim looks at you. You’ve known him too long to not know that he’s worried. That he’s feeling that stupid surge of protectiveness he always does when you go quiet. It’s in the cautious way he reaches out to you, slow and steady the way you approach a spooked animal. You want to lash out at him but he’s your Tim. Besides, too much of your mind is trapped in the painting, in the white gazebo, in between the couple who’s stuck in the moment before a kiss. 

Tim stands closer to you, his fingers lacing into yours with centuries worth or practice. He looks at the painting. “This painting looks familiar.” Tim says for the lack of anything better to say. It was yours. He knew that with only a few seconds of looking. 

“I… I don’t think so,” you say clumsily, “that’s definitely not the painting I’ve been looking for. Yup that one looks completely finished. Yup definitely.” You tug at Tim’s arm. 

He gives you a look, staying perfectly in place, before turning back to the painting. His gaze draws low. In a glass case sits scraps of paper lined with charcoal.  It takes an embarrassingly long time for Tim to realize that they’re sketches the artist did. Tim recognized the baker, the blacksmith, the seamstress, and even the constable. Most glaring of all he recognizes your marigolds.  His eyes drift to the sketches of the couple in  the gazebo. They were numerous, haphazard and unsatisfied. You were clearly frustrated with the groom’s face. Tim wonders who the poor guy could be. 

In the corner of the page in the center, he sees it.  “Wait… is that me?”

“NO!”

“Is that you?” He asks, pointing to the figure next to his. In the sketch, your lips are brushing against his. Tim’s lip tingles trying to replicate the sensation. 

You’re frozen stiff. You try to pull your hand away. You want to bury your face in them. Scratch that, you wanna be buried six feet under. Tim doesn’t let go of your hand. 

“That’s the umbrella you lost back in London.”

“I lost a lot in London, Timmy.” 

“Well...” Ok. Yeah, you did. Hence why he can’t get you to London even with the promise of letting you ‘improve’ Buckingham palace. But that isn’t the point. “(Y/n), this is gorgeous.” He says, turning to you. You look at him stunned and scared. He squeezes your hand.

You shake yourself out of his grip. Tim lets you. He knows when to back down. 

You step forward leaning on the rope separating you from your work. “I told you it wasn't finished.” You say, glaring at the painting as if willing the colors to move. 

“What happened?” He asks, bumping his shoulder against yours.

You bump your shoulder against his. “Warsaw.”

“I don’t follow.”

“That little town in Warsaw. It was kind of hard to finish the painting when soldiers were setting fires to houses. Ok, they didn’t do it directly but there was smoke.”

“Yeah kind of.” Tim agrees, smiling sadly. He looks back at the painting. “I want to keep it.”

“What?” You blink not quite following the shift in conversation. 

“Darling, I think we should have it. It’s ours after all.” Tim says holding your hand in his. Your mind is bouncing between too many things. He called you darling. He’s holding your hand. He’s smiling so sweetly at you. You’re addicted to that look in his eyes, pure unadulterated adoration. 

You cover your face with your free hand, feeling the smile on your face go uncomfortable wide. You feel something on your forehead, a kiss like a raindrop. It comes again and you feel like you’re going to collapse. 

“It’s yours..” He trails off hesitantly. “..if..” You look up at Tim, waiting with bated breath. Tim squeezes your hands. “...if you’ll be mine. ”

@batarella​, @anothertimdrakestan​, @lucy-roo​, @multifandomgirl-us​, @bungunz​, @birdy-bat-writes​,  @boosyboo9206​, @americasmarauders​ , @l-inkage​, @arestorationofbalance​ , @cloudie-skay​, @wunderstell​   @hyp-oh-critical​ @glorified-red​

[bisluthq]

It’s your kaylor historian here who still can’t remember my log in details to my KH account 🤦‍♀️ (so please make sure this anon just in case it isn’t... I fear them 👀)

Karlie’s tea post before masters heist:

Ok so I can’t remember who posted first and don’t feel like looking, but taylor posted a selfie and captioned it “Friday calmness” and we (kaylor fandom) had been speculating taylor was going to come out as bi on the last day of June / 🌈pride month🌈 since she’d been doing so much stuff that could be seen (and was) as queer coded. We celebrated the “Friday calmness” thinking it was like a ‘calm before the storm’ with the storm being her coming out.

I think Karlie posted after taylor, but am not 100% sure. Karlie posted a selfie with a cup with a caption like “what’s the tea” and the fandom, thinking they were still together, collectively lost our shit. It looked to us like Karlie was playing off Taylor’s post. (I’ll admit, I didn’t think kaylor were still together, but that weekend I was thinking ‘I can’t believe I doubted them!’ Lol)

*there were also rumours that the YNTCD video and single were delayed a couple of times and meant to be released sooner and serve as a soft coming out, but that taylor kept changing her mind about it and is also why she kept the tracklist length under wraps, because she wasn’t sure if she’d go through with it. She was way more vague than ever before. There were also rumours she had a rolling stone cover planned that she was going to come out in but it was scrapped —— I can’t even remember where these “she’s actually coming out” rumours originated anymore and I can’t remember if people had legit sources and gossip or if it was fan fiction planning, but it was mentioned outside the kaylordom too, so take that as you wish.

Then came the masters heist.

Now, to understand the thought process of Kaylors at the time, you have to remember that we thought Karlie & Taylor had a secret romance, Joe was a beard, Josh was a beard - but since he comes from a crime family who have done a lot of bad things (to put it lightly) and are stupidly rich, Josh had Karlie trapped in such a tight contract and has so much blackmail material that Karlie was forced to fake marry him against her will - remember, it was only meant to be a photo shoot for a Vogue wedding spread showing what wedding fashion was available, it wasn’t meant to be a wedding! But josh had his team leak the photos and instead of saying it was all for a photo shoot, Karlie had to say she was now married. <- that was the narrative and thought process within the fandom.

So the fandom thought 🛴 and Josh conspired to announce the purchase of big machine/ taylor’s masters which would derail her coming out plans. The fandom thought Karlie had no idea it was happening. Scooter and Josh were worried Taylor was going to come out, which would ultimately out Karlie since there were so many rumours about Kaylor already, and it would then out Josh and ruin Josh’s image, making it look obvious to everyone that Josh and Karlie were just beards, but kaylor was real. To avoid tarnishing Josh’s hetero card, scooter waited until the end of June to announce he bought taylor’s music for maximum impact.

(Never mind that someone spent $300M to keep a client in the closet) that was how we interpreted the situation (kept writing the fan fiction) and that it was a blow to taylor and a huge betrayal from scooter to Karlie because now they had extra leverage / ways to hurt Karlie.

So yeah. It was a very sad time. This also is why some kaylors think hoax lyrics point to their everlasting love “my best laid plans” = tay ready to come out end of June “your sleight of hand” = scooter tricking Karlie when he bought the masters and any information about taylor that Karlie mentioned innocently was used against them, “my barren land” = taken on a new meaning since Karlie announced her pregnancy, but initially it was seen as the land that was meant to be blooming with love was left barren and empty because of the masters incident delaying her coming out.

It sounds absolutely ludicrous, but the only way to understand how it was easy to rationalise is to understand how adamant the fandom was/ is that Josh and joe are just beards, Karlie is locked in a contract, and taylor is trying to free the both of them. If there were any truth to this at all, it is nothing short of ghastly situation for Karlie and paints taylor as a Nobel warrior trying to save her princess from the tower 🦸🏼‍♀️👸🏼 ....

Karlie had what I think was a scheduled post cause it was ad content , but otherwise was unusually silent on social media for a week + after the announcement. We thought they were grieving together.

——-

Now for Emily Poe. Ok so I really didn’t do my research - I thought Emily was only one or two years older than Taylor, so it never even occurred to me that the idea of that relationship would’ve been extremely predatory and badbadbadbad. I regret not doing my due dillihence when I was part of a fandom that consumed this theory. So Emily theories have been around since Taylor first had gay speculation. Part of this was because of some funny photos like that one where taylor is standing next to a truck that says “...gay Texan” and emily and a guy in the band I can’t think of his name were pointing to taylor and smirking. It’s a funny photo. I can see my dumb teenage self making similar jokes long before I knew my sexuality because LOOOOL GAY was a thing back then. There’s the video taylor made for Emily where she held up the “we love you emily” sign and she went to everyone she toured with including brad paisley to hold up the sign and make heart hands and just be extremely cute - platonic or romantic - both seem plausible - and cute as hell! The video was set to the dashboard confessional song ‘stolen’ which is basically just the lyric “you have stolen my heart” over and over again. This video got renewed interest when people went back and looked back at the you belong with me video. The idea of taylor and her make love interest holding these a4 sheets of paper with “I love you” written on them seemed familiar. The story of how YBWM came about was that Taylor heard her guitarist on the phone with his girlfriend and his gf was yelling at him for something seemingly insignificant/ the gf was painted out as high drama and her guitarist seemed miserable every time he spoke to her for a while. So Taylor had the idea of a song about a girl thinking her friends girlfriend is horrible, but turn it into a love story where the two friends get together - classic romantic comedy trope - she took the idea to Liz Rose and it was one of the last songs written for Fearless and specifically made to be upbeat and preppy because taylor thought the album was lacking that vibe. If you take the story Taylor said inspired the song and swap it from her male guitarist (who she also said she had no feelings for), and change it to her female fiddle player, the story behind the song can be the same, just tweaked to be hetwashed. Emily was a cheerleader and had a boyfriend when she toured with taylor, so it’s easy enough to take those things at surface value and think there was some truth to Emily. Also the two biggest gaylor rumours pre swiftgron came from comments on a gossip site/ forum. One was that ‘Emily was fired after she was caught relieving taylor of stress’ and how ‘emily was interested in law, but this incident cemented she had to leave the band but the swift team gave her money so emily wouldn’t sue for being fired on a sexual harassment issue’ (of course, knowing the age difference, we know this would NOT be the case at all) and it is speculated it inspired taylor to write breathe because she was so sorry for how things ended. They were inseparable and then after her birthday, never seen together or mentioned each other on MySpace again.

The other comment was that taylor ‘was a pillow princess in high school’ and that she was happy to receive but not give because she wanted to maintain her virgin status and thought if she reciprocated it would make her gay — the comment was something like that.

Of course it would’ve been incredibly easy for idk, some random on the internet who has never even met taylor to say those things.... but it was taken as gospel by the gaylor truthers.

People who looked further found a girl they believed was Taylor’s high school gf, her name started with L... but I never really believed it so I don’t have the greatest knowledge of that one. It seemed ridiculous to me she had a 3 year gf as a teenager and not a single person from her high school - or anyone who knew her alleged gf - ever spoke about it publicly??? That would be a lot of NDAs and payouts to keep silent, but a lot of other people believed NDAs and hush money was spent, so yeah... 🤷‍♀️

She also had some fruity MySpace posts which seemed to help the case for gaylor, but imo, it also falls under the ‘teenagers on the internet are dumb especially when social media was brand new and thank god myspace doesn’t exist cause I don’t want to see my old one ever again’ category.

Sorry for the essay, I felt I had been summoned and wanted to give background on the fandom. When I log back in I think I need to change my bio, I’m not really here to talk kaylor , but the fandom. Cause it’s really sad what that narrative within the fandom has become and heartbreaking what that narrative has done to fans, especially queer kids trying to figure themselves out. I couldn’t see how toxic it was for a long time, I’m happy I’m out of there now. but I think it helps to understand how the fandom thought and saw things as to how easy it was for things to spiral to the state it’s in now.

As old T used to sign off, - lovelovelove 💜

Brilliant post thanks KH!

[hmsannlett]

Some mid-S4, Mary-has-just-come-to-camp-and-things-are-tense-with-Anna thoughts coming for you that have been brewing for a while tbh.

