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canmom · 1 year

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seasonal animes: Oshi no Ko 01-06

I mentioned a bit that I was watching this one but I never wrote anything very substantial about it, so lets remedy that!

Oshi no Ko is wild. Every time I think I know where it’s going, it goes somewhere else.

The premise already sounds pretty deranged. Here’s what I knew going in. A gynecologist is visited by the idol Hoshino Ai he’s obsessed with, who’s pregnant with twins. Just before the twins are born, he’s murdered by a stalker. He’s reborn as one of her kids, along with one of his previous patients who was also obsessed with the same idol; they’re now named Aquamarine and Ruby and have... a less than easy time containing their otaku impulses.

This sounded like a setup for some kind of Spy x Family-like comedy where the two babies with the minds of adults have to keep secret that they’re reincarnated and so forth. Maybe with a dash of Paripi Koumei with ‘unlikely strategist and hopeful young performer’ dynamic. You could easily wring a whole season out of writing scenarios around that premise.

But... hahaha it’s not that at all.

By the end of the first movie-length episode, Ai is killed by the same stalker, who then kills himself. The protagonist convinces himself that the only way the stalker could have known where to find Ai is if her secret lover, the father of the two reincarnation-babies, deliberately leaked her location. So he makes his new mission in life revenge, and we timeskip forward to when the twins - raised by Ai’s producer’s wife - are about to go to high school.

So it’s a revenge drama in a high school setting, right..? You know the type of thing, a class of genius schemers enacting plots against each other..?

No. It’s actually mostly about the entertainment industry.

An episode plot might be, the protagonist reunites with an actress he met on set during his brief stint as a child actor. Realising that it might be an opportunity to get a DNA sample of one of his list of suspects, he gets involved in the shitty TV drama she’s involved in, playing a one-episode antagonist. And despite his ulterior motive, he decides he should do the actress a favour. So, applying his nigh-supernatural analysis skills and willingness to sacrifice his own dignity, he figures out how to elevate the final episode of the production.

His sister meanwhile is dying to become an idol herself. And our ridiculous scheming boy wants to make it happen, despite underlining at every turn how harsh the entertainment industry is for performers. He emotionally manipulates the same actress girl to join.

So it’s actually one of those special-interest anime where the world revolves around one activity, and here that thing is performance (film acting and music). But it’s also a comedy and a ridiculous drama as well. It’s fun.

Visually, it’s very shiny. There’s an interesting blend of highly stylised designs for the MCs and other teens, (each MC inherited exactly one of Ai’s six-pointed eye stars and could easily lead a romance manga), and a more realist approach taken with the adults. Are we at last at the peak of eye highlight escalation? Can it go further? It makes effective use of coloured lines; there’s some very strong boards and in general the animation is solid, with moments of real greatness. Shoutout to Kenji Sawada’s excellent depiction of our boy acting as a stalker in episode 4, and whoever animated the uhhh masked strength training youtuber in episode 5. Animating realistic muscles for such a long dance sequence is a hell of a task lmao. (Good ‘long take’ gag too.)

Compared to Paripi Koumei, it has... simultaneously a more grounded view of the entertainment industry as cynical, grubby capitalism. In some ways it’s kind of a tour of the different ways people relate to the industry, the different methods people might pursue to get ahead, and it isn’t just a simple ‘path to success’ sort of thing.

But it’s also a very heightened manga spin on that, with much larger-than-life archetypal characters. It has a bit of a tendency to reiterate and underline what happened and why it’s important to a level that sometimes feels a little much (and now another round of ‘the acting sucked in this TV drama but the last episode was good’), but on the whole, it has momentum, and a talent for coming up with non-obvious scenarios and resolutions. And a great deal of it is about the actual craft of acting; it likes to play up contrast between performances and behind the scenes characterisations, and a lot of time is spent on characters talking about the right way to perform for a particular show.

Anyway, then episode 6 comes along, and things get rather Perfect Blue after the relatively light-hearted previous few episodes. This episode’s plot sees Aqua involved in a dating reality show, but the story mainly revolves around a girl who is pressured into a reckless but ultimately harmless action that gets her hard cancelled online, which she seriously takes to heart and attempts suicide. The whole show uses voiceovers heavily in the classic anime fashion, but in this episode, it’s particularly effective. ‘Storm of cruel social media comments’ is a recurring motif in a lot of anime over the last decade or so, deployed to greater (the end of Devilman Crybaby) or lesser (Belle) effect; here it’s done well, with a lot of care to recreate the UI of various social media sites, and honestly I wasn’t sure if they were going to kill this girl off or not (in the end, Aqua intervenes at the last second).

So where is this going to go in the long run? Its interests are becoming clear, Aqua talks a big game about being hard-headed but just can’t help intervening to help people out of various Situations. But I still have no idea how it will bring it together in the end!

I absolutely need to go back and watch the widely praised adaptation of Kaguya-Sama: Love is War which was by the same mangaka.

The other gift that this series brought is is one of the longest and silliest threads of fansubber drama on the whole of Nyaa, which is really saying something.

#anime #oshi no ko

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ananke-xiii · 4 months

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From Epic to Tragedy to ... Epic, I guess? Or why Supernatural Season 6 is the most important season of all (pt 1).

Do I have your attention? Yes, good. But just so you know it'll be long and in installments and maybe it makes sense or maybe not.

Yes, I know the title is a tiny bit incendiary but I promise I have a point to make.

So, my idea: I posit that SPN S1-5 are inherently an epic narrative with a tragic tone while S6, in an unexpected turn of events, heavily shifts the show towards a tragic narrative with an epic tone. S6 creates a great divide within the narrative itself that the show is ultimately unable to resolve. On one hand Sam will “carry on” the epic narrative, on the other Castiel will “swan dive” to his (many) tragic endings. S8-11 arc correctly identifies Dean as the character who's able to mitigate the divide and bring the two narratives together. However, the pervy obsession Chuck has with Deanthe show simply refuses to do so, consequently S12 introduces Jack (as an absent character but we already know from S11 The Mother as an Archetype is now alive and well in the unfridged Mary so the emergence of The Son is something clear from the very ending of the previous season) as the character most likely to resolve the narrative. However, S13-15 arc fails because it wants to do too many things at the same time. The "funny" thing is that, as a result, all characters just seem to be extremely tired of The Journey, The Quest, the obstacles, they all start screaming "Catharsis!" but it's still not given to them (hello Chuck!). By the time Cas makes the deal with The Empty the audience feels the impending tragedy and it's partially given to them, although... The show doesn't mend "The Rupture" between the two narratives, Cas dies as a tragic hero, Sam as an epic hero and Dean and Jack will remain in their limbo (a limbheaven, I guess? lol) but in substantially different positions. I personally think that this is what led to the audience’s conflicted response about the finale: ultimately the scale was tipped off in favor of the tragic narrative but the audience was eventually given the epic narrative ending.

Premise: this is my very first attempt at writing what in my mind, I hope, will turn out to be an analysis, a meta if you will, about Supernatural. I stand on the shoulders of giants and I myself am a microscopic ant but, you know, there’s room for everyone even for a little ant like me. I want to write down my thoughts and share them with strangers on the internet because 1) if I keep all my ideas trapped inside my head I’ll explode; 2) writing them down helps holding my spiraling mind down; 3) I thrive when people listen to my convoluted thoughts and share their opinions and we all have heated chats and sometimes I end up hating those people because they’re right but also I fall in love with their minds lol.

Finally, please just remember that I’m also just a girl, sitting in front of a laptop, asking you to not come at me.

Part 1: Or where I posit that SPN s1-5 are inherently an epic narrative with a tragic tone…

Tell me, O Muse, of the man of many devices…

After the Pilot, the first SPN episode starts with two guys playing a videogame. One tells the other that he’s cheating; the other replies that he’s just smart. Interesting. The third guy we see (Guys! Guys! Guys!) is sending a video to his girlfriend and oh, look! He’s reading “The Hero with a Thousand Face” written by Joseph Campbell.

In less than 10 seconds the show is literally telling us everything we need to know: we’re dealing with Young Males, An Adventure, Trials, Obstacles… and with the completion of the journey (just like the videogame: overcome all your obstacle until you win). Basically, the show is an epic narrative. More specifically, it’s an epic narrative like The Odyssey. Well, actually, no. It’s more like The Telemachy. The Telemachy is the first 4 books of the Odyssey where Telemachus leaves Ithaca for the first time to look for his Absent Father. Sounds familiar? By the way, to this day I can’t help but feel deep admiration when I realize that The Odyssey is the story of The Absent Father and it starts off… precisely with his absence! Just like Supernatural, LOL.

Necessary aside: as if this was not already enough S10E5 Fan Fiction gifts us with what I find is the most brilliant meta ever metaed on SPN (and no, I’m not talking about the fan fiction part). In this episode we find out that the MOTW is… *drums roll* CALLIOPE!!! The muse who presides over EPIC POETRY! And she wants to EAT The Author (and, in hindsight the fact that the Real Author is God… I mean, possibly Calliope was THEE monster that they really shouldn’t have killed lol). As if this was not enough… Maggie hits Calliope with… The Odyssey! Robbie Thompson was VIBING when he was writing this episode, I’m telling you!

Okay so now going back to my main point. Supernatural epic has a very distinct tragic tone. The Absent Father does return like Odysseus (end of S1) but he can’t stay (beginning of S2): in order for the Adventure to continue The Father must die (unlike the Odyssey where Father and Son unite to defeat the enemy and Return to The Ordinary World Together). After all, this is not The Odyssey, it’s The Telemachy where The Hero is not The Father but The Son.

So know let’s talk about The Son. The Epic Hero in Supernatural is Sam Winchester. He’s the one marked at birth by the story, aka The Special Kid with Psychic Powers of S2. This is the second half of the “Challenges and temptations” phase of the Hero’s Journey culminating with The Revelation and the subsequent Death&Rebirth. Sam will have to go through this cycle a lot because his own role commands it. He has to face the Abyss and then come out of it otherwise the story can’t progress. Occasionally, he’ll have to step outside the Special World into the Ordinary World (The Normal Life) even though he has not completed all the stages because the story needs to reboot and if The Hero goes back to the Ordinary World having completed all the stages then the story is over. This is why after 15 (FIFTEEN!) season it might feel (or, as I should say, I feel because people here largely disagree) that Sam’s arc is.. well, not exactly something that varies over time. It’s not the character’s fault: he’s just drawn that way (because the show refused to let go of this trite and old Hero’s Journey cycle but this is a topic for another time, hello Chuck, ya basic!). So Sam, The Son. S3 Sam faces the challenges of possibly losing his brother so The Quest is trying to save Dean. Of course, this won’t happen (as previously stated, Sam needs a continuous Quest because he’s an Epic Hero) so we’re back at square one in S4-5 with the demon blood, the 66 sigils and, ultimately, Lucifer and the apocalypse.

Sam is the Epic Hero, special by birth, called back to the Adventure by his brother, quick learner, intelligent and warrior-like, overcomer of obstacles, trials and (maybe to a lesser degree lol) temptations and capable of facing the Abyss. I like the fact that he's definitely not The Perfect Hero because his many flaws make him more compelling and fascinating. Speaking of flaws, there's one thing that Sam lacks. Sure, like all characters on every TV show he has a need, a desire AND a fatal flaw. However, there is a fatal flaw and THE fatal flaw: hamartia.

Hamartia is the tragic flaw, the character's very own trait that brings about his very own downfall. How do we know that Sam lacks this very specific trait? Because he never experiences utter and total ruin brought about by his and his own only hands.