This is an old opinion and something the fandom already almost unanimously agrees upon and has since the beginning, but I so, so wish the Anna/Abe affair hadn’t been written in. There are a many things that bug me about it, but one of the consequences of it that I think is a real shame and detriment to the show is the wedge that it drives even deeper between Mary and Anna.

In a show where female friendships are already few and far between, it’s disappointing to see what could have been an excellent dynamic be tainted by past betrayal and hurt (and the hurt is completely justified on Mary’s part, to be clear). I adore the times when Mary and Anna work together to solve issues (usually Abe’s *sigh*) and so wish we had been able to see more of that kind of female relationship – women working together to accomplish a shared goal (even if just for individual instances and not for long-term goals or a sustained friendship). Those few scenes between Mary and Anna are a breath of fresh air within the larger context of the fairly catty relationships we see between women – but even then, the cloud of Abe’s and Anna’s affair hangs over the Mary and Anna scenes, even if it isn’t mentioned in dialogue.

I know the show tried to create a female friendship with Anna and Abigail, but it’s always felt off and unevenly-written to me, not to mention being pretty implausible historically. The power imbalance between them even after Abigail is freed is too significant for a genuine friendship between them to exist, which is something the show does seem to try to hint at every so often, but it’s inconsistent with their bonding and having close conversations (esp. Anna’s begging Abigail in S1).

And the same goes for Peggy and Abigail. Peggy has moments of seeming-understanding for Abigail, but when it benefits her to, she pulls the white authority card and uses her privilege against Abigail. Again, not really a friendship, even though Peggy confides in Abigail often (which is probably more because she knows Abigail won’t talk). Note that Abigail rarely does the same. Though Abigail cares for Peggy and seems to feel some measure of closeness, she certainly does not feel like the best of friends with Peggy (and understandably so, given how Peggy has no problem showing Abigail her “place”), as shown in her body language in each scene with Peggy and constant verbal deference to her.

All this to say, it would have been impossible to make Abigail have a genuine, reciprocal friendship with either Anna or Peggy, given the societal dynamics of the time and their respective positions of power over her. (Now, would I have loved to have seen a historically accurate, genuine female friendship for her? Absolutely!! Abigail deserves all the good things and way more screen time.)

And...that’s about it in the way of female friendships in the show. Yes, Mary and Ann Bates have a “friendship” from Ann’s perspective, but it’s short-lived and duplicitous. Ann and Hester are friends, but their friendship largely consists of gossiping about Anna and conniving against her. Peggy and her friends/sisters aren’t shown very often, but even when they are, it’s usually Peggy having the upper hand in the scene or her friends/sisters automatically deferring to her, with no expression of mutual friendship. Mary’s sewing circle is more about gossip, smearing people, and using Mary to gain information than any actual bonding among women. And don’t even get me started on Peggy/Philomena. It’s Mary/Anna on steroids.

One could argue that all of the twisted dynamics of the female relationships in the show are because it’s a show about war (and one about spying and distrust, no less), and everyone is working their own agenda for their own ends or for their side. But I don’t think that argument holds water. With the male characters allowed friendships like the ones between Ben/Caleb, Ben/Caleb/Abe, Richard/Hewlett, Ben/Selah, even Ben/Caleb/Sackett (even though it’s more of a mentor dynamic), it’s deeply disappointing that the women are portrayed as being so divisive and self-serving.

One could also point out that all of those friendships are between men who are on the same sides as each other, so of course they would get along well compared to Mary/Anna, but to that I have to point to Ben and Andre. They couldn’t be even more of rivals if they tried – and yet they are still able to meet each other with mutual respect and appreciation for the other’s work and role (not friendship, of course, but still a heck of a lot more respect than the women typically show for each other). And, yes, one could further argue on this point that it’s just 18th century military decorum to treat a captured enemy officer with respect, but, as we see in the show, that isn’t guaranteed and certainly isn’t always followed. I do realize that there is historical precedent for Ben and Andre’s respect for each other, but Turn isn’t exactly known for keeping to the facts – ergo, the show made a deliberate choice to keep this respect between rivals historically accurate. Their respect for each other proves that it is possible for two people on opposing sides to respect each other and the other’s character – as could have been possible with Mary and Anna if the Abe debacle hadn’t happened.

This is more of a rant than an argument, I realize, and I know I’m beating the proverbial dead horse here. But I’m just tired of the trope that women always have to be fighting each other or stabbing each other in the back, rather than exploring the possibility that women can actually, just maybe, perhaps have genuine friendships and interactions with each other – free of jealousy, bitterness, cattiness, and all the other ugly emotional/social weapons women are always portrayed as wielding against each other.

Why can’t we have women spying together; uniting to help the war effort; helping each other deal with loss; heck, even just helping each other mentally and emotionally get through, you know, a war taking place on their doorsteps? Or just...talking to each other. Like women do. Without venom or spite. Without ulterior motives. I’m not wishing we had more female characters or friendships (though that would be nice), just that the ones we did have didn’t conform to typical media stereotypes/tropes.

Yes, war has historically been the dominion of men for millennia, but it’s women who have always held society together while the men are away; women who must support each other through stress, worry, loss, and grief when their husbands, sons, fathers, and brothers are away from home and dying. And in a show that is about female spies being just as important to the war as male spies, I wish women’s friendships and relationships with each other had been shown to be as important and reciprocal as the men’s were. For a show that is so focused on the home front, women’s lives should be pretty significant and important – and that means a holistic view of their lives.

I love Turn, don’t get me wrong, and I think it did excellent showing strong, smart, everyday women doing the best they could to fight for their beliefs within the restrictions of their time. I just wish we could have seen women interacting with each other in a healthy, normal dynamic while doing so. Mary and Anna would have been perfect for this, I think, but evidently the Setauket Soap Opera was more important. And that’s a shame. If women’s stories are going to be told, they deserve to be told fully.

tl;dr: The women deserved better.

[scripttorture]

I'm writing a human character in sci-fi setting who has been betrayed by his friend and is then kidnapped and phycologically tortured by the friend to the point after he escapes he has severe PTSD. I'm struggling to write it though as I'm not sure what kind of mental torture he could be put through without going over the top. Any advice would be greatly appreciated! Thanks

I’m going to start off with a possibly obvious point: kidnapping is traumatic. If the main thing you want from this sub-plot is to give a character PTSD you don’t need to go any further then that. Not everyone who is kidnapped will develop PTSD but it’s a realistic outcome.

 So…. Phycology is the study of algae, I’m assuming that’s not what’s meant here. But if it is then please correct me and I will happily spend some time reading up on algae to help you out. (That is not sarcasm, teach me about algae.) :)

 I am guessing that this is a misspelling of ‘psychologically’ and this is someone new to the blog who hasn’t heard The Talk about ‘psychological torture’ yet.

 So going forward: Anon it’s OK to make mistakes. I’m here because I understand how hard it is to find good quality information on torture. And because I understand how much misinformation is popularised in both fictional and allegedly-factual media.

 I strongly advise that you don’t use the phrase ‘psychological torture’ in your writing.

 Torture isn’t psychological. There’s nothing clever or psychological about hitting someone’s feet with a stick.

 And the phrase ‘psychological torture’ has been used for years by torture apologists. They use it as a way to dismiss survivors and belittle their experience. They do that by declaring that some types of torture are ‘just’ psychological; using this term to suggest particular tortures don’t cause physical harm and that survivors are faking their responses.

 This is bullshit. Don’t buy into it. Don’t support it.

 Torture is physical abuse and physical harm. The lasting psychological symptoms and effects are due to underlying changes in the structure of the brain which happen in response to extreme pain and stress.

 O’Mara, the neuroscientist who wrote about torture, likened it to brain damage. He also went so far as to argue that it’s deliberately inflicted organ failure. And you know what, I’m not a neuroscientist, so I’m not gonna argue with that assessment.

 I don’t know what you’re picturing when you say ‘psychological torture’. You haven’t given me a time frame for how long this character is held or information on the kind of culture this fictional world has. Which makes it hard for me to suggest specific things.

 What I can do is give you an idea of what torture looks like now and what sort of effects you’d expect in survivors. You can then consider whether torture is right for your story.

 Most torture nowadays is ‘clean’. Now different researchers use different terms for this (I use Rejali’s term) but what it essentially means is: a form of physical abuse that is extremely unlikely to leave obvious physical marks on the victim’s body.

 Lest you get the idea that is represents ‘advancement’ most of the clean torture techniques currently used are hundreds of years old. Some of them are thousands of years old.

 There’s been quite a bit of debate in the field about why clean torture is currently so common and why so many organisations have abandoned scarring torture. You can read more about that over here. Or if you feel you have a wealth of time on your hands you can try tackling all 800 pages of Rejali’s Torture and Democracy (highly recommended, also very large).

 The theory Rejali puts forward is that the shift is about evidence. Obvious physical injuries make it easier to build up cases against torturers.

 And a lack of obvious physical injuries can be used to discredit survivors.

 These are the sort of torture techniques that get labelled ‘psychological’ as a way to dismiss them: the ones that are being used around the world today.

 If you’re wondering what sort of thing I’m talking about things like sleep deprivation, beatings (yes this can be done without leaving obvious marks), near-drowning, forcing someone to exercise until they collapse, Tasers.

 I have a post here on typical torture practices in different countries in the modern era.

 While the physical effects of clean tortures are hard to definitively prove we’re still taking about incredibly dangerous things.

 Tasers, used according to the instructions, leave no mark on the skin. They can also cause heart attacks, seizures (in vulnerable individuals) and often cause death by falling injuries. Forced exercise, beatings and stress positions all cause kidney failure. In the case of stress positions that’s after the swelling in extremities that gets to the point of popping the skin open in massive ulcers.

 Sleep deprivation causes a whole slew of interestingly awful physical and psychological effects before (according to studies in mice) leading to death from multiple organ failure as the microbes in the gut take over the entire body.

 What I’m trying to say here is that if you’re looking for something dignified, without the vomit and pus and shit, then torture probably doesn’t fit the bill.

 And clean tortures can still cause physically disabling injuries.

 Drowning and choking tortures (such as water boarding) can cause brain damage. Incorrectly applied restraints can lead to a limb needing to be amputated.

 On top of all this are the long term psychological effects which I have a post on here. Memory problems are discussed in more detail here.

 PTSD is a possible symptom but it’s not guaranteed. The truth is that while we know the possible symptoms different individual survivors develop different symptoms and we don’t know why.

 If you’ve thought about it and you want to use PTSD because it adds something to your story then by all means do so. But don’t feel that it is your only option.

 Survivors do recover. They are not ‘broken’ and unable to live or enjoy life. They’re mentally ill and often disabled and recovery is a process of learning to live with their conditions.

 Wrapping this up: think about what you’re writing.

 I am not saying that you shouldn’t write torture. I am not saying that you should. I’m asking that you, and every other writer who comes here, consider what you’re committing to.

 If you don’t want a character to be dealing with multiple complex mental health problems for the rest of every story you use them in, it’s probably not a good fit.

 If you want something that doesn’t have even a chance of causing lasting physical damage, torture is probably not a good fit.

 Picture where the story is going. If you think the narrative could be the same without torture then you’re probably not capturing the scale of the impact torture has.

 I have a post on common inaccurate tropes here. I have a post on researching torture here. I have a list of sources over here. I also have a lot of asks tagged as sci fi.

 Consider why you want to write torture in this story. What is it adding to your narrative? What is it doing?

 If the main thing you want is this character to have PTSD afterwards that is possible with kidnapping alone. Physical attacks make PTSD more likely but they’re not necessary for its development.

 Kidnap and imprisonment is betrayal enough. It is reason enough for all the big, powerful emotions you want to put into this relationship. Ask yourself if torture really does add any more to that.