However, there is a certain character, the one and only character that dares to "make it up as [he goes]", that committs a huge mistake, and he errs not because of some events, not because of some circumstances, possibly not even because of God's will: he just makes decisions that trigger cosmic consequences...

I wonder who could it be...

#spn #spn meta #supernatural meta #these are just my thoughts I still need to process them all don't come at me I'm just sharing #spn rewatch #spn analysis #the odyssey in supernatural #superntural #tragedy vs epic pt1 #the epic in supernatural #the tragedy in supernatural

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megaboy335 · 11 months

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Anime and Manga Log [06/18/23]

This was a fairly busy week. There was a new series out of Weekly Shonen Jump, Black Clover movie, and the spring anime season is starting to finish up. Additionally a new JoJo chapter dropped. Plenty to talk about as always. Discussion and Spoilers for the following series below: Martial Master Asumi 1 [NEW] Do Retry 7 Cipher Academy 28 Tenmaku Cinema 10 365 Days to the Wedding 110 [END] Black Clover: Sword of the Wizard King Dr. Stone New World (Season 3) 11 [Cour 1 END] Demon Slayer Swordsmith Village Arc 11 [END]

Martial Master Asumi 1 [NEW] Kawada from Hinomaru Sumo returns with a series about mixed material arts. I didn’t read his previous series and I didn’t get into the anime either, but I thought it was cool that he survived for 5 years in Jump in the shadows of bigger hits. The first chapter was more dense than usual since they wanted to set up the MC and his family along with giving the audience some background to the sport in case they don’t know. Its a solid first chapter overall. My only nitpick is the bullies coming back over and over again was slightly annoying. Rather than the first chapter being a single string of events, it felt like a 2 act story with the school at the start then the Dojo in the back half. The art is great as expected for a Jump veteran. The opening color spread in particular is much more striking than you typically see. I’ll be looking forward to more. Do Retry 7 From the mangaka behind Bone Collection comes a boxing series that takes place during World War 2. He has improved substantially since his previous serialization in drawing, character writing, and clearly picked up techniques while working for Yusei Matsui. The first arc is a boxing match against someone who is in a similar situation to our protagonist where they’re in the sport to protect someone precious to them. However, he’s fallen off the path and became more and more obsessed with strength to prove his worth. The intensity of the match was crazy with Aozora taking punch after punch. I love how it culminates in finally closing the distance and delivering the finishing punch in return. That caps off the first volume with a W for our main character. Its hard to say if this series can stick around, but for the time being I’m enjoying it. Cipher Academy 28 This week we began the 3rd match of this class vs. class code battle. The theme is determining your ally from your enemy, or are they perhaps the same person, maybe neither? This question is presented to us in 2 different ways. Firstly, in the form of Yukako’s backstory. This is a 6 star puzzle because there can be no definitive solution to whether her actions were good or bad. The answer will depend on who you ask. Its a similar reason given for the previous 6 star puzzle from earlier in the series. Secondly, we get the question in a more literal form. Toshusai is presented with two projections of Yukako and has to determine who is the real one based on pure instinct. Its a question about how well can you know and trust someone. If she guesses correct that means our class got a clean 3-0 victory. That seems unlikely since Iroha still needs a turn. We shall see next week. Tenmaku Cinema 10 Unfortunately Tenmaku Cinema doesn’t appear to be catching on with Japanese readers. Could it be the abundance of movie themed stories like Sakamoto Days and Oshi no Ko? maybe readers aren’t fond of the mc using someone’s else work (similar to Time Paradox Ghost Writer)? or perhaps it just isn’t interesting enough? Personally I’ve been enjoying it quite a lot. This week’s chapter continues Shinichi’s tour and observation of Hinaki’s time on a professional movie set. Up to this point, I was thinking Hinaki resonated with the character in Tenmaku’s script. At least that’s how I made sense of why a top level actor would take on an amatuer project. But this chapter completely changed my perspective. Maybe there is some level of resonating with the character, but I think its a feeling of rivalry. She’s been isolated in the world of acting and suddenly a fellow student who is the same age comes along with a masterful script. Of course she is going to jump on that. I think Hinaki saw this is a personal challenge to bring the character to life in the best way possible. Its like she found someone who might be able to understand her. Lets hope the popularity can recover before its too late. 365 Days to the Wedding 110 [END] I’ve been a fan of Tamaki Wakai since The World God Only Knows days and I always believed it was a matter of time before they landed another hit. There was a bakery series that has some loose TWGOK references. Then came King of Idol about a crossdressing male idol trying to get in the industry. Both of those were cancelled after about a year of serialization. Wakaki then moved to the Seinin magazine Big Comic Spirts where he published 365 Days to the Wedding. The story is about a pair of introverts who dread the idea of potentially being transferred to another company branch in a foreign country, so they create a plan to pretend date. Over the course of the story, they come to realize how compatible they are. I had a good time reading the series. It was generally pretty funny and heartfelt from start to finish. Also refreshing to have a romance with a pair of working adults. I would say it ended maybe too soon, but I can’t complain about Wakai finally landing another hit finally after all this time. It will be getting an anime soon. I recommend it! [Final Score: 8/10] Black Clover: Sword of the Wizard King After being delayed 3 months from its initial release date, the Black Clover movie was finally released on Netflix this past Friday. Shonen Jump movies often come in 2 different varieties. The most common is a 90 minute self contained story with heavy exposition to make it work in the short run times. They feel like a mini arc out of the manga. However, ever since Strong World a lot of Jump movies add to the existing canon. Black Clover belongs to the later category. The movie has very minimal exposition and quite honestly its all action from start to finish with only a small regroup period in the middle. The story is about the previous Wizard Kings coming back Edo Tensei style and wrecking havoc. They want to hard reset the world because each of them was wronged in some way during their time. Instead of providing extensive backstory for each one, the movie would rather show you the sheer speculate of their power. I thought that allowed the movie to progress at a brisk pace (just as the manga frequently does). A movie medium is a good choice to experience the power of the best in the Black Clover world. At the climax of the film each Wizard King comes to realize that the world is changing for the better, even if incrementally. It heavily reinforces the theme of Asta’s unwavering spirit and how he inspires those around him. This film is very much what a Black Clover movie should be like. I enjoyed it a lot and consider it above average for the Shonen Jump movie genre. Dr. Stone New World (Season 3) 11 [Cour 1 END] I don’t have much to say about this season, but just wanted to put down some quick thoughts. The animation is the same old stiff style, but at least the reaction faces are good. The manga story of this cour is very solid. Senku and the gang are finally on the move thanks to having a ship. First stop is the island where the the space shuttle originally landed. The goal is to confirm the existence of and recover the platinum left behind so they can make an unlimited amount of nitric acid. There is even the promise of learning something about how people turned to stone. Great arc and looking forward to the action packed second cour in October. [Final Score: 7/10] Demon Slayer Swordsmith Village Arc 11 [END] I’ve always had mixed feelings on the Demon Slayer anime. First, I am probably in the minority for not being a fan of Ufotable. I find their heavy computer CG style to be off-putting and boring. Its always flashy for the sake of flashy with minimal personality. However given that, I can still appreciate the work they put into the animation. Secondly, I don’t like how Aniplex splits up a story into its individual arcs as season labels. Demon Slater is particularly formulaic and that’s all the more obvious in this format. I think it loses all momentum when there’s only 11 or so episodes every year. Now for this arc, I remember liking it in the manga. Cool setting, another pair of Hashira to learn about it, and the usual backstories along the way. The arc concludes with Nezuko being able to stand outside in the sun without harmful effects. The anime version was such a slog. They pad out scenes and everything is muddled with Ufotable’s CG flair. In isolation from the rest of the story it offers very little to push the story forward until the very end. Demon Slayer works best when you get in the groove of the series over a long period. Next is the brief next training arc before everyone raids Muzan’s infinity castle. Just give me 4 cour please Ufotable, I’ll even take it split. [Final Score: 6/10]

#Mega Log #Weekly Shonen Jump

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torturing-characters-101 · 2 years

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Hi! This is kind of a weird question but how/why was influenza (and other diseases that we have vaccines for now) so deadly 100-200 years ago? Obviously vaccines help tremendously, and probably immunity over time, but are there other reasons that the flu was a much bigger deal a century ago? Sorry if this is oddly specific, but my current project is historical. Thank you!

This is a very interesting question and there are a couple of different ways of looking at it.

Let's start with influenza:

[Note: it's surprisingly difficult to get good worldwide flu data, so I'm going to use US numbers for the purposes of this post.]

I think the first thing to understand is that unlike many other infectious diseases, influenza is substantially different every year. That means that the immunity that you build in 2017 from either the flu or the flu shot won't necessarily help prevent you from getting the flu in 2023. By then it will be a different enough virus that your previous immunity won't be as helpful. Though it might make it a little milder. But keep reading, I'll give you some fun facts to share at parties:

We name flu (A) viruses based on two different proteins on the surface of the virus. The proteins are "H" and "N". There are 16 different "H" proteins, and 9 different "N" proteins that we currently know of. The combination of the two forms the "name" of a particular flu virus. Think H1N1, or H5N6, or any other combination. Each combination has their own attributes, which contributes to how infectious or deadly they are in any given year. And which ones circulate are different every year.

Just mathematically, that's a lot of substantially different flu viruses. Hundreds of them, in fact. And you have to build immunity to each one individually. You could, say, build immunity to H2N5, but that would do little to save you from next year's H4N3. And not only that, but within a single type there are many smaller variations. For example, say you got H5N3, but then it went and mutated. If you then got exposed again, you might have some immunity to new!H5N3, but it could also be just different enough that you still get sick.

Like I said above, different types of flu virus are deadlier or spread faster than others. H5N1 (a type of avian flu with a human mortality rate of 52%) is terrifyingly deadly but fortunately doesn't spread particularly well, while H1N1 (the star of both the 1918 and 2009 flu seasons) spreads rapidly and kills primarily young adults (weird, since flu usually kills babies and old people).

This is why in 2009 we did the whole "close the schools vaccinate the teens hide the president" routine. Because if it was *that* H1N1 we were all about to be screwed in ways we had never experienced before. Fortunately it wasn't, but thank goodness we did it. Also if you got vaccine #2 in 2009, you are also protected against the 1918 strain of H1N1. You're gonna be a hit at parties with that one.

Now, if you look at only deaths (not the best measure, but one with some emotional punch), within the last decade alone we have years where 12,000 people died of flu in the US (2011-2012) and years where that number is as high as 61,000 (2017-2018). These numbers are similar throughout recent history (relative to population), but then you get years like 1968 (where 100,000 people died in the US) and 1957 (where 116,000 died), and then sometimes you get these wild whopping years like 1918 where 675,000 died (equivalent to 1,750,000 people dying in today's US population). These fluctuations have happened since Hippocrates was around, and probably long before that, and there's really nothing to suggest it's getting any milder in any statistically significant way.

Now, outside of these natural fluctuations, we do have some ways of driving down these numbers. We do have a vaccine. It is different every year, based on our prediction of what the most likely or dangerous types of flus will be this year. Fortunately, you do get to keep this immunity for some time, so you can look at the flu vaccine as a personal collection of different flu viruses you have immunity to- you can collect 2-3 different ones every year in one shot and you didn't even have to catch them!! Yay! Unfortunately, since we never reach herd immunity with the flu vaccine, and we can't perfectly predict and incorporate all the strains that will circulate in a given year, while you do get some protection, it's not ever perfect. But it *is* still worth it.