 I hope that helps. :)

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[blackswaneuroparedux]

Anonymous asked: As a staunch royalist I would be interested to hear your views about Prince Harry and Meghan Markle deciding to quit the British royal family. Did they do the right thing or are they just being selfish and ‘woke’? Does this ‘Megxit’ the British royal family is in crisis and its future looks bleak by this act of betrayal to the Queen?

Short answer:

I have been avoiding answering this question precisely because I became tired of hearing about it around the family dinner table or with friends when I visited England recently or now with French friends here in Paris who can’t fathom what is going on. But too many have asked about this in my blog inbox.

I don’t mean to sound so dismissive but to me it’s just a passing storm in a tea cup rather than some cataclysmic crisis of the British monarchy. Everyone should stop take a deep breath.

After the joint press statement by Prince Harry and the Duchess of Sussex statement came out on 8 January 2020 it set in motion the usual hilarious pastiche of Cold War Kremlinology by the British press.  So at any one time you had sensationalist and sanctimonious headlines such as the fury of the palace press knew no bounds. How dare they? The Queen humiliated. The palace insulted. And so on and so on.

Every newspaper editor knows there is a yawning gulf between the “public interest” and what interests the public. By any standards, Harry and Meghan have become huge celebrities. They were idolised, their charities blessed, their presence craved. Unfortunately such is human nature, the public invest something of themselves in their heroes. They see in their idols a reflection of their own fantasies and delights, hopes and fears. When they witness celebrities traumatised it can be unsettling, as the death of Princess Diana vividly showed. People cried in the street.

As Harry knew from his mother’s tragic experience, all this is par for the royal course. The British newspapers - or rather those peddling in royal tittle tattle such as the Sun, Mirror, and the Daily Mail - have a habit of erecting pedestals one minute and then the next minute they enjoy destroying the icon in the name of the public interest. Andrew’s former wife, Sarah Ferguson, was appallingly treated. So at times were Princess Anne, and Prince Edward’s wife, Sophie. Press attention should be water off the royal duck’s back. Prince Philip’s advice was reportedly: “Don’t read the bloody papers.”

While Harry was brought up surrounded by the furies of the celebrity media, Meghan’s career was the opposite. In her profession as a known actor (albeit a middling TV actor at that), image is an artifice, daily crafted and laundered by publicists.

This does not work with British royalty, which comes with its own carefully minted image attached. Its rituals are those of mind-numbing deference. It has no accountability. The only mirror it has is the press. The tabloids are the price that must be paid for adulation. They honour no discretion and have no sense of fairness. The press is a memento mori, whispering into the victor’s ear that he – or she – is only mortal. And gosh do they take that role on with sanctimonious glee. 

To be daily compared to the Duchess of Cambridge, from an utterly different social background, must have been intolerable for Meghan: the dress comparisons, the stuffiness of the court, its hyper-caution and obsession with precedence and procedure, added to the impossibility of contact with ordinary people. As a self-made millionaire already perhaps she wanted to be more than a mere civil servant in a tiara. Perhaps it proved too much but who really knows? But then I don’t know what else she expected when she decided to marry into the British royal family.

Similarly one can only speculate how much it was really Prince Harry who wanted to drop out riding on the royal carousel as he has been since birth. Regardless of who he married perhaps this was always the plan. His loathing of the British press and paparazzi is well known - he still blames them for his mother’s tragic death in Paris. It’s well known the paparazzi have tried to catch him out in manufactured scandals as he grew up. He has refreshingly come clean and has talked about how he still goes to therapy over his mother’s death. It’s no wonder he would ever subject a future wife and especially a child to the level of press intrusion that he had endured.

Prince Harry is nobody’s fool. I won’t say a bad word about him because - unlike previous and present royals with the exception of his grandfather, Prince Philip, who did active naval service during the Second World War and his uncle Prince Andrew, who as a naval officer flew Sea King helicopters during the Falklands War - he didn’t play the ceremonial toy soldier. After Eton he worked his arse off to get through Sandhurst and got commissioned with the Blues and Royals regiment. Upon the outbreak of war in Iraq, he was alleged to have said around 2006, “There's no way I'm going to put myself through Sandhurst and then sit on my arse back home while my boys are out fighting for their country.”

As it was the military chiefs got cold feet and pulled him out. But he did see active service with the British forces in Afghanistan with two tours. By all accounts he acquitted himself very well as a Forward Air Controller in Helmand Province and later as a co-pilot and gunner on Apache helicopters. He was widely respected and accepted by rank and file because he was down to earth and never asked for special treatment.  He wasn’t a typical ‘Rupert’ - a squaddie’s nickname given to British army officers who typically came from privileged aristocratic backgrounds but were also ‘nice but dim witted’.

Overall I sympathise that the Sussexes’ predicament was clearly desperate, and it is perhaps to their credit that they have brought it to a head early and not let it drag on. I feel they are sincere in their reasons to ’step back’ from the royal family and frenzied media circus around it. The fact they want to pay their own way and pay back any outstanding sums back to the royal household is perhaps a sign of that sincerity.

Instead some sections of the British press rolled out the tired old trope of the parallels between the Duke of Sussex and his great-great uncle, the Duke of Windsor, are overwhelming. Once again, a dashing, sporting, ex-military prince leaves royal life for the love of an American divorcée. This is exactly the opposite of what Edward and Mrs Wallace Simpson did when they bit the hand that fed them. They took money to support their lavish lifestyle in exile from the Queen and all the while took every opportunity to snark the fledgling young Queen from their own alternative royal court in Paris. Harry no doubt loves his grandmother and his family and would try not sully the Windsor name.

Where I would be critical a little is in their handling of it which appears naive at best and inept at worst. I suspect - since verified - that having a transatlantic split of publicists, and in addition didn’t understand the full import of how this would play out, would inevitably drop the ball. But I would extend a finger of blame to the palace courtiers who were involved in their own games of intrigue with a whispering campaign to selected journalists of the press. Indeed multiple newspapers, including the Daily Telegraph in the UK, reported that the queen was “disappointed” with the surprise announcement, and had asked the Sussexes to hold off on issuing a public statement. When The gossip mongering Sun newspaper published a front-page story that the couple was contemplating a move to Canada, the Sussexes pushed the button on their statement.

I do think the Sussexes  and their advisors were fooling themselves into thinking that they could have their cake and eat it - in other words keep the royal titles but cut back on the public and ceremonial duties. The blunt truth is if you want to stay on the books, you do so by the leave of the firm and its boss i.e. The Queen. The contract is for life. If not, you resign. There is no half in and half out. This seems to have been the gist of the family only summit at Sandringham in January 2020, with media attention worthy of the Treaty of Versailles.

I am frankly surprised how worked up people are about this. Cut out the white noise and the picture is more prosaic.

The first point is that when all is said and done, none of this drama really matters. Politically, constitutionally, it is an irrelevance. Harry, at number six, is not seriously in line to the throne. The British monarchy has long shown itself immune to crisis; indeed I wonder sometimes if it welcomes crises as implying continued importance. The divorce and death of Princess Diana were awfully tragic, as was the very public shaming of Prince Andrew and his questionable friendship with billionaire paedophile Jeffrey Epstein. But how Harry leads his life is between himself, his wife and his father, Prince Charles. That is the point of heredity. It is immune to character, as it is to merit.

The second point is we should remember that other European royal families, of the same constitutional status as Britain, have been down sizing for many years now. These royal families balanced privacy and discretion whilst holding down ordinary professions. The King of the Netherlands, Willem-Alexander, is still an airline pilot. He occasionally flies KLM jets, safe in the knowledge that few people recognise him. In 2001 Prince Haakon, heir to the Norwegian throne, married a single mother with a drug-fuelled past. Despite some controversy, he survived incognito. 

The King of Sweden, Carl XVI Gustaf, has reigned for 46 inconspicuous years as a nine-to-five job, his family merged into the Swedish bourgeoisie. The Crown Princess, Victoria, works intermittently for the UN. The King of Spain, Felipe VI, may have taken after his philandering father, Juan Carlos, but he became king without fuss on his father’s retirement in 2014. None of these “houses” has an extended state-subsidised royal family. None has grown unstable as a result.

There is no doubt that the exploitation of the British royal family celebrity by palace courtiers as PR handlers has worked. The royal family recognises that truth for itself when HRH King George VI famously quipped, “We are not a family, we are a firm”. The Queen is regularly cited as central to “UK plc” and to tourism. The British people remain overwhelmingly in favour of retaining monarchy as the focus of their patriotism, even during the wobble over Diana’s death. Republicanism is dead. The last ostentatious republican, the Fife MP Willie Hamilton, left parliament in 1987. If Scotland ever went independent it would almost certainly retain the Queen as head of state.

As for how royalty behaves, a constitutional monarchy should be beyond all controversy. As the great political and constitutional commentator (and founder of the Economist magazine) Walter Bagehot put it, “the monarch should be a dignified rather than efficient element of the constitution”. In other words, the monarchy as personified in its reigning king or queen can represent the whole nation in an emotionally satisfying way - everything else is but pure embellishment.

The Queen must be a glorious anthropomorphism of the nation as a whole. If she has opinions, she keeps them to herself - much to her credit. The contrast is clear with countries where state headship is combined with an elected executive presidency. The state risks being tainted by partisanship: witness the embarrassment many Americans feel at having their national loyalty identified with any president based on divided partisan feelings e.g. from FDR to Obama and Nixon to Trump.

A rare occasion when the monarch might overstep the mark was conjectured by Mike Bartlett in his ingenious play, King Charles III, in 2014. It was based on the present Prince of Wales as king, refusing formally to sign a bill censoring the press (good on him). In the resulting crisis, William and Kate engineer Charles’s abdication, while the tearaway Harry takes up with a republican girlfriend. It was not wholly implausible. When Belgium faced a similar crisis over King Baudouin’s refusal to sign an abortion bill in 1990, he was allowed to abdicate for a day.

How the monarchy conducts itself is not wholly irrelevant. It is part of the collective context in which the nation’s politics are enacted. It represents tradition and upholds precedent. It sets boundaries and dictates a courtesy in the conduct of public affairs - however often that courtesy is infringed. What outsiders forget (especially our American friends) is that the British political system is gloriously resilient, as the past three years of Brexit hell have shown. It can tolerate the odd eccentricity, such as the blatant purchase of parliamentary seats in the House of Lords. But the question is how far such eccentricity can extend. 

The present heir to the throne, Prince Charles, is deft at stepping mildly out of line. His views on architecture, health and the environment are not overtly partisan. But it does not matter as he is no more “powerful” than a newspaper or television commentator. His influence is that of celebrity. I would rather have the heir to throne engage intelligently in public debate than arrogantly indulge in the sordid sexual antics of his younger brother, Andrew.

For all his perceived faults, Prince Charles knows his limits. To expect such controlled nuances in the constitutional mystique of royalty to apply to an ever larger family has always been an accident waiting to happen. More prescient is the fact that the current system will impose the same disciplines and direct the same public exposure on an ever widening array of royal offspring as the years go by. I feel genuine sympathy for the royal children. Most British minors have their faces blanked out on camera, but not royal ones. They are sentenced to be recognised for life.

As a nation then we are extremely fortunate that Prince Harry is no more militant than in defence of the planet, wild animals and injured military veterans - all worthy causes if we are honest to admit it. Full disclosure: as an ex-veteran, I do give charitable donations to Invictus Games Foundation, the multi-sports event put on for wounded, injured or sick armed services personnel and their associated veterans. Prince Harry was instrumental in founding the Invictus Games in 2014 on his own initiative so that we never forget the courage and sacrifice of our military veterans.