We also have other feats of modern medicine as backup to the flu vaccine. We have oxygen, antiviral drugs like tamiflu, immune modulating drugs, and technology like ventilators to help keep people alive in ways we would not be able to in previous generations. So that's also an advantage. Unfortunately, these don't always work either, and we are still at the whim of those yearly fluctuations in influenza virus deaths.

And really, if you ask any epidemiologist, covid is just a little trial run for the next Big One. Which is both extremely likely to be a flu virus and which we're statistically overdue for.

TL;DR: The flu isn't getting milder so much as it varies wildly in severity every year. The next major flu pandemic is probably going to be in our lifetimes, so start collecting your flu immunity now if you haven't yet. New collections drop every August and are available until April. Get em' while they're hot. This year's included a 2009-like strain of H1N1 and a delightful H3N2 number from Hong Kong.

As for All the Other Vaccine Preventable Illnesses:

*ahem*

Yes, it's vaccines. It's obviously vaccines. Its basically only vaccines. Anyone who has ever told you it's not vaccines is lying. No other major discovery of modern medicine has ever saved as many lives, prevented as many disabilities, and created as many opportunities for a life well lived as vaccines have. No antiviral drug, no antibiotic, no ventilator can even hold a candle to vaccines. The answer is f*cking vaccines*.

I hope I have made myself clear.

Enjoy this table:

*Yes I do have a masters degree in public health and am a registered nurse that interacts with the public regularly, how did you know?

-Ross @macgyvermedical

#flu #illness #communicable illness #vaccines #flu shot #history #whump reference #writing reference

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impalementation · 3 years

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spike, angel, buffy & romanticism: part 3

part 1: “When you kiss me I want to die”: Angel and the high school seasons

part 2: “Love isn’t brains, children”: Enter Spike as the id

“Something effulgent”: Season five and the construction of Spike the romantic

Prior to becoming a romantic interest, Spike is everything I discussed in the last section. He is an id and a mirror for Buffy, he’s prone to both romantic exaggeration and cutting realism, and his liminality suggests ambiguity. But outside of “Lovers Walk”, the writing doesn’t actually delve too deeply into Spike’s nature as a romantic. If you stopped the canon at “Restless”, you’d probably think that Spike’s love for Drusilla was intriguing, but that the show hadn’t really gone anywhere with the implications of it, and for all you knew, that might not be an important part of his character anymore. So one of the most interesting things about season five to me, is that in this season in which the writers first consciously, deliberately decide to explore the sexual and romantic tension between Spike and Buffy, they also emphasize Spike’s romanticism more than ever. The choice to define Spike by his romanticism is a choice that follows naturally from everything established about his character, but it was also not an inevitable choice. Therefore, it’s a choice worth looking at in some detail.

Consider everything that “Fool For Love” establishes about Spike, especially the things that contradict what was supposedly canon at the time. It makes Drusilla his sire instead of Angel, meaning that he is sired by a romantic connection, and as a direct result of heartbreak. It makes him a poet living in the middle of the Victorian era, an age at odds with his previous ages of “barely 200” and “126”. Meaning that the writing specifically decides to ignore its canon in order to associate him with an era in which passions would have been repressed (rather than the Romantic era of the early 1800’s or the modern energy of the early 1900’s). Moreover, the episode reveals his entire aesthetic and personality to essentially be a construct. But most tellingly of all, it reveals him to be an idealist. Spike is not just a performance artist; he yearns for the “effulgent”, for something “glowing and glistening” that the “vulgarians” of the world don’t understand. In other words, he yearns for something bigger and more beautiful than life: something romantic. Later, he chases after “death, glory, and sod all else.” Spike may be a “fool for love”, who has a romantic view of romantic love specifically, but the episode is very clear about the fact that he is also a romantic more generally. When Drusilla turns him, she doesn’t tempt him by telling him she’ll love him forever. She tempts him by offering him “something…effulgent”. (Which, in typical Spike form, the episode immediately undercuts by having him say “ow” instead of swooning romantically). The fact that “Fool For Love”, Spike’s major backstory episode, is so determined to paint him as a romantic--and in particular, a disappointed, frustrated romantic--that it is willing to contradict canon to do so, tells you that this choice was important for framing Spike and his new, ongoing thematic role.

I’ve talked in the past about how season five is all about the tension between the mythical and the mortal--between big, grand, sweeping narratives, and the reality of being human. Buffy is the Slayer, but she’s also just a girl who loses her mother. Dawn is the key, but she’s also just a confused and hormonal fourteen-year-old. Willow is a powerful witch, but she also just wants her girlfriend to be okay. Glory is a god, but she’s also a human man named Ben, and finds herself increasingly weakened by his emotions. And Spike embodies this tension perfectly. He’s a soulless vampire with a lifetime of bloodshed behind him, but he’s also this silly, human man who wants to love and be loved. He wants big, grand things, but every time they are frustrated by a Victorian society, a rejection, a chip, a pratfall, or dying with an “ow”. Furthermore, his season five storyline is all about the tension between loving in an exalted, yet often selfish way, versus loving in a “real” or selfless way.

There was a fascinating piece a ways back that discussed how Spike’s attempts to woo Buffy in season five almost perfectly match the romantic narratives of Courtly Love. In the words of the author:

The term "Courtly Love" is used to describe a certain kind of relationship common in romantic medieval literature. The Knight/Lover finds himself desperately and piteously enamored of a divinely beautiful but unobtainable woman. After a period of distressed introspection, he offers himself as her faithful servant and goes forth to perform brave deeds in her honor. His desire to impress her and to be found worthy of her gradually transforms and ennobles him; his sufferings -- inner turmoil, doubts as to the lady's care of him, as well as physical travails -- ultimately lends him wisdom, patience, and virtue and his acts themselves worldly renown.

You can see for yourself how well that description fits Spike’s arc. He fixates on the torturous, abject nature of his love, and has it in his head that he can perform deeds and demonstrate virtue, and this will prove to Buffy that he is worthy of her. But despite Spike’s gradual ennobling over the course of the season, I think it would be a mistake to see the season as using the Courtly Love narrative uncritically, or even just ironically. The same way it would be a mistake to see season two as using the Gothic uncritically. Spike is as much Don Quixote as he is Lancelot. He is a character that deliberately tries to act out romantic tropes, giving the writing an opportunity to satirize those tropes, including the tropes of chivalric romance. In particular, the writing criticizes Spike’s (very chivalric) fixation on love as a personal agony, something that is more about pain--and specifically, his pain--than building a real relationship. Over and over in season five, he is forced to abandon these sorts of flattering romantic mindsets in favor of a more complicated reality.

So at first, Spike’s “deeds” tend to be shallow and vaguely transactional. He tries to help Buffy in “Checkpoint” even though she doesn’t want it (and insults her when she doesn’t appreciate it), he asks “what the hell does it take?” when Buffy is unimpressed by him not feeding on “bleeding disaster victims” in “Triangle”, he rants bitterly at a mannequin when Buffy fails to be grateful to him for taking her to Riley in “Into the Woods”, and he is angry and confused when Buffy is unmoved by his offer to stake Drusilla in “Crush”. While these attempts to symbolically reject his evilness are startling for a soulless vampire, and although Spike certainly feels like he is fundamentally altering himself for Buffy’s sake, none of it is based on understanding or supporting Buffy in a way that she would actually find substantial. Moreover, he lashes out when his gestures fail to win her attention or affection. He has an idea in his head of how their romantic scenes should play out, and reacts petulantly when reality fails to live up to it.

But these incidents of self-interested narrativizing are also continuously contrasted with scenes in which Spike reacts with real generosity, or is surprised when he realizes he’s touched something emotionally genuine. When Buffy seeks him out in “Checkpoint”, his mannerisms instantly change when he realizes she actually needs real help (“You’re the only one strong enough to protect them”), rather than the performed help he offered at the beginning of the episode. At the end of “Fool For Love” he’s struck dumb by Buffy’s grief, and his antagonistic posturing all evening melts away. He abandons his romantic vision of their erotic, life-and-death rivalry in favor of real, awkward emotional intimacy. In “Forever” he tries to anonymously leave flowers for Joyce, and reacts angrily when he’s denied—but this time not because he wanted something from Buffy. Simply because he wanted to do something meaningful.

This contradictory behavior comes to a head in “Intervention”, the episode in which Spike finally begins to understand the difference between real and transactional generosity. Up until that point, Spike has been reacting both selfishly and unselfishly, but he hasn’t been able to truly distinguish between them, which is why he keeps repeating the same mistakes. Although he touches something real at the end of “Fool For Love”, for instance, he goes on to rifle through Buffy’s intimates in the very next episode. And so “Intervention” has Spike go to extremes of fakeness and reality. He gives up on having the real Buffy, and seeks out an artificial substitute that lets him live out his cheesiest romance novel scripts. It’s important that the Buffybot isn’t just a sexbot, even if he does have sex with her. She’s a bot he plays out romantic scenarios with the way he played them with Harmony in “Crush”, allowing him to almost literally live within a fiction. But then he “gives up” on having Buffy in a way that’s actually real, by offering up his life. He lets himself be tortured, and potentially killed, for no other reason than that to do otherwise would cause Buffy pain. The focus is on her pain, not his. For the first time, he acts like the Knight he’s been trying to be all along. He performs a grand, heroic deed that causes the object of his affection to see him in a different light, and even grant him a kiss. Yet ironically, as part of learning the difference between real and fake, he ceases to press for Buffy’s reciprocation. Through the end of season five, Spike continues to act the selfless Knight, assisting Buffy in her heroism without asking for anything in return. Which culminates in his declaration that he knows Buffy “will never love him”, even after he’s promised her the deed of protecting Dawn, and even though she allows a kind of intimacy by letting him back in her house. He proves that he sees those gestures for what they are, rather than in a transactional light. The irony of the way Spike fulfills the narrative of chivalric romance, is that his ennobling involves letting aspects of that narrative go.

In a Courtly Love narrative, the object of the Knight’s affection is fundamentally pedestalized. The Knight himself might be flawed, but the woman he pines after is not. She is “divinely beautiful” and “unobtainable”, something above him and almost more than human. This is why it’s so comic that in Don Quixote, which was a direct satire of chivalric romance, Alonso Quixano’s “lady love” is a vulgar peasant farmgirl who has no idea who he is. (Think of the way Spike asks if Buffy is tough in “School Hard” or threatens to “take her apart” despite “how brilliant she is” in “The Initiative”, followed by scenes where Buffy is acting like the teenage girl she is. Or how Giles in “Checkpoint” says that Buffy has “acquired a remarkable focus” before cutting to Buffy yawning.). Although it’s true that Buffy is beautiful, and supernatural, and profoundly moral, she is also very human, and the writing is very concerned with that humanity. Season five in particular, as I’ve mentioned, is preoccupied with the duality of Buffy’s mythic and mortal nature. Thus it becomes significant that Buffy is assigned such a heightened role in Spike’s chivalric narrative. Just Spike is at once Lancelot and Don Quixote, Buffy is at once Achilles, Dulcinea, and a coming-of-age protagonist.

And part of the “lesson” of Spike’s arc is for him to see both sides of the roles they embody. One of my favorite things about the scene in Buffy’s house in “The Gift” is how adroitly it conveys the dualities of both Buffy and Spike with simple, but poetic imagery and language. Buffy stands above Spike on her steps, conveying her elevated role, and Spike honors the way her heroic status has inspired him by physically looking up to her as he explains that he expects nothing from her. But by expecting nothing from her, and promising to protect her sister, he also honors the fact that she is a real person with no obligation to him, and a younger sister she cares about more than anything. He also honors his own duality by at once making Knightly promises, and acknowledging that he sees through his former delusions: “I know that I’m a monster, but you treat me like a man.” In “Fool For Love” he tried to acknowledge the same duality of realism and romance, by declaring to Cecily that “I know I’m a bad poet, but I’m a good man.” But at the time, he was an innocent, whose desire to be seen, and whose romantic avoidance of “dark, ugly things”, left him unprepared to understand how Cecily really saw him (similar to Spike’s insistence in “Crush” that what he and Buffy have “isn’t pretty, but it’s real” just before Buffy locks him out). Spike is a character defined simultaneously by continuous disillusionment and dogged aspiration, which is why he makes perfect sense as a character to embody a season torn between the pain of being human, and the wonder of the gift of love.

Fittingly, the season ends with Spike’s most devastating loss of innocence of all. He fails to be the hero for Buffy or Dawn (note that Knightly language he uses on the tower: “I made a promise to a lady”), and he loses the woman he loves. He may have become more virtuous, but unlike in a chivalric romance, that virtue wins him neither Buffy, nor something flattering like “world reknown.” The climax of the “The Gift” is full of romance—a god, a troll hammer, a damsel on a tower, a heroic self-sacrifice, a vampire transformed into a Knight—but the end result is that Buffy is dead, in part because he wasn’t good enough, and all that he and the Scoobies can do is grieve. Stories got Spike nothing, even when reality finally lived up to them. It is a swan song to the myths of childhood, and on the other side of Glory’s portal, Spike and the other characters will have to confront a world where those myths have been left behind.

part 4: “But I can’t fool myself. Or Spike, for some reason.”: Buffy and Spike as a blended self

#romanticism series #s5 #gen #buffy #spike #this section is deliberately focused on spike's arc #but not to worry #the next one focuses on buffy's side of things and the role of spike's arc in supporting buffy's in the last three seasons #they just needed their own sections to breathe #btvs

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oh-hush-its-perfect · 3 years

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do you think there is any significance that alex's colour scheme is green and pink? or do you think rr went "u know what this character needs? to look like a watermelon"

((Prefacing this by saying that I'm giving RR way too much credit here, but you shouldn't take anything an author does for granted— even a serial author who often makes blunders and mistakes.))

A while ago I saw a (pretty unfair) assumption that RR made it green and pink because blue and pink would be too obvious, but that his intention was obviously to reinforce the gender binary by using two distinctly gendered colors for a character with two distinct genders. Of course, they did not phrase it so delicately. No offense to whoever made that post, but I disagree.

Although that may have had to do with it, there's other things to consider. One of them is color symbolism. And oh. OH. I ADORE symbolism— especially flower/plant symbolism (Language of the Flowers and all that jazz), seasonal symbolism (there's a reason that evermore is my second favorite Taylor Swift album), and color symbolism.

GREEN

Let's talk about green first. Green can symbolize a lot of different things, and there are a few that can be applied to Alex's character. The most obvious thing that green often represents is jealousy— hence the expression "green with envy." But envy is not really one of Alex's character traits. Feel free to argue with me if you think that Alex is significantly envious. Just because I couldn't think of substantial textual evidence for it does not mean that there isn't any.

One of the traits that Alex does have is wealth. Green is the color of American currency, and since both RR and Alex are American, it's safe to take an American lens while looking at this color. Alex's socioeconomic background effects her in a big way. I mentioned in a previous post that I think that Alex's fatal flaw is her sense of entitlement. That kind of entitlement is a quality not exclusive to but common among the upper class. However, her distance from her wealthy background enhances the sense of irony in the story, which is a VERY big thing that we NEVER talk about within the fandom.

This is kind of a little thing, but it's worth noting that when it comes to Valhalla and everything, Alex is "green"— as in new and inexperienced.

The color green also emphasizes Alex's connection with nature. This is one of the parts of Alex's character that the fandom consistently underplays, which is an absolute shame. I don't think I have to explain why the color green is associated with all things natural. Alex's association with nature provides a few key things to her character:

It makes her a more well-rounded character. Another criticism of Alex I believe is totally unfounded is that "being genderfluid is her only personality trait because it influences her philosophy on pottery, which is her only hobby." I'm probably going to make another post in, like, a few minutes about why I find that argument a little silly, but the primary problem is that pottery is not Alex's only hobby. She also loves camping, hiking, and ice wall climbing (I bet y'all forgot about that last one!)

It gives her a connection with Magnus. I mentioned in a previous post that Magnus and Alex are foils, but I neglected to bring up why that also makes for very good chemistry between them. Of course, yes, they have different goals and philosophy, which is what makes them foils in the first place. But foil relationships function best when the characters also share some traits. As it turns out, Alex and Magnus share several hobbies, and one of them is a mutual love for nature. This is a very unexplored thing in fics. Start doing it more plz.

Finally, and this one's kind of minor, but the Alex's green gives her a connection to Natalie. I know, whenever Alex and Natalie are compared, either in canon or in fandom, everybody kind goes "eww. Oedipus complex." Which is very fair and true. But they really do have a lot of similarites. The green of Alex's hair and clothes connects her to the green of Natalie's eyes. It's worth saying, too, that Alex has one amber eye— and amber is pretty close to dirty blonde, like Natalie's hair.

If I had more faith in RR, I might bring up the concept of intextuality and how Alex wearing green is an allusion to The Great Gatsby and how Alex is elusive to Magnus, just like Daisy is to Gatsby. But I don't.

PINK

To give credit to the person who wrote the post I mentioned at the beginning of this spiel, I do believe that part of the reason pink was used was to support femininity. Please keep in mind that Alex dresses in an androgynous way— not that there is an actually "gendered" way to dress, since gender as we perceive it is mostly made up. But Alex's existence as a transfemme person (which I will maintain until my dying day) means that pink has a certain significance to her. A lot of AMAB people embrace traditionally feminine things because if they don't, they will not be accepted as genuine women or genuine nonbinary folks, since masculine dress is unisex and kind of the default. So Alex wearing pink probably had something to do with her gender, yes. But that's not necessarily a bad thing, and it's certainly not an unrealistic thing.

Speaking of Alex's gender in relation to the color pink, let's talk about pink's use as a queer rights symbol. Alex was RR's first character to be introduced as a queer character from the start. This was not an insignificant thing, especially in the year of our Lord 2016 (which, despite popular belief, seriously had an entirely different landscape of queer rep. Though it's commonplace now to include genderqueer characters, it was exceptional at the time— especially by such an accomplished and mainstream children's author.).

Let's go back in time to Nazi Germany. Some of you might know this, but for those of you don't this transition must seem jarring. I swear there's a point. In addition to Jews, Romani individuals, people with disabilities, and Poles (among others), gay men were victimized by the Nazis. If you're wondering why lesbians weren't persecuted, it's because the Nazis didn't see them as a serious political threat, or as a threat to the perpetuation of the Aryan race since they assumed gay women could be forcefully impregnated if need be. Yeah, ew. Anyway, much like the Star of David being used to mark Jewish people, gay men were forced into concentration camps and forced to wear a pink triangle. Years later, after the gay population somewhat recovered, the pink triangle was reclaimed and used as a symbol for gay men. Some people who were not gay men used it, too, but that's somewhat controversial since it wasn't their symbol to reclaim. When the first pride flag was created, it had a pink stripe at the top to signify sex (this was later dropped so flags could be more easily produced). The pink triangle (inverted) was used during the AIDs epidemic with the caption "Silence=Death."

My point is that this is a very important color to queer folks. Having one of the first genderfluid characters in kid's lit wear pink...... I mean, it makes sense.

The last and final thing that pink represents, in this context and in general, is innocence. Granted, this kind of connects to feminitity since women (especially white women) are often infantalized and seen as innocent— which is another issue. In any case, the use of pink to represent innocence in Alex's dress is ironic. Alex has been robbed of her childhood innocence, first by her abusive parents, then by her life on the streets, and then by her eventual death at age sixteen. But then she actually regains her innocence. At the beginning of the—

Hold on. I just had a revelation. I'll make a post about it soon.

At the beginning of SotD, Alex is acting a little childish. The most obvious example is him jumping on Randolph's bed to "make noise." Alex's life is stable and relatively healthy for the first time in the years, and she experiences something that a lot of queer folks experience: a re-emergence of childhood at a late stage.

I imagine you didn't expect a post this long. I either make essay responses to asks or I add on one sentence and post it. Oops. Anyway, I believe the mcga fandom can be more creative than calling Alex a watermelon. Here are some other (kinda romantic) pink-and-green alternatives:

Roses

Dragonfruit

Grapefruit

Cherry blossom trees

#mcga #magnus chase #alex fierro #mcatgoa #magnus chase and the gods of asgard #sorry for the long response lol #thanks for the ask! I had a go of it!

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alltingfinns · 4 years

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When it comes to show and tell in writing, people often get stuck on “show, don’t tell” as a golden rule. But I think the more important thing to keep in mind is not telling your reader the opposite of what you’re showing them, unless you are deliberately building up an unreliable narrative.

What I keep coming back to is that in the finale season of She Ra and the Princesses of Power we were told that Catra is Adora’s happy ending, but we were shown in all the previous seasons why she couldn’t be. Catra was constantly tearing Adora down, blaming her for her own lost favor with their mutual abuser Shadow Weaver, using her self sacrificial nature against her, etc. And beyond that she was consistently shown as a ruthless and power hungry despot-wannabe. But Adora loves her because... cat ears?

If anything, Catradora was Catra’s reward for switching sides. If Catra was a male character, everyone would be able to see the two reductive narratives attached to her: 1) rewarded with a girlfriend for showing basic decency and 2) “(s)he is pulling on your pigtails because (s)he likes you”.

Are toxic masculinity tropes okay when it’s a girl and/or when it’s gay?

The worst of it was when the narrative treated Catra as the one that cares the most about Adora and her needs/wants. Because that honestly sounds a lot more like Bow, Glimmer and honestly a whole lot of other characters that didn’t crash reality because they couldn’t deal with Adora being right about something.

If this seriously was the plan from the beginning, then they suck at writing healthy relationships.

To be perfectly clear, I don’t need my queer representation to be sugary sweet without any conflicts whatsoever. But I do need to believe that they actually like and care for each other. I do need to believe that they make each other better, and that the give-and-take is even. If you want toxic queer rep we’ve got a substantial backlog of that already as most early queer rep was only allowed if it was wrong somehow. (Predatory lesbians, cross dressing villains, male villain crushing on male hero, etc.) Showing the same and/or worse wrongness but saying it’s right now, isn’t progress.

I think that’s about it. Got most of it out of my system. (I mean I could do a comparison between Catra and Kyle Ron, where the major difference is that her childhood abuse wasn’t just a fanon invention.) But I just want to move on from this show. Glad I never dipped more than a casual toe in the fandom, so cutting it out won’t be a hardship.

#adora deserves better #anti catra #anti catradora

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zigzagzoom94 · 3 years

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Hey! Do you like tabletop rpg actual-play shows that are equal parts audio drama and improv comedy? You should check out the criminally underrated DnD podcast 'Dice Funk'. It manages to combine the comfy vibe of good friends chilling out together cracking jokes with some legitimately interesting worldbuilding that examines existing DnD lore and conventions to put its own spin on them.