What is already clear is that the Sussexes intend forthwith to redraw the lines of engagement with the press. They are opting out of the Royal Rota, the arrangement whereby, for decades, the royals have given access to a pool reporter from the national papers; instead, they will invite coverage from personally selected media outlets and will use their own social-media accounts, especially Instagram, to communicate directly with the public. Having railed against the media’s commodification of his wife, Prince Harry now seems prepared to take its commodification into his own hands: it was reported in January 2020 that he and the Duchess have lately submitted a trademark application for hundreds of items, from clothing to printed items, that may be issued with the couple’s personal brand, Sussex Royal.

This step is unfortunate and unedifying. To my mind, Sussex is a title, not a brand name. It is no more Harry and Meghan’s to exploit than Buckingham Palace is the Queen’s to sell off. Even if they distance themselves from the monarchy by being financially independent (as well as disowning their titles) by pursuing other commercial opportunities it only takes one scandal - e.g. a goods with their brand made from sweat shop labour or some other unforeseen PR disaster - to reflect badly on the Queen and the British monarchy solely because of Harry’s proximity to the throne. Harry may not be a Prince but he is a Windsor.

We are back to Bagehot again. For it was he who argued that the constitution was divided into two branches. The monarchy represents the “dignified” branch. Its job is to symbolise the state through pomp and ceremony. The government -Parliament, the cabinet and the civil service - represents the “efficient” branch. Its job is to run the country by passing laws and providing public services. The dignified branch governs through poetry, and the efficient branch through prose. The monarchy certainly doesn’t govern through commercial exploitation of its brand as an end in itself.

Today, the dignified branch is trying to adapt to an age of populism and until recently it’s been doing a much better job than the efficient branch. But the monarchy must never lower itself to the lowest common denominator to satisfy the base instincts of populism. As Bagehot aptly said, “An element of exaggeration clings to the popular judgment: great vices are made greater, great virtues greater also; interesting incidents are made more interesting, softer legends more soft.”

A family spat of no public importance is obsessing the nation and the world. Everyone should sit down and have a nice relaxing cup of tea.

[grishaverse-oddity]

The Old Guard is not a good movie

By any stretch of the imagination. There are questionable shot choices, the pacing is terrible, the plot is questionable at best with a 1 dimensional villain.

But what the are brilliant at is their main characters, and they are just beautiful.

Andy: a badass with a heart of gold. You can see her visible try to stay away from humanity and the pain when she watches the news. Also, how soft but still alert she is when around her family is precious. She has been alone for so long and has closed herself off so much but her family still gets through to her. If you notice she is always last to sleep, always watching to make sure they dont get hurt before she sleeps. And the fact that she could be older than Ancient Greece and the basis of some of the mythology is insane and so interesting.

Joe and Nicky: "He's the moon when I'm lost in darkness and warmth when I shiver in cold." Just the best and most beautiful Enemies to Lover trope I have ever seen. The way they immediately look to see if the other is still there when they wake up after dieing, their fighting style complimenting each other as they work together seamlessly. You can see how they love each other in everything they do. Still individually incredible. The way Joe lifts the bad guy over his back and snapped his neck against the ground at the end, yall I YELLED.

Nile: Looks like a cinnamon roll but could kill you. Omg her as a soldier in Afghanistan and not as an asshole as media so often shows soldiers. She's incredibly kind and gentle while still being strong and powerful. She is just perfect in everything from how her fighting style fits perfectly with the crew to how she has a completely understandable panic episode while being ostracized from her military "family"

Booker: perfect example of betrayal in a found family. He just loves his family so, so much and cant see them hurt but he also cant watch humanity suffer when he can do something about it. He just wants to die and be free of all the pain he carries. But hes also a part of the family bespite his betrayal, you can see how he is allowed to protect their backs like he has for centuries. Hes a part of the family even if he makes mistakes trying to do good.

None of their motivations or personalities are ever questionable. These are human beings who try to do what they can for the greater good and during the centuries and centuries of people doing bad and not being able to stop all of it, they are understandably tired and disillusioned but still trying to do whats best. They love their family, will always choose their family over anything, but they will always try to do what is best.

[jmsa1287]

The 10 Best Films of the 2010s

my 2019 pick has already changed since this published lol oh well! 

Compiling a list and picking just 10 films to represent the 2010s is extremely difficult if not nearly impossible — it's hard enough picking a handful of movies for lists that sum up a single year. Films change as the years pass; something you adored in 2011 may not hold up on a re-watch in 2019. Maybe that's because so much has changed in the world this decade, or you've experienced a personal philosophical shift, or a film is tied to a certain experience and emotion that has since soured. And, of course, the opposite can happen. A film you didn't respond to five years ago may have become a new favorite.

This list is a bit of a cheat — or a break — from the typical best films of the decade lists you may have seen online. It will have 10 films representing the best film from each year this decade (2010 through 2019). Though easier, making this list was still difficult mostly because there were so many brilliant and exciting films that were omitted (masterpieces like "Tree of Life" and "Gravity," for instance). Below, find the films that did make the cut and a brief blurb as to why they belong in the cinema hall of fame.

2010: "Black Swan," directed by Darren Aronofsky

Obsession and perfection are two ideas that were constantly explored this decade, thanks to the rise of social media. (There was even a horror movie released on Netflix this year called "The Perfection," starring Allison Williams.) In Darren Aronofsky's "Black Swan," a young ballet dancer named Nina Sayers (played by an outstanding Natalie Portman, who won the Best Actress Oscar for the role), slowly detaches from reality as she prepares for the lead role in a production of Tchaikovsky's "Swan Lake." The film's sound design is unlike any other film this decade. With each bone crack, nail clip, and flesh wound, Aronofsky makes "Black Swan" a social psycho drama melded with body horror, which also features a wild Winona Ryder performance.

2011: "Drive," directed by Nicolas Winding Refn

Nicolas Winding Refn's movies aren't for everyone but his neo-noir hyper-violent "Drive" is an undeniable classic and game-changer. Starring Ryan Gosling as an unnamed stunt driver and for-hire getaway driver, "Drive" sparked a sea change in cinema, spawning an aesthetic that featured synth-pop bangers (glittery songs by Chromatics and a pulsating score from Cliff Martinez) and neon lighting. "Drive" tells an age-old story in a new and fresh way that audiences hadn't seen before, going beyond its ultra-cool style, to show a classic L.A. noir tale of betrayal and heartache. NWR also uses Gosling in the best way; boiled down to a few emotions, putting the handsome Hollywood hunk in a twisted role you'd never expect. Oh and Carey Mulligan, Oscar Isaac, Bryan Cranston and Albert Brooks show up!

2012: "Spring Breakers," directed by Harmony Korine

"Spring Breakers" might be the best prank this decade. An arthouse film disguised as a sexy college romp, Harmony Korine's film features young college students — played here by Selena Gomez, Vanessa Hudgens and Ashley Benson — desperate to venture from their Christian college and indulge their wild side during spring break in St. Petersburg, Fla. There, they meet Alien (James Franco), a local rapper and drug dealer who Korine uses to show the dark side of unbridled partying, sex and excessive drinking. Intense dubstep, closeups of fleshy bodies doused in alcohol and an iconic rendition of Britney Spears' "Everytime," "Spring Breakers" has gone on to become a twisted cautionary tale and also put the indie distributor A24 on the map.

2013: "Her," directed by Spike Jonez

If "Black Mirror" shows us the evils of technology, Spike Jonez's melancholic love story "Her" is the other side of the coin. It's a warm and strange film where Joaquin Phoenix delivers a breathtaking performance. As does Scarlett Johansson, who voices Samantha, an A.I. a la Siri but begins to form a romantic relationship with Phoenix's sad-sack Theodore. "Her" is more than a movie about technology; it's an emotional film about change, loss and what it means to be alive that is tucked inside a fully realized not-too-distant future L.A. with a brilliant aesthetic.

2014: "The Wind Rises," directed by Hayao Miyazaki

Japanese animator Hayao Miyazaki has made some of the most successful and culturally significant films since the 80s, including "Spirited Away" and "My Neighbor Totoro." But his so-called last film "The Wind Rises" is an impeccable emotional epic based in realism that is a gut punch to the soul. It's a devastatingly beautiful movie that is half dreamlike and half haunting. It is undoubtedly the most moving film on this list.

2015: "It Follows," directed by David Robert Mitchell

If Nicolas Winding Refn's "Drive" started a new wave of cinema, David Robert Mitchell's retro throwback "It Follows" is the epitome of it. With a vibrating score from video game composer Disasterpeace, DRM's film winks at slasher films of the 80s, most notably "Nightmare on Elm Street," but dials the aesthetic up to an 11; it's got nothing on "Stranger Things." In this brooding film, a young woman named Jamie (a wonderful Maika Monroe) is cursed after she has sex with her boyfriend, who ties her to a chair and warns her he's passed "it" on to her. "It" is a sinister force that inches itself closer and closer to Jamie in an attempt to kill her. Many saw "It Follows" an allegory to HIV/AIDs or STIs and a commentary of female characters in 80s horror films. It's the film's open-endedness and reinvention of tropes embedded into American cinema that make "It Follows" one of the most thrilling and fascinating films of the decade.

2016: "La La Land," directed by Damien Chazelle

"La La Land" may forever be tied to one of the Academy Awards' biggest blunders in the institution's history, but Damien Chazelle's love letter to the Hollywood Musical is an impressive feat of filmmaking. A romantic saga with musical numbers that don't shy away from its influences (the MGM musical and the Technicolor delights of yesteryear), "La La Land" is an earnest if not corny film. But its Chazelle's impeccable craftsmanship that makes his movie soar while it tells a modern love story about when two figuring out if their passions are more important to them than a future together.

2017: "The Lost City of Z," directed by James Gray

James Gray's mind-blowing epic "The Lost City of Z" will go down as this decade's most under-appreciated film. Like many of the movies on this list, it is a film about obsession, perfection and family trauma. Based on a true story, "Lost City" follows British explorer Percy Fawcett (Charlie Hunnam) over several years on his plight to find an alleged hidden city deep in the Amazon jungles. There's a World War I sequence and Tom Holland shows up as Percy's son, who is eager to follow in his father's footsteps and head to South America with him. It's devastating and moving in that Gray way even though it is his first movie not set in New York. "Lost City" perfectly melds the personal with human history, resulting in a film that is technically impressive and emotionally shocking.

2018: "Hereditary," directed by Ari Aster

Somewhere in the late 2010s, the term "elevated horror" became part of Film Twitter's lexicon. It's used to described artful films that are grown from horror tropes, most notably "The Witch," "Get Out" and Ari Aster's masterpiece "Hereditary." And though it is definitely a scary movie, labeling it an "elevated horror" film or a horror film, in general, doesn't feel quite right. It's a family drama about trauma that is demented in the same kind of tone of an Edward Albee play. It's more visceral than the late playwright's work, to be sure, and at the center of "Hereditary" is a career-defining performance from Toni Collette. She plays Annie, a grieving mother who is haunted by deep loss and grapples with keeping her sanity and her family together. Aster's film explores family relations and how tragedy can infiltrate the cracks in relationships unlike any other movie this decade.

2019: "Parasite," directed by Bong Joon-ho

"Parasite" is the summation of Bong Joon-ho's work. The Korean filmmaker has long made movies about marginalized folks navigating their way through certain systems. Unlike some of his movies, "Parasite" is rooted in reality; there's no giant elephant-pig or mutated sea creature here. The evil lurking in "Parasite" is privilege and capitalism and if that's not the biggest theme of the late 2010s I'm not quite sure what is. The film is a genre-shifting story told by an expert, who has made a few near-perfect films ("Memories of Murder," "Mother"). When "Parasite" begins to unfold and show its cards, you know you're in the hands of a master and that it won't go off the rails. Here, Joon-ho successfully tells his story with effortless dynamic filmmaking and ease that is completely hypotonic and engaging while being unnervingly gripping and universal.

[tlbodine]

What Zombie Movies Teach Us About COVID-19

As I write this, it is April 20, 2020, and  42,514 Americans have died of COVID-19, the disease caused by a deadly novel coronavirus first discovered in late 2019. South Korea has just  237 deaths from the disease. 

The two countries learned about the virus at roughly the same time, and had the same amount of time to respond to the disease. But the responses took wildly different paths, with vastly different outcomes -- as you can see. 

But I’m not here to talk about that, not exactly. I’m here to talk about zombies. 

Train to Busan (2016), directed by Yeon Sang-ho, tells the story of a zombie outbreak in Korea, with the action focused predominantly on the passengers of a train. It’s one of my favorite zombie movies, in large part because the flavor of its zombie narrative is so different from the types of zombie stories we see in America. It’s a fresh spin, driven by cultural influences and the director’s vision, and it’s a movie that’s been at the forefront of my mind since watching the vastly different responses of South Korea and the USA to the current pandemic. 

Train to Busan is a film concerned with the morality of classism, a theme repeated in many South Korean exports (see 2019′s Parasite for another example). Innate in that premise is a moral statement about collectivism, cooperation and kindness that runs contrary to everything American zombie fiction holds dear. 

Train to Busan’s main character, Seok Woo, is a fund manager, a white-collar businessman who operates in the financial sector. In his introduction, we see him reviewing reports of the biological leak that we the viewer already know is responsible for zombies; he advises a concerned investor not to sell his shares, as the reports could be false or the worry is premature -- and then, a moment later, hangs up the phone and sells his own shares. It's implied later that his role in financing the company may give him some moral responsibility in the disaster -- ie, he invested in a company, knew that it was harmful, and reacted not by blowing the whistle on that harm but instead by selling his ownership and thus profiting.

The film treats this as morally reprehensible. Indeed, Seok Woo's storyline is a tragedy: We will see him brought low by his flaws, struggle to overcome them, but ultimately fall short.

This is quite different from American zombie narratives, which more often than not place the hero as a working-class underdog who finds himself suddenly uniquely equipped to deal with the threat at hand. Consider police officer Rick Grimes (and, for that matter, hillbilly archer Daryl) in The Walking Dead, or retired U.N. investigator Gerry Lane in World War Z. Perhaps the best example of the type is Zombieland's Tallahassee, a quintessential "Florida Man" -- rough around the edges, crude, eccentric, socially inept but good with a gun and  a willingness to adopt the role of patriarch in the post-apocalyptic found family narrative. 

Implicit in American zombie fiction is a promise of role reversal, of a social upheaval in which established ruling classes will no longer matter and in which new lines of power can be drawn -- and that power rests squarely on a foundation of guns, violence, and a small but tightly knit family structure united against external threats both human and supernatural. 

Of course, guns can’t serve as a currency of power or survival in Train to Busan because there are no guns. South Korea has some of the world’s strictest gun laws, and nobody riding on a passenger train would have a firearm at the ready. This makes for a much more thrilling narrative thanks to the balance of power shifting heavily in the zombie horde’s favor; it also forces characters to work together for survival, relying more on wits than strength.

Like many zombie film protagaonists before him, Seok Woo is a father -- a disengaged, overworked father, but one who’s trying his best. But unlike some horror movie kids, his daughter Su-An is more than a victim-in-waiting; she’s the moral centerpiece of the story, an external conscience who serves to gently remind her father of his misplaced priorities and call him on his bullshit.

Fleshing out the rest of the cast are more unlikely heroes: a high school baseball team, a homeless man, a pair of old ladies, and a middle-aged man, Sang-hwa, traveling with his pregnant wife. Sang-hwa is an especially important character, holding up a mirror in some ways to our protagonist: he has a successful, loving marriage where the hero's has failed; he is a doting, patient father where Seok-woo is out of touch.

It is hardly coincidental that this core group of characters is comprised almost exclusively of vulnerable people. And once the zombie disaster strikes, it becomes clear that the job of the less-vulnerable is to step up and protect the most vulnerable, even within a group where no one is especially skilled, heroic, or well-trained to deal with this.

Self-sacrifice is the recurring theme of Train to Busan, delivered with a bludgeoning regularity -- but each death is valorized, the narrative making it clear through its storytelling techniques that these sacrifices are meaningful and heroic.

It’s worth noting, too, that the self-sacrifice that drives the narrative is made necessary by the selfishness of others. Sang-hwa is bitten and stays behind to hold back hordes of zombies only because another group of survivors locked them out of their car.

Those exclusionary survivors -- a group spearheaded by a rich businessman who declares himself early on to be too important to risk his life -- receive their comeuppance soon enough. Here's the clip in all its satisfying glory: 

All of which is not to say that self-sacrifice is not a trope that shows up in other zombie media as well. But I have never seen it the focus of a film with such brazen commitment before. 

In Hollywood storytelling, self-sacrifice all too often comes in two flavors. The first: The only righteous path a fatally flawed anti-hero can take. The second: A heroic cop-out, where the character sacrifices him/herself but fails to actually die thanks to unexpected circumstances -- suggesting, thematically, that willingness toward self-sacrifice is all that is required, and that good things come to those who deserve them. 

In a lot of zombie media -- and post-apocalyptic media in general -- storylines often flirt with the morality of sacrificing other people for the greater good. Heroes will grapple with the decision, and the one who pulls the trigger may ultimately succumb to guilt or plot karma (Shane and Otis in The Walking Dead, for example), but the discussion is given serious weight and consideration. 

Train to Busan makes it clear that such cold calculations aren’t just villainous, they’re cowardly and pathetic. 

Other popular zombie tropes that fail to make an appearance in the film include: 

A self-appointed leader calling the shots and telling others to get in line 

The asshole pragmatist arguing with the self-appointed leader

The untrustworthy outsider and/or villainous mole 

The weak or cowardly idiot who gets people killed by virtue of being useless and/or careless 

Utterly useless or corrupt government/military/authority 

In many zombie stories, man is the real monster, and this holds true in many ways for Train to Busan. But the focus is different. Rather than the monster being the outsider who comes for your supplies, or the stranger who you trust only to be stabbed in the back, the worst humans in Train to Busan are those who act with distrust and selfishness. 

Declaring yourself the leader, securing a perimeter, and making a difficult choice to turn away strangers at the gate in order to protect your own group is the action of heroes in a show like The Walking Dead. In Train to Busan, those same actions are villainous and ultimately lead to ruin. 

On the flipside, soft-heartedness in American zombie films is often both foolish and disastrous. Consider, for example, Hershel’s barn in Season 2 of The Walking Dead, where walkers are corralled in dangerously high numbers out of an optimistic belief that they can be cured. Just as heroic self-sacrifice becomes a recurring theme in Train to Busan, an endless cycle of trust and betrayal is the signature of The Walking Dead, and the show routinely rewards its moral centerpieces -- like Dale and Hershel -- with deaths that are treated not as valiant but as senselessly tragic. 

But let’s get back to my central thesis. What does any of this have to do with COVID-19? 

When South Korea first became aware of the threat of the novel coronavirus, its government immediately launched a response called TRUST:  “Transparency, Robust screening and quarantine, Unique but universally applicable testing, Strict control, and Treatment.” 

The heart of the program was testing, not just of obviously sick people but of those without symptoms or known exposure -- and then carefully tracing the contacts of those found to have a positive result and isolating anyone who was infected. But the price of this widespread testing goes beyond the monetary needs of dveloping and administering tests; it comes too at the cost of certain freedoms. The South Korean government is able to track down and contain its citizens through credit card records, cellphone data, security cameras and other Orwellian security devices that would make most Americans' skin crawl. Add that to a cultural norm of wearing medical masks in public and obeying social distancing as a matter of course (less casual touch and physical contact, greater personal space) and South Korea’s spread of disease has been quite slow. 

Meanwhile, in the USA, people across the country are breaking social distancing rules in order to gather in public and protest the quarantine measures that have left many without jobs and which, some say, infringe upon civil liberties. Mixed messaging about the efficacy of masks, and a long history of masks being associated with crime, have also made it hard to win Americans over to mask-wearing in public -- even though if we could get 100% of people wearing masks, the spread of disease would drop dramatically (and the economy could open sooner). 

Countless political, historical, and socioeconomcic factors are at work differentiating these two nations, and the situation is infinitely more complex than any movie. But I do think viewing the coronavirus through the zombie apocalypse lens helps to make sense of these wildly different responses to the disease. 

Time and again, America’s zombie media has hammered home certain essential lessons: 

When times get hard, you will be called on to step up and take decisive action 

Difficult decisions will need to be made, and the people who are too soft-hearted or cowardly to make those decisions will put others at risk 

The safety of your own family (or found family) is paramount, and any threat to the family must be immediately destroyed 

Survival will be a matter of strength, guns and resources 

Institutions like the military, government and police are useless at best and often corrupt or downright murderous; you can trust only in yourself

Viewed in that context, it’s hardly surprising that the United States response to the pandemic has involved hoarding supplies, buying guns, distrusting scientific authorities, and even staging protests. 

By comparison, the take-home lessons from Train to Busan are quite different: 

No one person is above or more important than anyone else 

If you have power, it is your duty to protect those who are more vulnerable

Selfishness invites trouble 

Self-sacrifice is heroic and sometimes necessary for the greater good 

All of which is not to say that there is no value in the American lessons. There are times when the values of individualism, decisive action, self-sufficiency and suspicion may well be exactly what is needed for survival. 

But during a pandemic of a disease that overwhelmingly affects the already-vulnerable -- the elderly, those with disabilities, those living in poverty -- it seems self-evident that values tied to protecting the weak and working together to protect public safety are the values that will prove most successful. 

At the end of Train to Busan, the survivors of the ordeal is not the strongest, best-prepared, or cleverest of the people on the train. They are young Su-An and  Seong-Kyeong, the film’s most vulnerable characters -- and also its kindest. In an ending reminiscent of Night of the Living Dead, they emerges the sole survivors to face the path of armed military men who at first mistake her for a zombie. But Train to Busan is, for all of its tragedy, a film devoid of cynicism. The soldiers stop just short of shooting when they hear Su-On singing and realize that she’s alive. 

In the end, it is quite literally her humanity that saves her. 

Living in a time of coronavirus means making self-sacrifices, including personal liberty and livelihood. And while none of our sacrifices are likely to be as dramatic as those made by characters in Train to Busan, they are no less heroic or necessary. 

And that is, to me, a lesson worth remembering.  

[abigailnussbaum]

Legends of Tomorrow, Season 5

I was going to write weekly reviews of this season, and then with one thing and another ended up dropping it in the spring (hey, remember when there was so much weekly TV that you couldn’t keep up with all your shows? Wonder how long it’ll be before that happens again). I caught up with the entire season this weekend, and honestly, that feels like a better standpoint from which to write about it - I think if I’d stuck with weekly reviews, I would have ended up saying the same thing week after week.

A couple of years ago, Emily VanDerWerff suggested that there is a standard lifecycle for high-concept, large ensemble, off-the-wall genre shows: 

Season 1: still figuring this whole thing out 

Season 2: now we’re cooking with oil 

Season 3: we can do anything! 

Season 4: whoops, no, we’ve gotten a bit over our skis here 

Season 5: ??? 

Legends, I think, encapsulates this progression to a T. The show’s second and third seasons were some of the best and most exciting genre storytelling on television, but last year was a bit of a mess. That’s not entirely the writers’ fault - Nick Zano’s limited availability due to family obligations forced them to beef up the Time Bureau’s role in the season, and their desire to keep Maisie Richardson-Sellers on board even after Amaya’s story had wrapped up led them to create a character, Charlie, who had no real reason for being on the Waverider. But a lot of it was self-inflicted. The cast was too unwieldy, the Time Bureau story seemed designed to expose the thin spots in the show’s self-presentation as irreverent but fundamentally compassionate (it certainly didn’t help that the decision to rewrite Nate Sr. into a good guy was made almost at the last minute, requiring the entirely unconvincing argument that forcing magical creatures to perform in a circus act is somehow morally superior to forcing them to be secret agents), and some of the character choices felt entirely parachuted in (Zari/Nate, anyone?).