Each season is a self-contained storyline with new characters so you can jump in at whichever one sounds interesting (you might get spoilered for some stuff 'cos the PCs have a tendency to make world-altering decisions that still have big repercussions, even with the substantial timeskips between seasons, but otherwise they limit any references to earlier seasons to non-essential easter eggs to keep things accessible).

Personally I started with seasons 3 & 4 and they served as a good introduction to some recurring concepts like "the World of Forms".

Below the Read More I'll break down each season so you can see what appeals to you:

Season 1, "Stoneroot": A noir-esque black comedy that follows a trio of varying levels of competence attempting to solve a simple missing person case that spirals wildly out of control.

I kind of think of this as the 'Here There Be Gerblins' of the show since it's the only season with a different GM so it has a pretty different feel to the rest of the show and takes a bit longer to find its feet.

Personal Highlight: One of the PCs rolls a 3 Intelligence, leading to a running segment where that player brings up monsters from the Monster Manual and asks the other players if they think it has a higher or lower Int than that PC.

Season 2, "Lorelai": A more lighthearted romp in which a cast of interplanar travellers explore the world trying to figure out the cause of a catastrophic flood and put a stop to it. According to the creators this was conceived as a cross between 'Princess Bride' and 'LoZ: Wind Waker' but morphed into more of a "moist Undertale".

Personal Highlight: The first time the GM has to portray a mysterious entity making deals with lower life forms he decides to portray them like a wheeling-and-dealing used-car salesman and it honestly made every scene they're in a delight.

Season 3, "Ilium": The party are trapped in a strange city that people can enter but never leave, taking whatever jobs will make ends meet. Inspired by 'Hot Fuzz' and 'Twin Peaks', this series places a lot of emphasis on how the supernatural elements affect people's normal lives and uncovering the many dark secrets these characters hold.

Personal Highlight: The GM wrote a custom "Wild Magic" table for the party sorcerer with some absolutely buckwild shit on it. I was on the edge of my seat every time it was rolled.

Season 4, "Valentine": A cyberpunk urban fantasy with near-future technology levels in which the cast struggle to make ends meet while doing shady jobs for uncaring megacorporations. If your familiar with DnD, this season's based on 'Shadowrun'. Probably the season most explicitly about how capitalism sucks.

Personal Highlight: One of the PCs is a wizard who uses yugioh-esque trading cards to cast their spells instead of a spellbook. I did not anticipate being so invested in their rivalry with not-Kaiba and neither did the player.

Season 5, "Markov": If you love unlikely found families then this is the season for you! It's a space-faring sci-fi story in a galaxy reeling from war with the colonialist Mind Flayers, setting the stage for a lot of political turmoil. If you're familiar with DnD, this story's based on 'Spelljammer' and absolutely riffs off of a lot of the bizarre ideas that setting introduced.

Personal Highlight: The Son Gun. I will not elaborate on what this means but you'll know when you get to it.

Season 6, "Purgatory": The season opens on a group of mortals who have just been resurrected and tasked with taking up the mantle of the Furies; interplanar assassins who traverse the various afterlives dealing with whichever god-like entities threaten the balance of power between the planes. If you've played 'Planescape: Torment' or are familiar with the city of Sigil you know what to expect.

I honestly think this might be the best individual season of 'Dice Funk'? Everyone's really firing on all cylinders.

Personal Highlight: King Badass has my heart. Y'all can't claim to support himbos and then not be supporting my favourite dumbass bae.

Season 7, "Wormwood": After all the previous seasons deconstructed a lot of elements of classic DnD ("what's up with certain species automatically being evil?", "isn't delving into a dungeon to murder its inhabitants and steal their stuff kinda colonialistic and messed up?", "how would access to magic actually affect the way a society functions?", etc.) this seasons brings this all together by having the closest set-up to a conventional DnD adventure. The world is post-apocalyptic and draws a lot of elements from the 'Dark Sun' setting.

Personal Highlight: Two of the PCs are a cult leader and his follower and I thought I knew exactly what direction that storyline was going...then it absolutely surprised me.

Season 8, "Grendel": I can't comment on this one yet since it's only just started but so far it has had a very cosy, 'Animal Crossing'-like vibe with a focus on a small community, in contrast to previous seasons' much higher stakes.

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rosyfingereddawnn · 3 years

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That’s The Way (Chapter 2)

Pairing: Jimmy Page x Reader

Word count: 3.3k

Warning(s): mentions of cheating, cursing

Author’s notes: Hey y’all, welcome to Chapter 2! Thank you so much for all your positive feedback and responses. A little heads up: Jimmy is not in this chapter...since this is a slow burn, he’ll be introduced in Chapter 4, but it won’t be long, I promise. Just sit tight! As usual, please enjoy, happy reading, and send us messages if you have theories, comments, music recommendations for the playlist, or if you want to be added to the tag list :)

Chapter 1

---------

Evening of 4 May 1965

Walking into the kitchen, Y/N slid into a seat between her brothers, Tommy and Charlie, just as her mum was placing platters of that night’s dinner on the table. A sinking feeling in her stomach plagued her all day, as she knew that she would be interrogated intensely by her family about the previous night. More importantly, she knew that if they felt that any of the musicians had viewed her as a possible love interest, she’d be in big, big trouble.

“Dad, can you pass me the vegetables, please?” Y/N asked her father, sitting a few seats down from her. If the girl hadn’t been glancing down at her plate to avoid eye contact, fighting the gut feeling that the inevitable would soon occur, she would have seen him glance at her from over the frames of his glasses.

“Sure, dear,” he replied, briefly looking up from the newspaper he was reading as he gave Y/N the dish. The clanking of utensils on plates was all that could be heard until Charlie broke the seal by asking the dreaded question.

“So Y/N, how was the concert last night?” he asked, raising the glass of water in his hand to his lips. Y/N couldn’t blame Charlie for asking, because he had no idea what had happened, but she knew that this conversation could go south fast. Tommy’s hums of laughter quietly escaped his lips, and Y/N nudged his arm from under the table, giving him a glaring look that sent daggers from her eyes. It screamed, “Shut up!”, and another bout of giggles was the only response.

Tommy knew the outcome of last night because of what Carolyn had babbled to him on the car ride home, and was doing everything in his power to tease his sister.

“Why are you laughing, Tommy?” Y/N’s mum asked, finally taking a seat between Charlie and Lillian. Silence settled over the table as all eyes locked on to the oldest daughter, and Tommy evilly smiled at Y/N, who only glared at him again. “No reason. Actually, I think Y/N should tell you instead.”

Y/N huffed as she put the dish of roasted chicken, generously seasoned and herbed, back in the middle of the table. She painted on a smile before answering, “It went pretty well. Brilliant show.”

“That’s it?” her dad asked, folding up the newspaper, knowing his daughter was downplaying it.

“Yeah, Y/N, that’s it?” Tommy added. Y/N knew he was taunting her, but the rest of the table did not pick up on it. From under the table, Y/N’s leg begins to bob up and down, and she bites her lip, debating whether or not to tell the whole story. It’s obvious they’re not going to be happy…

“My God, Tommy,” With an exasperated sigh, Y/N, very annoyed at her brother’s pushing, throws her hands up in unwilling acceptance. “Fine, Carolyn and I were invited backstage, and we met the band.”

The table audibly gasped, the loudest of course being Lillian, who looked disappointed, almost devastated at the revelation. Her lips turn down in a sulk, and she rests her cheek, almost permanently flushed with youth, on a fist. “You promised me you wouldn’t let any boys mess with you, Y/N!”

Y/N reached her hand across the table to hold her sister’s in an attempt to coax her. “They didn’t, Lil. We just talked for a while. I just made some new friends last night, that’s all.”

Lillian’s frown turned upside down, content that her sister was safe, a naïve smile that Y/N felt a little guilty about. She, along with Charlie and their parents, didn’t know that most members of the band had shamelessly flirted with her and invited her back to see them again. Tommy was the only one aware, and Y/N made him promise to keep the whole rendezvous a secret. Carolyn had brought the flirting to Y/N’s attention on the car ride home, because in the moment, she didn’t think much of it.

“If they’re mean to you, I’ll be mean to them, just for you!” Lillian exclaims through a mouthful of mush, and the table burst into laughter, shaking their heads in amusement.

“How did it go?” Y/N’s mum asked, cutting into her chicken with a knife and fork. For the first time over the course of the whole dinner, Y/N broke into an unadulterated smile at the memory. “It was really nice, genuinely. They were all so sweet to us, and we just bonded over music and stuff.”

Y/N’s mother quirked her brow. “No ‘you know what’?”

“No Mum, nothing explicit. It was good, clean fun. Seriously.”

“Alright, I hope you’re telling the truth… I’m happy you had a great time.”

“She is telling the truth, Mum,” Tommy quipped through bites of roasted potatoes, “I can attest to that.”

Y/N’s mum smiled, but her dad piped up with some two-cents of his own. “Musicians are a tough crowd, Y/N. Very fickle blokes, their attractions change all the time. You can’t get too attached to them, dear, you’re just a small fish in a very big sea.”

“I know, Dad,” Y/N replied, trying to sound understanding. She couldn’t lie to herself, though. The Yardbirds made her feel very special last night, and disappointment was lurching in her stomach at the comment. As much as her father’s words stung, she harbored a small feeling of hope that they truly enjoyed her company and meant what they said.

After everyone finished dinner, and Charlie and Lillian left the table to go play in another room, Tommy, wallet in hand, walked over to his mum, who was washing the dishes with the help of her husband.

“Hey Mum, I’m gonna take Y/N for ice cream,” he whispered, glancing at Y/N who was sitting in a chair in the living room, almost unconsciously playing with her fingers and staring out the window with a pensive countenance.

“Okay, love. Just bring something home for Charlie and Lillian,” she replied. Tommy walked over to Y/N, tapping her shoulder. The girl looked up at him, confused.