Season five, therefore, had a lot of clean up work to do, while also demonstrating that the Legends formula had more life in it than just those two transcendent early seasons. And while this is undeniably a more successful, more enjoyable season than the one preceding it (which also does a great deal to address some of the show’s structural issues, chiefly the overlarge cast), I also can’t help but notice that instead of finding new places for the show to go, what the fifth season delivers instead is a hodgepodge of story elements from seasons two and three. So we’ve got a mystical object that can rewrite reality (The Loom of Fate vs. season two′s The Spear of Destiny); a token hunt across time and space in which the Legends face off against the estranged relatives of one of their members (the totems in season three vs. the search for the pieces of the loom, Amaya’s evil granddaughter vs. Charlie’s evil sisters); a late season loss that forces our characters into a nightmarish alternate reality in which they don’t even remember who they are (the Legion of Evil rewriting the Legends’ lives to make them ordinary and unsatisfying vs. being stuck in TV shows in a world run by the Fates); which comes about because of a betrayal by a member of the team (Charlie in season five, Mick in season two) whose eventual return to the fold enables to Legends to win in the end. There’s even an abandoned, abused girl who has turned evil, and has to be won back to the side of good through the offer of true companionship and understanding (Nora Darhk vs. Astra Logue).

This isn’t exactly a bad thing - a lot of these storytelling beats cut to the very core of what Legends is and what makes it work, so it’s not necessarily wrong for the show to repeat them. And even if the basic structure is the same, Legends just keeps getting more adventurous in how it delivers that structure. I’ve already written about how well done the season’s mockumentary episode was, and the same can be said for the 80s slasher movie riff, the Mr. Rogers parody, and of course, “The One Where We’re Trapped on TV”. Like the multiple universe episode in season four, these are things the show couldn’t have done when it was just a few seasons old, and they’re proof that whatever other issues it has, Legends is constantly pushing the envelope in terms of the kind of tropes and genres it can graft onto a superhero template. That said, there’s a very real possibility that this is all the show will ever be - a standard story template, enlivened by increasingly gonzo riffs on existing tropes.

Some more thoughts on where the season worked and where it didn’t below.

THE GOOD:

I really hated the decision to make Nora a fairy godmother in season four, not least because it felt like yet another way of infantilizing her (it certainly didn’t help that it was a choice she was forced into, and that she spent the remainder of the season catering to the every whim of Gary, a character I still have very mixed feelings towards). But season five really reclaims that choice. Having Nora embrace the fairy godmother life as a way of both helping children and working through her own issues makes a lot of sense, and the character feels happier and more confident than we’ve ever seen her (certainly a step up from how gloomy she was last season). I even like the wardrobe change - once the fairy godmother dress was ditched except for specific occasions, having Nora dress all in teal is a nice touch, and certainly an improvement over her rather boring season four wardrobe. I still think Legends missed a lot in how it handled Nora last season (I will never stop being annoyed that she and Sara didn’t develop a deeper friendship, given how similar their life trajectories have been), but this was a good way of righting the ship, even in a very limited timeframe.

I already mentioned this in the episode review, but watching the rest of the season really cemented my admiration for how quickly the show embeds Behrad into the crew, and makes it feel as if he’s always been there. That’s all the more impressive given that Behrad doesn’t really get an arc in season five. Most of that storytelling energy goes to establish Zari 2.0, and Behrad is, of course, absent for much of the latter half of the season. And yet he feels almost instantly like a fully-rounded character who is integral to the show, so much so that you’re heartbroken by his death (and convinced that it will be rolled back, even though Zari could easily take over his superpower). That’s really excellent work by both the writers and Shayan Sobhian.

I was a bit nervous when Zari 2.0 was introduced, because replacing a heroic, cool-girl-coded, nobly self-sacrificing character with a version of herself who is extremely femme-coded and obsessed with things like fashion and social media is the sort of move that is ripe for easy misogynistic point-scoring in the guise of feminism - of course the Zari who is good with machines and eats donuts is superior to the one who has a perfume line and spends hours in the bathroom every morning! But the show very quickly established that Zari, though certainly not without her flaws, is awesome in any guise, and it did so without trying to change her into “our” Zari, eventually even establishing that they are two completely different people, each with a right to exist (though not simultaneously, unfortunately). I get why the show didn’t keep both Zaris around - it would be asking a lot of Tala Ashe to play two characters, much of the time against herself, not to mention a production nightmare - but I appreciate that it didn’t decide that Zari 2.0 was the lesser version. (Also a nice touch: Behrad, though obviously fond of Zari 1.0, doesn’t think of her as “his” sister, even though to us she’s the “real” version of the character.)

Similarly, I wasn’t quite sure what to expect when Ava moved to the Waverider full time - obviously, it would be an improvement on her playing a tinpot fascist at the Time Bureau while the show pretended that this wouldn’t really bother Sara, but at the same time Sara and Ava are both so similar in their functions and abilities that I worried they’d step on each other’s shoes. Instead, the show leaned into their differences and made the season about Ava finding her place as captain of the Waverider, a role she fills in very different ways than Sara while still doing a good job at it. It also allowed her to expand her point of view a little - bonding with Zari 2.0, or reaching out to Astra, both things that would have been outside of her comfort zone in the past. Obviously, this is setup for Ava taking over as captain in season six now that Sara has been abducted (though I hope not for very long - Legends isn’t Legends without Sara), but good on the show for taking the time to bring Ava to a point where she’s ready for this, and in a different way from Sara.

And speaking of looking ahead, the show takes the wise step of thinning out its cast. Personally, I would have kept Ray, Nora, and Mona and written off Constantine and Nate (and possibly also Gary), but either way, it’s good that the writers realized their cast was getting unwieldy. I was concerned, for example, that the show figuring out what to do with Charlie and giving her an elaborate backstory was a sign that she would stay on, but instead she leaves once that story is resolved. And I think that in an earlier season, Astra would have been positioned to stay on the Waverider after the end of the season, but instead she’s clearly a one-off character, who goes off to live her own life once the show has brought her story to a satisfying conclusion. (This also, however, means that Legends has written off two black women in a single season, not to mention Mona, and in fact has only one WOC main character remaining; I hope that’s something season six addresses.)

THE BAD:

I realize that I am very much in the minority on this, but I’m sorry: John Constantine does not belong on Legends of Tomorrow, and certainly not as a main character. Season five feels, in fact, like a perfect demonstration of this simple truth. The early parts of the season feel like two different shows, the Legends show and the Constantine show, that happen to have some points of intersection and shared characters. And even once those storylines converge, it’s notable how John’s quest for the Loom of Fate very quickly becomes Astra’s quest for it, and then Charlie’s, and how they both feel more grounded in that story and more affected by it than he was. What it comes down to, once again, is that John Constantine is a character who can’t change, and putting him on a show that is all about change and growth can’t help but feel unsatisfying for both the character and the show. Season five tries to suggest that change is possible for him - he finally comes clean with Astra and make a real apology to her; he admits that his pursuit of magic has cost him relationships and a chance at happiness; he reaches out to his friends when he thinks his life is about to end; he even quits smoking. But the character just doesn’t have that much give in it. To be John Constantine, he has to be the cynical, arrogant, self-destructive fuck-up we’ve always known. On a show like Legends of Tomorrow, that can work in small doses, but not as the main character that Constantine has been positioned as.

Though I’m glad that the show figured out something to do with Charlie before writing her off, the similarities between her story and Mick’s can’t help but shed a light on how poorly thought out this character has been, and how much her season five story is parachuted in. When Mick betrays the team at the end of season two, it’s barely a season after they’d put him off the ship for being perennially untrustworthy, leading to him becoming their nemesis. They only take him back out of pity for the decades of torture he suffered, and sympathy for the loss of his only friend, Captain Cold. His betrayal is a direct outcome of those cracks in the relationship - he does it because he wants to live in a world where he hasn’t been hurt or hurt others, and where his friend is still alive. When he changes his mind at the end of the season, it’s a culmination of two seasons of character growth, the realization that holding on to the pain in his life is worth it if it means he gets to keep the friendships he formed on the Waverider, and to continue to grow as a person - as expressed by his choice to put Snart back in his timeline, where he will become a better person (and eventually inspire Mick to do the same) but will also die. Charlie’s very similar storyline just doesn’t have this kind of depth. Neither her heel turn nor her face turn feel particularly earned, and a lot of that has to do with the fact that it took the writers so long to figure out who this character even was.

For a season of Legends, this was an awfully heteronormative stretch of episodes. Sure, Sara and Ava are still center stage, and that’s fantastic. But every other romantic relationship in the season, and there are quite a few of them, is a straight one. You might blame this on the fact that season five is a housecleaning season, wrapping up dangling storylines like Ray/Nora or Nate/Zari. But even the new characters like Behrad or Lita express only opposite-sex attraction (I guess Astra never demonstrates a preference). I mean, if you give John Constantine two different love interests in a single season and they’re both women, surely something has gone terribly wrong?

And speaking of John Constantine’s love interests, is putting him together with Zari meant to make the old her’s romance with Nate look organic and true to the characters in comparison? Because I can’t think of another reason for it. Do not want.

THE UGLY:

Words cannot express how much I hate the Damien Darhk episode. Not all of it, obviously - the Mr. Rogers riff, as I said, is pretty good (and pays off handsomely later in the season), and pretty much all the Ray/Nora stuff, especially the moment where she realizes she’s not going to lie to her father about the man she loves and the life she’s chosen, are golden. But it is simply mind-boggling that after two seasons in which Nora was firmly established as the survivor of a lifetime of abuse, Legends takes an entire hour to not only rehabilitate Damien, but pretend that he was always a loving father who just made some mistakes. For crying out loud, the man fed his daughter to a demon in order to gain power for himself. It was always an interesting wrinkle in his character that he clearly saw himself as a loving, protective parent, and was even capable of some level of self-sacrifice on Nora’s behalf, but I had assumed that the show realized this was at least partly a self-serving lie. To discover that we’re actually meant to think that one act of sacrifice cancels out a lifetime of abuse is nauseating. I wanted Nora to stand up to her father, but as a victim calling out her abuser, not a loving daughter trying to renegotiate a relationship with an overprotective parent. It certainly doesn’t help that the episode features inexplicably popular wedding story tropes, such as the groom asking the bride’s father for permission to marry her, or the father trying to keep the couple from physical intimacy before the wedding, which are gross in any context but especially so here. I suppose in the end it’s all worth it to be rid of Damien once and for all, but I was squirming with discomfort and rage throughout the entire episode.

[inmyarmswrappedin]

Isak season rankings (so far)

I’ve seen people doing this, and while we wait for SKAM Austin to get renewed 🤞 I thought I’d rank the Isak seasons that are out so far, according to my personal preference. People who wanted to read my Matteo and Cris meta, this is the very short version of it. 

Warning: I am super critical in this ranking. If you’d rather read only compliments, don’t click the Read More. 

SKAM s3 – Isak: I don’t consider myself a Skam supremacist or whatever the term in vogue is these days. There are many things about Skam that I’m not happy with. I wasn’t really into the idea of the remakes at first, but when they started coming out I hoped that some of the stuff I had issues with in Skam was handled better in the remakes. That said… I never had issues with season 3. I think it’s as perfect a TV season as it can get. The writing, the acting, the music, the cinematography… Everything has a reason for being there and nothing got unresolved. I don’t feel Isak’s season needs “fixing.” A good remake of Isak’s season, for me, is one that takes what Skam did and flips it and does entirely different things with it, not one that aims to tell the same story with cosmetic changes here and there.

DRUCK s3 – Matteo: I’m not sure if Matteo’s season would be as high for me personally if it weren’t for David, tbh! I fell in love with David before I even knew his name was David. My main issues with Druck s3 are these: Druck put a lot of effort in adapting the original storyline to David and Matteo’s personalities, but I don’t see the same effort with the internalized homophobia storyline. I don’t think the writing is consistent there. I also didn’t like the way they hinted at Matteo having a MI, but never committed to it. In fact, I’m not even sure the writers think Matteo has a MI? When the writers have done interviews they’ve talked of Matteo as a “slacker-type” character, not a character with mental health issues. I also have really mixed emotions about the way David’s outing clip was scripted and shot. But overall I had so much fun watching the season, I love David, I love David and Matteo together, and I love a lot of the musical moments. And honestly, it’s amazing that the writers decided David’s movie was going to be Only Lovers Left Alive, built the whole character around that idea, and that single trait explains so much about how David views himself, Matteo and the world.

SKAM España s2 – Cris: If it weren’t for David’s existence, Cris’ season would have the second spot. My issues with Cris’ season are that I feel like the writers had a much firmer hand when adapting Eva’s season. With Eva, they seemed more confident about getting rid of iconic moments or putting their own spin on them. With Cris, I felt like the criticisms they got in Eva’s season about getting rid of iconic moments made them try and include them even when they didn’t make sense for Cris and Joana. I’m thinking specifically of using 21:21and the pool scene, which had no significance for Cris or Joana’s characters. I also thoroughly hate Lucas getting hate crimed, and yes, it was handled better than in other remakes, but still. I’m from Spain, so yes, I’m aware of the cultural reasons for doing it, and I still think it was unnecessary on every level. (I’ll probably write something longer on this, because I do want to get into the ~cultural reasons,~ but not right now.) The music isn’t amazing because the music licensing costs in Spain are more expensive, but it does affect my overall enjoyment when the use of music was one of the things I loved about Skam. I also think Skam España tried to keep every fandom satisfied, which led to a more scattered season. (That said, compared to Skam’s Sana season, the POV was tight as fuck.) I don’t like that Cris and Joana didn’t have a sex scene. I understand that Irene was a minor at the time, but it doesn’t make up for the fact that Skam and Druck delivered extremely beautiful, non objectified sex scenes, and Skam España didn’t. Now, for the good: aside from the moments I mentioned, Cris and Joana were fully their own characters, Cris isn’t Isak and had her own struggles and character flaws she had to overcome, same for Joana. Cris and Amira’s friendship is everything, and considering how other remakes have handled friendships between a LGBTI character and a character of color, it’s almost enough to declare Skam España the holy grail of remakes. Also, one of the reasons it’s sad that the focus on the girl squad moves to the boy squad for Isak’s season is that the squad is at its most supportive and loving of the main in Isak’s season. By contrast, Eva, Noora and Sana’s seasons are full of betrayal and infighting. It was really so gratifying to get to see the girl squad support and love Cris. I also really liked that it was almost two queer seasons in one, with Cris and Lucas having their own journeys on Youtube and the episodes, which sometimes converged. I also loved the exploration of Viri’s character. Loved the borderline PD awareness content on instagram, for me the only valid use of Minutt for Minutt by a remake. I’m aware of the elephant in the room I’m not mentioning, but I feel like if it hadn’t been for the actors going wild on social media, that scene would have been a non event. Which brings me to…

SKAM Italia s2 – Martino: I really liked Eva Brighi’s season and I was really looking forward to Skam Italia’s take on Isak’s season. I really liked Martino in season 1. Martino’s season opened with a very powerful, factual voiceover of queer Italian people calling into a helpline to set the tableau of what it means to be queer in Italy. And then… it just got off the rails, man. Now, I did finish season 2 (racial slur and all), but I’m not sure I would have if it hadn’t been the first remake of Isak’s season. First off, they switched the order of the seasons, but instead of doing their due diligence and keep developing the Eleonora and Edoardo relationship (like Skam España did), they simply sent Eleonora to the cornfield to avoid having to deal with it. Second, the Skam España writers forced a few Isak and Even elements on Cris and Joana that didn’t fit them… Bessegato forced plenty more elements that didn’t have any relevance to Martino and Niccoló onto them. The obvious network interference when it came to Martino and Niccolò’s intimate scenes. And when I say intimate, I don’t mean sexy sex sex scenes, I mean the scenes that in Skam were Isak and Even existing in their own bubble. In Skam Italia, these scenes were intruded upon by the boy squad again and again. I’m not sure whether the Skam Italia fandom realizes that the reason the Italian boy squad is so loved is because they had a much larger role in Martino’s season that infringed on Martino and Niccolò’s dynamic. Anyway, I thought the boy squad was gross, honestly. The way the volleyball scene was shot was less about Martino’s discomfort and more about close up shots of a 14-year old actress’ sweaty butt and crotch. And for my money, I can’t understand why keeping Francesco Centorame meant they absolutely couldn’t cast an actor of color to play Luca. People talk about wtFOCK using certain tropes for shock value, but can we talk about the way Skam Italia had Niccolò literally run around Milan naked and giggling for the viewer to see? It appears that Skam was too tactful only giving us a glimpse of Even’s bare ass leaving the hotel room. We really needed to sensationalize the whole event, or otherwise it would fly over our heads how serious Niccolò’s crisis was. And Bessegato’s instagram tantrum when called out on Niccolò randomly dropping a racial slur mid-conversation was just the cherry on top. Oh, and I also hated the inclusion of Martino’s mom, but that’s more personal, so I’ll leave it at me having an issue with that decision because of hugely personal reasons I won’t go into. (Edit: I forgot to say that Filippo’s Pride speech is one of the best remakes of that scene, if not the best so far.)

Didn’t finish:

SKAM France s3 – Lucas: Okay, so here’s my Skam France story. Unlike a not small part of the fandom, I did watch s1 shortly after it came out. Now, I love Eva and Isak on Skam, they are two of my very favorites. I didn’t like Emma or Lucas. However, I love Jonas Vasquez and I felt like Yann was the only phase 1 remake Jonas that really did Jonas V justice. Not Jonas A, not Giovanni G, not Marlon F. Yann. So I came into s3 not very interested in Lucas (or Eliott to be completely honest), but fully pumped to see my boy Yann be the supportive friend Jonas had been in Skam and Yann had been in s1 and s2. Folks… I ragequit Skam France the moment Yann abandoned Lucas in that bench. And yeah, it can be argued that, while they used that moment for shock value, they stuck the landing. I personally disagree, the damage was done there, but it can be argued. Anyway, that was the end of episode 6, and by then I knew I didn’t vibe with Lucas (hadn’t liked him since s1 as aforementioned), Eliott had done nothing to get me onboard, couldn’t care less about the girl squad being forced into the season through network mandate, hated Basile and the Daphné/Basile storyline, and was bored as hell of people fawning over Arthur when the character was as lacking in substance as Mahdi, but fandom never went crazy over Mahdi in the same way (fun fact! Despite Skam fandom being much larger than any remake fandom, there were never essays about how great Sacha’s acting was, how carefully constructed his character, there weren’t people fighting for Mahdi-related usernames… I could go on). I simply can’t understand how the writers came up with the whole Polaris thing and then dropped it entirely after episode 4, and didn’t bother coming up with a twist on that motif. (You know, like the R+J and Pretty Woman twist, or how Druck used the vampire motif, or how Skam España used the Dangerous Liaisons motif throughout the season.) Like… Instead of using an existing piece of media, they created one tailored to what they wanted to do, but they didn’t follow through with it? Almost completely wasted the potential of the Lucas/light/darkness symbolism/motif. And, as I’ve mentioned with Skam España, I realize that the music licensing costs for France are astronomical, but again it does affect my overall enjoyment of the show, and the piano music didn’t make up for it.

wtFOCK s3 — Robbe: I gave Skam France six episodes before I quit. By the middle of week 2 of wtfock I was already checked out. The decision to delay Sander’s intro just completely ruined the pacing and anticipation for me. The lack of a tight POV was another nail in the coffin. How utterly loathsome Moyo and Jens were in that first week and a half was another factor. The way they resolved the issue of Milan leaning in for the kiss with Robbe was yet another. The wtfock characters having no nuance (most of them have one character trait, the most any of them have is three) was another. Initially I quit watching because I thought I’d write episode by episode posts, and I wanted to keep my reactions fresh. So I just read the transcripts. And every single thing I read in those transcripts only served to prove I was right in dropping it.  But here’s one thing I liked! I liked the blurring of the fourth wall with the spray painting of the garbage truck and the garbage truck servicing Antwerp at the time the season aired. (I could draw a parallel between the garbage truck being the first motif the season deployed, and how the rest of the season turned out, and... well, I guess I just did.)

[unkindrewind]

GENERAL >

FULL NAME: Charles Matthew Ayers NICKNAME: Charlie // Preferred, only his mother calls him by his first name . Ken // Around campus by peers due to attachment to Sarah. Charliebear // by Sarah .  Space-case. Airhead. Dunce cap. Nimrod, Etc // by Christopher AGE: 19 - 20 // Verse Dependent  BIRTH DATE: December 19th , 1964 ZODIAC: Sagittarius ETHNICITY: White GENDER: Cis Male PLACE OF RESIDENCE: Craven Creek , Washington SEXUAL ORIENTATION: Bisexual // Closeted would imply awareness of some kind , most attraction to those male presenting is seen as ‘ just being friendly’ in his eyes. Coming from a very traditional small town in the 70s & 80s with no obvious LGBTQ representation. . He is oblivious to his sexuality for the most part. RELIGION: Raised Protestant // Personally non - practicing , or practices only around family SPOKEN LANGUAGE: English . Handful of French and Spanish CURRENT LIVING CONDITIONS: Living within his messy dorm at SCU EDUCATION: EDUCATION: High-school graduate from Carpenter High // Had to repeat a few classes making him graduate a year later than his peers. Freshman at Silas Craven University - SCU - on a sports scholarship. OCCUPATION: Part time // Usually night - shift at Flick Picks Video Rentals. TRANSPORTATION: 1970  Ford Mustang Sportroof // Sky blue, basic model. TYPICAL LOCATIONS [ FOR PLOTS ETC ]:  Flick Picks Video Rental shop. SCU campus // Class, dorm and frat parties, hockey arena, pool . Movie theater.