“I’m taking you for ice cream. Let’s go,” he said, already walking towards the door. Y/N grinned, then chased after her brother to the car.

~~~~~~~~

27 June 1965

Y/N and Carolyn weren’t able to attend as many Yardbirds gigs as they would’ve liked in the end of May and beginning of June, as they had exams at school. Now that they were over, Y/N could be fully immersed in the travelling British rock and roll circus for the greater part of the summer.

The girls agreed to make a venue change tonight: instead of going to the Marquee, as they usually did, they decided to go to the Crawdaddy Club. Y/N hoped Jeff, Chris, Paul, Jim, and Keith would remember them by their faces instead of just their clothes, because there was no need to wear school uniforms anymore.

Carolyn decided to drive to this particular gig, probably because she was expecting the two of them to go backstage again, as having her own car would grant them more time with the band then that first night at the Marquee.

The Crawdaddy Club was architecturally and aesthetically different from the Marquee; there were no chairs or booths, so standing was the only option, and the boundary between the stage and the audience was virtually nonexistent. The ceilings were low and beamed, and the stage backdrop had a painting of a measure of music. Y/N thought that particular touch was a bit cheesy.

Carolyn and Y/N walked in together, squeezing past the army of fans already hoarding the front of the stage. They managed to find a spot by Jeff’s side of the stage, his amps towering a few feet from where they stood. Thankfully, they were able to see most of the stage, including Jim’s drum riser in the back. The conversations among all the audience members were deafening, but Y/N heard a loud whisper within her periphery that she could just make out.

“Pssst! Y/N!” a familiar voice whisper-shouted, which was followed by a wave.

It was Jeff, widely smiling with his guitar slung over his shoulder. He was walking out the backstage door, meticulously making sure the door wouldn’t harm his guitar in any way. He then waited near the stage steps to go on, which the girls discerned could be any minute now.

“Oh my God, Jeff!” Y/N replied excitedly as she walked over to the steps. She made her way through the crowd, a lot more ungracefully than she would’ve hoped.

“It’s so cool to see you at some place other than the Marquee,” Jeff said. He looked genuinely happy that she was there. Maybe Y/N’s dad was wrong about these “fickle musicians”.

“We’re happy to be here! I’m so sorry I couldn’t make any more since the last time… exams and school and all.”

“Oh, that’s where you were! I hope you got good marks,” Jeff playfully grinned, “because you ought to mind your studies, Miss Y/N. Sam was starting to think he scared you off and that you didn’t want to come back.”

Y/N scrunched her nose in a confused way, as if to say “who?”, which resulted in a soft chuckle from Jeff.

“‘Sam’ is Paul’s nickname.”

Y/N nodded in understanding with an endearing smile. “Oh, okay. That’s definitely not it, then. I was just stuck with exams and graduation, that's all. Be sure to tell him that.” A wink punctuates the end of her sentence, and, gearing up to respond, Jeff is interrupted by a sharp noise next to him. Mere seconds later, another familiar face entered the scene, walking out of the door. Chris Dreja, also with his guitar slung over his shoulder, warmly smiled at Y/N as he closed the door behind him.

“Hello, Y/N. It’s so lovely to see you again,” he greeted. She noticed that he had a substantially deeper voice than the other four, something she hadn’t the last time they met since he was talking with Carolyn and Keith.

“Hi Chris! Same to you,” Y/N grinned.

“No uniforms this time I see,” he teased, discreetly scanning how stunning he thought she looked.

Y/N laughed. “Yeah, I’m off from school for the summer so there’s no need anymore, thank God. Now I can attend your shows more frequently, and wear a decent outfit too!”

“That’s great to hear. We do love your company.” Y/N beamed at his comment, unconsciously tucking a strand of hair behind her ear. Chris’ eyes track the movement, and he couldn’t help but feel a little guilty. He thought Y/N was beautiful, but he had a wife and a child on the way. He also felt a little jealous that Paul and Jim had their eyes on her, but there was not much he could do about it. If he was cunning and quick enough to steal Y/N before they had the chance, though, and if his wife never found out…

Quickly regaining his wits, he remembered why he was sent out. “Jeff, Keith needs you backstage again.”

Jeff groaned. “What? I thought we were starting, like right now!”

“I know, I know. We were supposed to, but he wants everyone backstage again for some reason.”

“Ugh, this is why he can’t fucking be in charge,” Jeff replied, clearly annoyed. Then, as Chris was heading backstage once again, Jeff pulled something out of his pocket, a knowing smile on his face.

“Here, love, have this. You’ll be needing it after the show,” he said, placing a card with a lanyard attached to it into Y/N’s hands. Y/N smiled giddily.

“Thank you. Good luck with that meeting, and good luck in the show, even though you don’t really need it,” Y/N replied playfully.

“Oh, I think I need it more than you think I do,” Jeff smirked, disappearing behind the door.

~~~~~~~~

Just minutes later, The Yardbirds came out and played their set, which lasted a couple hours, and didn't fail to stun the crowd. Y/N and Carolyn received a lot more smiles of recognition than the last time at the Marquee, since the boys knew who they were now. The only similarity to last time was the electrified fans who were completely immersed in the music.

Jim McCarty, in particular, looked at Y/N a lot more often throughout the show than he did last time. She caught him a couple times, which was really embarrassing on his part, but not the entire time, much to his pleasure. He didn’t think it was possible, but it seemed that she had grown even more beautiful than last time.

Was it absence that made his heart grow fonder? Possibly. Was he in love? Yet another possibility. Did he know for certain? Perhaps, but he wasn’t exactly sure yet.

Besides focusing on the music, Paul’s mind was elsewhere. He was planning on asking Y/N out on a date with him sometime this coming week. He hoped she’d accept, since she did an awful lot of blushing and giggling around him when they met in May, but he didn’t want to get his hopes up. Paul was concocting the perfect formulation of words so that she couldn’t refuse the offer. She looked like the type of girl who would enjoy a nice dinner date, and he would do anything to make that a reality for her.

Chris’s mind was the opposite of Paul’s: he didn’t want to think about Y/N because in the event he did, he knew he would mess up a chord or two on the guitar.

God, he thought, she was perfect. Purely enchanting.

Jeff was just happy, almost giddy, that he’d found a new friend in Y/N. He knew she was special, and he hoped she trusted him, because some people in this business could be very sleazy. She was different from all the girls a lonely musician would find on the road. Y/N was the type of girl that Jeff wanted to see after a thousand and one nights touring, catching up and sharing stories over a pint. Sure, he had a steady girlfriend, but something about Y/N was comforting, friendly, and trustworthy. Just what he needed in a friend.

The set was similar to the one at the Marquee, but with little variations here and there, still holding the audience under a trance. After the performance’s conclusion, Y/N rummaged through her pocket and showed Carolyn the backstage pass given to her by Jeff, to which Carolyn squealed with delight. Y/N took Carolyn’s hand and walked with her to the door, showing the security man her prized relic. At once, they were granted access, and they skipped and trotted and leapt down the hall in excitement.

When the pair got to the correct door, Y/N took a deep breath and knocked a couple times; momentarily, they were greeted by a smiling, but sweaty, Jeff Beck.

Y/N didn’t care. “Brilliant show, my friend,” she gushed, giving Jeff a congratulatory hug.

“Thank you,” he replied gratefully, reciprocating it with a beaming smile, “security didn’t give you trouble I hope?”

“No, we were fine, thankfully.”

“Good to hear, good to hear. Well, come on in!” Jeff exclaimed, getting out of the way of the doorframe, “do you fancy yourselves a drink?”

Y/N and Carolyn walked into the room, starstruck once again by all five of The Yardbirds being in one place. This time, some members of the road crew, management, and lighting company were there as well, chatting and planning among themselves. They all greeted the girls amicably, and grabbed some chairs and arranged them in a similar formation to the Marquee.

“Um, yeah, sure, if you don’t mind,” Y/N accepted as she sat down, throwing a kind “thank you” over her shoulder at the roadie that had brought her chair over, voice a little lost in amazement at the current happening.

“Here, I’ll get it,” Jim said with a smile, “you stay put.”

“Thank you, that’s so sweet,” Y/N grinned appreciatively. She could feel herself warming up to these guys, as she didn’t feel as nervous as the last time. But a little twinge of it was still there, rippling through her stomach.

Jim was turned away from Y/N getting the drinks, so she wasn’t able to see him blush. He found it unbelievable, the effect she had on him.

The whole group was sharing conversation and laughs over drinks for almost three hours, but it was almost as if time did not pass. They talked about music, books they liked, restaurants they recommended, places they’ve travelled to, philosophy, history, the environment, conspiracy theories...you name it.

Y/N and Carolyn stood up from their seats, as a cue to the party that they had to leave soon. Paul, who again was sitting next to Y/N, tapped her shoulder. Turning to face him, Y/N could see the flush on his cheeks, and the way he was almost curled into himself.

“Hey Y/N, can I ask you a question really quick?” he asked, much more nervous than he sounded a few seconds ago.

“Yeah, sure,” she smiled. Y/N, taking his outstretched hand, found herself being whisked away by Paul to a corner of the room, near a row of vanities attached to the wall. She hoped that the others were all too distracted talking, so that no one would notice her and Paul’s absence.

Looking at each other, face to face, the two smiled happily, as though there wasn't a care in the world.

Paul then took a deep breath, his expression turning more anxious. “Okay…” he exhaled, “here goes.”

“You don’t have to be nervous,” Y/N chuckled, “it’s just me.”

Paul’s face softened a little, gazing down at her. “But you see, that’s the whole point. It’s you. I have every reason to be nervous.”

Y/N’s face cascaded into a red flush, her lip quivering in the hopes of concealing a foolish grin. Paul reached down and grabbed Y/N’s hands, holding them in his own as Y/N’s heart started racing at what felt like two thousand miles a minute.

“I just wanted to preface this by saying that I, uh… I have been absolutely bewitched by you, and I haven’t been able to stop thinking about you since the night at the Marquee,” he began. Y/N melted with every word, but at the same time, she felt as if she had been electrically shocked. When she looked into the twinkling depths of his eyes, she couldn't help but swoon.

“So,” he continued, “I was wondering if you’d like to go out with me sometime. If you’ll let me, of course.”

Y/N was at a loss for words, composure, and any sort of rationality. She never thought, in her wildest dreams, that a musician in a world-renowned band would fancy her. Just able to restrain an awestruck grin, she finally gave in.

“Yes,” she replied, happily breathless and dazed, “I would love to go out with you.”

Paul, ecstatic with her answer, beams down at her as she launches into his arms in a sweet embrace. He asked for her phone number and address, and, spotting a nearby miniature legal pad, she wrote everything down, signing it with a cartoonish smiling face and a heart.

~~~~~~~~

After Y/N and Carolyn had said their goodbyes and left the Crawdaddy Club, the five musicians were left alone in the backstage area, to relax after such an electric show. Jeff and Keith approached Paul, who was collecting his belongings in the corner of the room.

“Did you do it?” Jeff asked, face a picture of feigned nonchalance as he took a sip of his beer.

“Yes, I did it,” Paul grinned, bending down to grab something of his that had fallen on the floor.

“I guess she accepted by the look on your face,” Keith observed, a sardonic smirk on his handsome features.

“You’d be correct,” Paul replied.

“You wanker,” Jeff shook his head disapprovingly, “why would you bloody do that? You’re gonna break her heart!”

Paul’s expression quickly turned unimpressed. “Because if nobody here tells her, she’ll never know.”

What Paul had failed to tell Y/N was that he had a wife, with whom he shared a home. He felt bored, with all the travelling and the touring and the nonsense, so he wanted a lovely, intelligent young woman like Y/N to “keep him company”.

He knew he wasn’t in love with Y/N. Sure, he fancied her immensely, thought she was ethereal, but his heart truly belonged to his wife.

“Congratulations, Sam,” Keith said sarcastically, “you just potentially ruined a friendship with a very pretty bird.” It was clear that Jeff and Keith cared very deeply about Y/N and her happiness, because she was a great girl.

Paul rolled his eyes, annoyed. “You lot have to do me this solid and don’t say anything to her. It’ll work out fine. Oh, and spread the message to Chris and Jim so they don’t spill the beans either.”

“You fuckin’ owe me, Sam,” Jeff warned, already walking backwards towards Chris and Jim, “you owe me big time.”

---------

Taglist: @blood-on-blood @reincarnated70sbaby

#that's the way #jimmy page #the yardbirds #led zeppelin #jimmy page fanfic #jimmy page fanfiction #led zeppelin fanfic #classic rock fanfic

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deans-haunted-baby · 3 years

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Dadstiel Shoulder Touch Analysis

I want to take some time to discuss something about this incredible father/son dynamic that I don’t think gets enough recognition. And that is their connection. A connection layered in so many different attributes yet primarily based on physical touch. Apologies this is going to be long. Despite my saltiness towards Supernatural as I feel the show squandered them during its run, I really love the amount of attention to detail that was put into Castiel and Jack’s relationship. It kind of has a Terminator inspired vibe going on which I can’t deny enjoying. The bodyguard and the future savior of mankind. And this bond was in development all the way back in season 12; long before Jack was born.

During 12x19 it’s through his mother Kelly, that the son of Lucifer forges an emotional attachment with the trench-coated angel whom he imprints on to be his surrogate dad. From the moment Castiel puts his hand on her belly, and feels Jack, they instantly fall in love with each other. At first touch. Trusting each other completely without the slightest bit of doubt as they sense the other’s good aura. It’s a devotion unlike anything Cas has ever experienced in his millions of years. Even more than what he’s felt for Sam and Dean. And it happens before he and Jack even get to see each other. Their bond becomes intensely essential that it boosts Castiel’s grace, allowing him to protect Kelly and her son from Dagon as well as cause a rip in time and space.

After Jack is born and in the care of the Winchesters, scared, lost and confused yet curious as an infant in an adolescent body; the child wanders aimlessly searching for Castiel. All he wants in that moment is to be with Castiel because that is who he recognizes as his father. Missing him and needing to feel that same warmth, protection and compassion he felt from inside his mother’s womb. However, following the tragic circumstances that led to the angel’s unexpected death at the hands of Jack’s biological dad in 12x23, these two are forcibly separated in the beginning of season 13. Until Jack instinctively resurrects Castiel out of the Empty through his own will and desire alone at the very end of 13x03. Proving that no matter how far away they are, the tether between them can’t be broken.

These two don’t even need an introduction from Sam and Dean when 13x06 finally reunites them for the first time. Jack immediately knows who Castiel is going off on his mother’s memories. And their reunion comes so naturally. There’s no awkwardness, no hesitation or apprehensiveness emanating from the angel’s presence. Jack just walks right up to Cas, puts his arms around him and tells him how much he missed him. Its as if they’d never been apart. And afterwards they spend nearly the entire episode practically inseparable. Getting to know each other as father and son. And that goes without saying, while Jack did bond with the Winchesters in person first, there is no comparison to the Nephilim boy’s emotional attachment towards the angel.

This special relationship is very significant to both of them. Around each other they’re at their most happiest. Castiel is constantly at Jack’s side; and ALMOST ALWAYS tenderly touching him, namely his shoulders or protectively holding him by the arm and the child wholly reciprocates this. In Castiel’s gentle physical touch Jack is given a sense of security, solace, reassurance and comfort. Same as he’d had as an unborn baby. Not only is this the angel’s way of demonstrating his affection, empathy and devotion towards his son but this is actually how he non-verbally tells Jack that he loves him. Its purely unconditional. And this gesture isn’t one-sided as I will acknowledge later. Jack desires Cas’s tangible nearness as much as his dad does which is why they’re so magnetically pulled together in all of their scenes on the show.

Even when they’re at conflict with each other or arguing, Castiel never fails to let Jack know that he’s always safe and loved. That he isn’t afraid of him. His son could be in pain, angry, or vengeful in the moment and Castiel’s affection for that child will never waver. He’ll endlessly put his own life at risk in order to reach Jack; who is far more powerful than he is via his archangel half. Like the convivence store scene in 13x23 when Jack attacks a civilian believing he’d killed his friend and Cas does his best to subdue him. Whether Jack wants it or not at the time, he needs his dad’s emotional support; and the angel can’t stand the thought of his son harmed or hurting. He’s easily saddened whenever Jack refuses his touch as shown in 13x21 when he was very upset over Sam’s temporary death and rips away Cas’s hand as he’s trying to console him.

Supernatural really emphasizes the powerful connection Castiel and Jack share using physical communication in nearly every one of their episodes. Its these wonderful details they do onscreen that illustrates the depth of love these characters have for each other. Unfortunately though, they didn’t get to interact much during season 13. Yet the small portions in their four episodes together is exceptionally substantial. While we’re on the subject, the shoulder touches are definitely a Dadstiel thing. It’s their signature sign of affection and theirs’s only. Don’t believe me, let me give you an example of a specific scene in 14x19 between Jack and Sam; which takes place in the aftermath of Jack’s accidental killing of the Winchesters’ mother Mary.

Dean and Sam conspire to trick and lock away the soulless infant Nephilim in a mystical coffin as punishment with the intention of finding a solution that will end his life. Sam is the reluctant main player in this scheme of using his influence over the child in order to gain his trust and sway him into his fate. Just before Jack’s about to be led to the room and put into the box, scared and uncertain, Sam then puts his hand on his shoulder telling him they need to keep him safe while giving him an awkward grin. And look at Jack’s expression as this happens. It reads shattered. He immediately knows something’s wrong. Sam is touching him just like Castiel…except this is nothing like Castiel. His dad’s shoulder touches are always so tender and loving.

Jack can literally feel Cas’s devotion for him in every tangibility. But here he doesn’t feel that from Sam at all. Its cold, fearful and empty just like he is on the inside. Rendering him even more nervous. Speaking of season 14 the father/son content we get between Castiel and Jack is even better that year as its all about their relationship growing and strengthening into something far deeper than it was in the previous seasons 12 and 13. It’s the year their bond is put through the ultimate test. Where Jack is made human after Lucifer steals his grace and Cas dominantly steps into his role as a father.

Providing Jack with a certain guidance, boundaries, and stability in episodes 14x01, 14x02, 14x03, 14x09 and 14x10 unlike what he’d received from Sam and Dean. Castiel takes on all the difficult tasks of parenting ranging from scolding to teaching his son about death, responsibility, self-restraint, patience and the tribulations of growing up. He doesn’t raise his voice ever when he speaks to Jack. And is completely there 100% for his son from the beginning…and the end of his life. Although Castiel is an angel he is very much a pivotal link to Jack’s humanity and vice versa as well as a link to his celestial side. While he greatly admires and looks up to the Winchesters, its through Cas’s influence that the infant Nephilim aspires to be a good person.

Jack never wants to become the monster his biological father was; desperate to break out of that mold once in for all. And he isn’t alone. Castiel is right there with Jack every step of the way. Ready to challenge and encourage his son whenever he does something decent or makes a mistake. He doesn’t hesitate to tell his son when he’s proud of him. And sometimes he’s there to coddle Jack during times of crisis as displayed in the 14x09 showdown with AU!Michael where the angel takes a second to heal Jack’s minor facial wounds. I just love that tiny focal point of Cas in the background, as the Winchesters are talking, putting his hand on Jack’s shoulder before using his powers on him. As if to keep him calm; like a parent reassuring their nervous kid that it won’t hurt.

Throughout the first part of season 14 we’re blessed with so much affectionate Dadstiel moments like the after-the-battle angst talk in 14x01 where Castiel reminds a very frustrated Jack “you’ve got me” as he declares he has nothing. Or 14x08 after Jack’s death and they’re bittersweetly reunited in Heaven with Kelly; all smiles, touching shoulders and hugging each other as if they can’t bear to be separated. Followed with that heartfelt moment of Castiel tenderly touching his son’s cheeks, sadly looking at him with so much adoration, as he sends his soul back to his body. Then there was their unforgettable father/son pep talk in regards to the vulnerability of Jack’s soul; Castiel just gives his son’s shoulder a gentle squeeze as he leaves the room. Again, this is how these two say “I love you”.

And I couldn’t very go in depth of this analysis without mentioning 14x20′s Jack death scene 2.0; Castiel helplessly touches his son, who’s screaming on the ground in agony, trying desperately to ease his suffering. Yah this was particularly very hard for me to watch witnessing Castiel going out of his mind, completely unable to save Jack from enduring such a painful end to his life. Once was already cruel enough on me. And of course 15x01 continued that vicious trend of Castiel harrowingly protecting his son’s corpse, carrying him over the shoulder in a fireman’s hold as he runs through the cemetery, then gently lays him down on the floor in a mausoleum. I get emotional watching Cas cradling Jack’s head as he positions him comfortably; letting his touch linger unable to let go. He doesn’t even care what happens to him in this moment as long as his son’s body is safe. Very strong symbolism of a parent who will never abandon their child long after they’re gone.

On a side note I want to quickly call attention to how much I revere the Dadstiel healing parallels in 14x09 and 14x14 plus BONUS: Jack almost-killing Castiel in 15x13 so he can talk to Ruby in the Empty. These just add some nice little textures in their dynamic which compliments their ongoing tradition of showing devotion through physical communication. And both the healing scenes and the temporary death scene are composited very similarly. Focused on Castiel and Jack’s hands in the process of relieving the other’s pain/life.

Touch is exhibited as being a very crucial element for both of these characters when it comes to their iron-clad relationship. That palpable part of Castiel and Jack’s connection keeps them closely-knit. Its their familial instinct and how they express their feelings for each other. If they aren’t kneading shoulders, the angel duo is often standing beside each other or firmly linked at the arms. And this usually happens during moments of extreme stress, joy, sorrow, pain or fear. Jack relies so much on Castiel’s parental presence. He respects his authority, disobeying only when his actions feel necessary, and will go to the angel whenever he wants to talk or vent. Jack is also comfortable with Castiel enough to confide his darkest secrets no matter how awful they are. That’s the foundation of the everlasting trust built between them. They’re just tethered to one another in such a way that nothing will divide them.

I’ll begin with the hospital scene from 14x07 where Castiel is being the rock to his ailing son who can barely stand on his feet. There’s so much anxiety radiating off him in this moment as he struggles with watching Jack suffer; holding him so close. Staring at his face you can tell this horrible situation is ripping him apart. Actually, the entire episode is basically just Castiel silently enduring the pain of Jack dying.

The second set of screencaps underneath are of 14x10; Jack is agitated by AU!Michael’s antagonistic claims that his family’s love for him isn’t unconditional. Reading into one of his greatest fears. But then Castiel instantly calls out to his son, grabs the crook of his arm; gently reassuring him none of this is true. And Jack doesn’t resist this as he knows his dad is sincere. He never has to question Cas’s feelings towards him as his physical touch alone is self-explanatory. But when it comes to the Winchesters, that’s a whole other conversation.

Next, we have one of my favorite emotionally-charged Dadstiel moments in 14x14; where in a fit of panic because the anti venom wasn’t working Jack, going against Castiel’s warnings not to risk burning off his soul, is compelled to use his powers to save his dad. And I love this because this time its Jack who’s the one initiating all the physical contact. Just as the recovered angel demands what he’s done, his son responds with a soft “you’re okay” and the “I love you dad” shoulder touch as well as firmly gripping his arm.

Finally stepping away from season 14 I’m going to briefly go over the caps from season 15. Let’s begin with 15x11 the Dadstiel reunion scene at the church which is so beautifully poignant. Castiel is so overjoyed to see Jack alive that he takes a second to look over his equally stunned son, touching his shoulders before they embrace. This is by far one of Cas and Jack’s top father/son moments on the show and it’s done so effectively. If you want a more in-depth description for what I love about this scene, you can read my post about it here.