RELATIONSHIPS >

PARENTS: Denise Ayers // Mother . Richard Ayers // Father - On friendly enough terms with the two of them, but the institutionalized 'parent /child' detachment has always been present . Richard, the businessman always on the go, has never taken a moment away from his work. And Denise, though a stay - at - home mother, often spends her time in the company of fellow mothers and projects around the house. Beyond the basics, they know very little about their children and hold to the belief their main job is to provide and care for them, not be their best friends. SIBLINGS:  - Christopher Ayers // Older brother, by three years - A very complicated relationship. Christopher is, in the eyes of everyone and especially their parents, the proverbial 'golden boy' : Smart. Handsome. Charismatic.  Popular. The desire of every girl's heart. Captain of every sports team he's been a part of, that position currently being in SCU's lacrosse and basketball teams. From the outside looking in, he is by old school terms, perfect, though few see or even know of the rather aggressive and twisted side of him, including their mother and father. That side is and, since their childhood, has been reserved for Charlie's eyes only. Yet despite taking the brunt of Chris's cruelty and jokes at his expense, Charlie has always admired and looked up to him. And sadly, still does. - Robert ‘Robbie’ Ayers // 12 year old brother - Close, though sadly not as close as they once were. Moving away from home has created a bit of an inevitable distance. Between games, parties, and basic expectations of highschool, Charlie had been Robbie's go-to babysitter. The two had been thick as thieves - Robbie being among the rare few to not only know of Charlie’s dabble in home-movie horror, but even star in a few films himself - and whenever a need for brotherly bonding and advice was warranted, Charlie was there. -Rosie Ayers // 3 year old sister - Sadly, Charlie isn't as close with her as he'd like to be. Born when he was just beginning his escalation in popularity, he didn't spend much time with her, and over all still hasnt. NOTABLE CONNECTIONS:  - Irene Fernandez // @gcrefxed Close Friend Fellow target of the mysterious killer .  - Sarah Reed // @killerxquccn Best Friend since middleschool. The term 'soulmate' has been thrown around [ Much to the annoyance of Charlie's exes ] due to how close they are and how well they get along. As have many other affectionate monikers; 'Sarah Sunshine' among them, inspired by the bright and warming smile that since knowing her the mere presence of has never failed to make Charlie's day all the better. A matching pair : The jock and the cheerleader. A match that due to their popularity hasn't gone unnoticed ; people speculating they are dating or saying they should be, and earning them the nicknames ' Barbie and Ken ' since highschool, and often heard around campus. Girlfriends and latenight partners come and go, but Sarah has always remained. She is considered by far one of the most important people in Charlie's life. One he could never - and would never - imagine living without. Fate, however, has different plans. SIGNIFICANT OTHER: Jessica Thompson // Recent Ex Girlfriend.  Beautiful, upper middle class, and notable mean girl. Well, notable only to those she targets ;  mainly fellow girls lower on the popularity totem pole. Sly and clever Jessica  knows who to target, how, and how to get away with it. Which is precisely what happens, and has her entire school career..  Charlie in particular was never aware of her actions, as she is always careful to show her cruelty when few are around and those least likely to spread word,  though to anyone else in his position the writing was very clearly on the wall. Through most of their close to two year relationship, Jessica used Charlie's good-hearted nature, penchant to fall hard for pretty girls, and unfortunate tendency to be too forgiving to the point of becoming a pushover to those he cares for to her advantage: taking more than giving, but giving just enough to make him believe there was more requited love than there really was. In truth, her sights - like many- had always been on Charlie's older brother, Christopher, ever since highschool, but being the revolving door of women type, his sights were never aimed in her direction. To Jessica, Charlie was merely a fall back; if you can't get the prize, second best was better than nothing. Until one fateful night, Charlie decided to stop by Jessica's dorm and found none other than his older brother there to greet him. Half dressed and radiating smugness. In no way did either Chris nor Jessica attempt to deny what had happened between them, Chris giving Charlie a pitying pat to the shoulder and leaving the scene with a final jab, ' Guess she wanted a real man. '  While it was a dream come true for Jessica, to Chris it was nothing more than a one night only event, with the added enjoyment of his conquest being his brother's girlfriend . Despite the betrayal, Charlie not only wanted to fix their relationship but blamed himself for her act, asking what he had done to drive her to it. Jessica, seeing Charlie's devotion as weakness, was merely disgusted.  Simply giving a cutting, curt 'There's nothing to fix.' And like that, it was over. Leaving Charlie heartbroken and devastated, with that wound never able to fully close seeing Jessica around campus often. SEXUAL / DATING HISTORY: Has had quite a few partners and girlfriends, but wouldn't be considered a playboy like his older brother by any means. While he can be on the promiscuous side, generally he wants more meaningful connections. Sadly, without realizing, he tends to lean towards more superficial relationships -not helped by his worry to open up about his true interests and passions in life- which takes a toll on said relationships longevity.

PHYSICAL TRAITS >

EYE COLOUR: Hazel // Warm brown with small flecks of mossy green HAIR: Dark Auburn // Kept short // Wavy HEIGHT: 6 ‘ 3 ” BODY BUILD: Athletic // Fit , broad shouldered NOTABLE PHYSICAL TRAITS: Has a very slight crookedness to nose after having it broken during hockey practice in highschool.   . A warm , sometimes described ‘dopey’ grin . Kind eyes. FACECLAIM: Ross Lynch

PERSONALITY >

INTELLIGENCE:Not the sharpest tool in the shed. Academically, he can be a bit slow. Emotionally and creatively, however, very adept and intelligent. More right brained. INTERESTS: Film fanatic . Horror movies // Has an interest in one day becoming a movie director but keeps it very close to the vest. Sports enthusiast . Hockey // Plays for SCU’s  team. Swimming // On SCU’s swim team.  Attending every party he can. STRENGTHS: Easy going . Understanding . Empathetic . Great sense of humor . Determined . Playful . Outgoing . Sweet . Loyal . Imaginative . Open - minded . Supportive . Energetic. Congenial. WEAKNESSES: Insecure // mostly about intelligence . Stubborn . Blunt // Says the first thing that comes to mind without thinking it through . Apologetic or sometimes overlooks the bad actions of those he cares for / his family . Gullible . Occasionally reckless // especially when stressed .  Too forgiving . Christopher. DISPOSITION: Very laid back, friendly and approachable // easy to strike up a conversation with on just about anything SOCIAL STANDING: Popular // Both he and his older brother Christopher have been since Highschool SLASHER TROPES: Dumb Jock // The Nice guy

SYNOPSIS >

Nice house. Nice yard. White-picket fence. Mother, the home - maker. Father, the shrewd businessman. Children, well behaved and well liked. The Ayers family lives the ideal cookie-cutter simplicity of upper middle - class conservative America. And for most that's enough. For Charlie Ayers, the second eldest son, it is. At least, he thinks so. An upbringing of keeping to the status quo, hard rigidity to conform, is all he knows. Evident in his persistent standing as another popular jock continuing into college . In 1983 small town suburbia, minor deviations from the expected norm is a thing balked or crucified. Even something simple as an innocuous interest. And therein lies the reason his true love, of media, of a genre most consider ghoulish and the dream to DIRECT and make such films , has been kept a secret from most.          A JOCK WITH A HORROR MOVIE FETISH? WEIRD!  A silly thing to hide, perhaps. Yet hide he does. Perhaps not entirely well, as the few home-made films in his repertoire have been surreptitiously added onto the shelves of the VHS rental store he clocks into most weekdays. But he'll take the fact he hasn't been reprimanded by his superior as a win. Flick Picks Video Rentals is, in many ways, a haven. A place where for the first time, Charlie could feel at home with his covert passions for film in which he would be expected to be ashamed anywhere else. A small respite, that unbeknownst to young Charlie, wouldn't last. Despite the kindly reminder to rewind before returning, most seldom listened. In the quiet and uneventful hours of the night, that became Charlie's job. VHS popped into the rewinder, eyes on the CTR TV to check for any scratches or tangling of the tape, slide into its box upon completion, rinse and repeat. It was a tedious task to be sure, but something Charlie found mildly comforting in its predictable repetition. One that seldom provided any surprises. 

               Until ONE TAPE …

It wasn't unheard of for someone to record over one of the rentals. Uncommon, yes, as it was guaranteed to earn you a ten dollar fine to replace what was lost, but not unheard of. Usually in such a case, rewinding was stopped, the tape set aside with a note. Yet something- … something wasn't right. This tape wasn't one of theirs. Or professionally made for that matter. The film had the signature grain, bad lighting and time code at the bottom of something made at home. But the stationary upward framing, fixed on a single person. A single tied person. Bloodied. Sobbing. This wasn't right. A masked figure stepping into view. Toying with the other. Armed with a knife. This definitely wasn't right. The one tied, turned frantic. The knife slicing. The blood. It couldn't have been real, right? Someone trying their hand at horror like he did. And effectively at that. It was unsettling to say the least. Something he brought up, showed to a coworker the next day, and was assured in a chiding manner it was fake. Even he in what film making experience he possessed, had reservations. Why, then, he remained uncertain he wasn't sure. 

 That uncertainty nagged. Knotted his stomach. And eventually, sent him in an unorthodox direction to his university's theater department for answers. The course of logic he followed said if it was fake, a third and perhaps more experienced opinion wouldn't hurt. It was by pure luck and happenstance that one person with such qualifications was there. While the two had apparently gone to the same highschool, Irene Fernandez had been a complete stranger to him. Might have had something to do with them traveling within social circles so different they might as well have been separate planets altogether. Her skill and knowledge in special effects, however, made her essential to his needs. Was a random encounter over a gory VHS tape an awkward first meeting? Yes. Yet it was not nearly so bad at its beginning as it became in the end, when upon repeated viewing with Irene, Charlie's fears were proven right. No dyed corn syrup or tubes used to spurt it. No retractable prop blades. The blood, murder, all of it was REAL. Which meant the killer was as well. 

 Such a realization made all the more terrifying as another tape appeared in the return slot ...

[the-final-peace]

RP PLOTTING CHEAT SHEET.

Want new-and-exciting plots for your character? Long to reach out to more of your followers, but don’t know where to start? Fear not! Fill out this form and give your RP partners both present and future all the of juicy jumping off points they need to help you get your characters acquainted. Be sure to tag the players whose characters YOU want more cues to interact with, and repost, don’t reblog! Feel free to add or remove sections as you see fit. Templatehere.

mun name .  Ches ooc contact .  IM or Inbox preferably.

who the heck is my muse anyway . Death itself, the very essence and meaning. Not an angel of Death, or a God, or whatever. Literal Death. The Pale Rider, The Grim Reaper, you all know him and he knows all of you. Of course, this is my little spin on the character and his world, to the point my boy here is basically an OC of mine.

points of interest . The ol’ bone daddy here has an ever present cold aura about him, he’s slender and tall, pale white skin and hair. Appears almost exclusively in a tired form, very adept at pushing buttons and pulling strings to manipulate others to follow a certain path. Orchestrating fates and demises using this..talent.

what they’ve been up to recently . Honestly? Not much. There hasn’t been any SUPER HARDCORE plot things with the ol’ Reaper here in a while. He’s often more of a side character assisting others in their situations, which, is fine with me. Though..would definitely like some sweet sweet plottage here and there.

where to find them . Nowhere! :D  You’ll never be able to find Death itself unless he has previously allowed himself to appear to you, though if the muse has actively become an acquaintance with the old shepherd he’s often found in his palace within the Land of the Dead..being tired and busy as usual.

current plans . Not much here, either. Death and I are pretty...scattered as of late, so it’s been a more ‘visit to visit’ kind of setup for his threads and interactions. However, I do have a few ideas I plan to poke into and test out once I find a bit more time and energy to do so!~

desired interactions . Battles, something on an epic scale. Be it something akin to an end boss fight kind of setup, some great betrayal by Death or something of the sort. Even possibly a ‘gang up on this force of nature’ kind of battle because who doesn’t want to overthrow Death itself for all he’s done? That, or a well planned out manipulation thread, Mortem is a master of words and twisting other’s wills and actions, but I’ve rarely had an option to actually...make something of it? Something meaningful at least, beyond the occasional argument gone his way.

offered interactions . Most if not all people here are welcome at any time to hop into my inbox and slam down some sick plot ideas tbh

current open post/s . Everything, as long as it’s not actively tagged for another blog. There are so many ‘;random’ tagged posts that would work, even the ‘;musica mortis’ posts are available as interaction starters as the muses often “sing” the lyrics.

anything else . Death’s death, killing is his literal reason for existing and he’s the reason you can kill and die. That being said, he’s not a bully or the usual mindless monster murderer trope he usually gets in media and even other rp blogs that I’ve seen. I’m not gonna get him to kill a muse unless one of two things happen. Either it’s spoken about and a plot step, or the muse pokes and prods and asks for it..because i wont hold back my muse for that kind of stuff.

TAGGED BY: @burmecias-protector TAGGING: @eversusregnum | @thompsonxxwitches | @guaritrice | @karismatickitty | @sacritch | andddd whoever else might want to, just be sure to repost this instead of reblogging.