After that is the 15x13 Dadstiel moment where Castiel, suspicious of Jo’s story about the Occultum, had asked Jack to temporarily kill him in order to go see Ruby in the Empty. Two things I really like about this; 1. even though Jack still doesn’t have a soul, is very concerned about and protective over Castiel because of that deal. And 2. again Jack is initiating all the touching in this scene; look at the way he grasps his dad’s arm as he returns him to life. It’s almost as if he’s hoping the touch of his hand will not only speed up the process but also reach his dad so his essence isn’t lost forever.

And then we have 15x17. We didn’t get much Dadstiel interaction in this episode but the amount of times Castiel protectively holds onto his agonized child, who’d been turned into a cosmic bomb about to go off any minute, having no regard for the danger he’s in is so visually gut-wrenching. There’s a specific moment in the scene where, as Sam and Dean are arguing, Castiel is sitting on the floor just clutching Jack tight. Trying to non-verbally soothe him.

And this is followed up in the first half of 15x18, aka THEIR VERY LAST EPISODE TOGETHER ever on Supernatural. Here is where everything about their connection comes full circle with Castiel refusing to abandon Jack no matter the situation. Demonstrating the extent of his devotion by willing to die for his child just as he’d sacrificed his happiness to save Jack from the Empty. Because that is his son and nothing not even death itself can ever destroy what they have. Much as the young Nephilim boy begs for his dad to stay away, yells that he doesn’t want to hurt him; Castiel kneeling to Jack’s eye-level doesn’t leave his side. Then when Jack disappears to the Empty and reappears back at the bunker reformed, Castiel’s hand remains firmly glued to his son’s shoulder. He doesn’t want Jack to feel afraid or traumatized any further.

This was such an intense part of the episode I mean just look at how stressed out these two were. The anguish in their expressions. Simply put, Cas and Jack cannot bare to live without the other. They’re each other’s home; two sides of the same soul. Castiel loves all of Jack; the good, the bad and the ugly. This is an EPIC father and son’s love that knows no bounds. So powerful and pure that it transcended the loss of Jack’s soul, Lucifer’s DNA, the Empty, Mary Winchester’s death and everything else in between. Oh, and guess what, their “I love you” Dadstiel shoulder touches aren’t limited to just their hands. Its in every single one of their hugs too.

Notice how their chins or faces just comfortably rest on top of each other’s shoulders. And except for 14x20 their eyes are shut, as if to savor every single second of that closeness. Jack just buries himself against Castiel like he’s never felt safer with anyone else in the whole universe. And both of them hold each other; giving and receiving the other’s love with their whole self. Like I can’t even begin to describe how much Castiel and Jack’s softness towards each other just melts my heart. Their relationship, despite the horror tongue-in-cheek atmosphere of SPN, is surprisingly sweet, healthy and endearing. They are the epitome of true unconditional love and a great contrast to the Winchester brothers. In my humble opinion Castiel and Jack’s father/son dynamic is the best thing to happen to this show in a long while.

For the closing segment of this analysis I want to do something special before I discuss the paralleled-angst driven Dadstiel shoulder touches in 15x15 and 15x18. First off, I can’t shout enough praise from the rooftops about the insanely remarkable chemistry between Alexander Calvert and Misha Collins. Just brilliant casting. They embody these characters heart and soul and make this relationship feel so real, genuine and grounded. The fact that they look so similar in appearance really sells the idea that these two could actually be father and son. Forget the scripts, the quiet subtly these two bring to Castiel and Jack is the true magic of their relationship.

Let me start with the Dadstiel centric 15x15 aka THE BEST EPISODE of Supernatural season 15. This amazing masterpiece of art is everything I could’ve asked for and more; giving me so much precious father/son content that I will cherish forever. I really enjoyed seeing Castiel and Jack in those matching ties, bonding with each other over a case while they save the day. It’s a shame this show never let these two have more solo adventures together because they’re truly a joy to watch onscreen. Fingers crossed for that spinoff.

But I digress, the car scene in question happens at the very end of the episode in which Jack reveals the alarming truth that he has to die in order to stop Chuck and Amara. And Castiel, visibly and outspokenly distraught by this news, has to be assuaged with that infamous shoulder touch by his son; who’s in just as much pain. This is without a doubt one of most emotional scenes between these two characters out of the last three seasons of the show and quite possibly one of Misha and Alex’s strongest acting moments after the Dadstiel church reunion in 15x11. They killed it with the feels here. I like the attention to detail, the shadows and the colors in the shot, the melancholic score as well as how it seamlessly switches from Jack’s perspective to Castiel’s. Seriously watching this scene always makes me cry its so devastating.

Lastly, we have the Dadstiel car scene in 15x18; and Castiel and Jack’s LAST ONE-ON-ONE together. I’m kind of disappointed by this if I’m being honest. Its not that its bad its just not that definitively great for a final scene between these characters. Especially after four seasons of development. Where are the stakes? Why don’t Jack and Castiel seem as concerned about their situation? Cute as that smile was it doesn’t fit the tone. And where’s that punch in the gut knowing something is going to separate these two any second? It’s too light and doesn’t come off like a goodbye or a cathartic bookend which is what I wanted to take away from the episode considering its title “Despair”.

I mean if they were going to follow up on that heartbreaking car scene at the end of “Gimme Shelter”, the 15x18 scene wasn’t the way to do it. So, the weight of this final interaction feels almost non-existent. Maybe if it had taken place at night and the dialogue solely focused on them not the Winchesters it would’ve faired better. But since this isn’t a rant post I’ll cut to the chase by saying that the only saving grace this moment has happens in the last part. Jack’s in tears telling his dad how scared he is that he can’t use his powers to protect anyone. Coming off very childlike and vulnerable; needing that parental protection that Castiel was always known for. And sure enough, he gives Jack that final “I love you” shoulder touch which I swear had me choked a little.

Rethinking about it now that the show is over actually makes their final moment together really sad as incomplete as it is. I not only look back on how much these characters were drastically underutilized but how much the Dadstiel storyline could’ve been executed better with all the development that it was given. Well there you have it my full Dadstiel shoulder-touch analysis. Hope you’ve enjoyed!

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weil-weil-lautre · 3 years

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By Jonathan Franzen September 8, 2019

“There is infinite hope,” Kafka tells us, “only not for us.” This is a fittingly mystical epigram from a writer whose characters strive for ostensibly reachable goals and, tragically or amusingly, never manage to get any closer to them. But it seems to me, in our rapidly darkening world, that the converse of Kafka’s quip is equally true: There is no hope, except for us.

I’m talking, of course, about climate change. The struggle to rein in global carbon emissions and keep the planet from melting down has the feel of Kafka’s fiction. The goal has been clear for thirty years, and despite earnest efforts we’ve made essentially no progress toward reaching it. Today, the scientific evidence verges on irrefutable. If you’re younger than sixty, you have a good chance of witnessing the radical destabilization of life on earth—massive crop failures, apocalyptic fires, imploding economies, epic flooding, hundreds of millions of refugees fleeing regions made uninhabitable by extreme heat or permanent drought. If you’re under thirty, you’re all but guaranteed to witness it.

If you care about the planet, and about the people and animals who live on it, there are two ways to think about this. You can keep on hoping that catastrophe is preventable, and feel ever more frustrated or enraged by the world’s inaction. Or you can accept that disaster is coming, and begin to rethink what it means to have hope.

Even at this late date, expressions of unrealistic hope continue to abound. Hardly a day seems to pass without my reading that it’s time to “roll up our sleeves” and “save the planet”; that the problem of climate change can be “solved” if we summon the collective will. Although this message was probably still true in 1988, when the science became fully clear, we’ve emitted as much atmospheric carbon in the past thirty years as we did in the previous two centuries of industrialization. The facts have changed, but somehow the message stays the same.

Psychologically, this denial makes sense. Despite the outrageous fact that I’ll soon be dead forever, I live in the present, not the future. Given a choice between an alarming abstraction (death) and the reassuring evidence of my senses (breakfast!), my mind prefers to focus on the latter. The planet, too, is still marvelously intact, still basically normal—seasons changing, another election year coming, new comedies on Netflix—and its impending collapse is even harder to wrap my mind around than death. Other kinds of apocalypse, whether religious or thermonuclear or asteroidal, at least have the binary neatness of dying: one moment the world is there, the next moment it’s gone forever. Climate apocalypse, by contrast, is messy. It will take the form of increasingly severe crises compounding chaotically until civilization begins to fray. Things will get very bad, but maybe not too soon, and maybe not for everyone. Maybe not for me.

Some of the denial, however, is more willful. The evil of the Republican Party’s position on climate science is well known, but denial is entrenched in progressive politics, too, or at least in its rhetoric. The Green New Deal, the blueprint for some of the most substantial proposals put forth on the issue, is still framed as our last chance to avert catastrophe and save the planet, by way of gargantuan renewable-energy projects. Many of the groups that support those proposals deploy the language of “stopping” climate change, or imply that there’s still time to prevent it. Unlike the political right, the left prides itself on listening to climate scientists, who do indeed allow that catastrophe is theoretically avertable. But not everyone seems to be listening carefully. The stress falls on the word theoretically.

Our atmosphere and oceans can absorb only so much heat before climate change, intensified by various feedback loops, spins completely out of control. Some scientists and policymakers fear that we’re in danger of passing this point of no return if the global mean temperature rises by more than two degrees Celsius (maybe more, but also maybe less). The I.P.C.C.—the Intergovernmental Panel on Climate Change—tells us that, to limit the rise to less than two degrees, we not only need to reverse the trend of the past three decades. We need to approach zero net emissions, globally, in the next three decades.

This is, to say the least, a tall order. It also assumes that you trust the I.P.C.C.’s calculations. New research, described last month in Scientific American, demonstrates that climate scientists, far from exaggerating the threat of climate change, have underestimated its pace and severity. To project the rise in the global mean temperature, scientists rely on complicated atmospheric modelling. They take a host of variables and run them through supercomputers to generate, say, ten thousand different simulations for the coming century, in order to make a “best” prediction of the rise in temperature. When a scientist predicts a rise of two degrees Celsius, she’s merely naming a number about which she’s very confident: the rise will be at least two degrees. The rise might, in fact, be far higher.

As a non-scientist, I do my own kind of modelling. I run various future scenarios through my brain, apply the constraints of human psychology and political reality, take note of the relentless rise in global energy consumption (thus far, the carbon savings provided by renewable energy have been more than offset by consumer demand), and count the scenarios in which collective action averts catastrophe. The scenarios, which I draw from the prescriptions of policymakers and activists, share certain necessary conditions.

The first condition is that every one of the world’s major polluting countries institute draconian conservation measures, shut down much of its energy and transportation infrastructure, and completely retool its economy. According to a recent paper in Nature, the carbon emissions from existing global infrastructure, if operated through its normal lifetime, will exceed our entire emissions “allowance”—the further gigatons of carbon that can be released without crossing the threshold of catastrophe. (This estimate does not include the thousands of new energy and transportation projects already planned or under construction.) To stay within that allowance, a top-down intervention needs to happen not only in every country but throughout every country. Making New York City a green utopia will not avail if Texans keep pumping oil and driving pickup trucks.

The actions taken by these countries must also be the right ones. Vast sums of government money must be spent without wasting it and without lining the wrong pockets. Here it’s useful to recall the Kafkaesque joke of the European Union’s biofuel mandate, which served to accelerate the deforestation of Indonesia for palm-oil plantations, and the American subsidy of ethanol fuel, which turned out to benefit no one but corn farmers.

Finally, overwhelming numbers of human beings, including millions of government-hating Americans, need to accept high taxes and severe curtailment of their familiar life styles without revolting. They must accept the reality of climate change and have faith in the extreme measures taken to combat it. They can’t dismiss news they dislike as fake. They have to set aside nationalism and class and racial resentments. They have to make sacrifices for distant threatened nations and distant future generations. They have to be permanently terrified by hotter summers and more frequent natural disasters, rather than just getting used to them. Every day, instead of thinking about breakfast, they have to think about death.

Call me a pessimist or call me a humanist, but I don’t see human nature fundamentally changing anytime soon. I can run ten thousand scenarios through my model, and in not one of them do I see the two-degree target being met.

To judge from recent opinion polls, which show that a majority of Americans (many of them Republican) are pessimistic about the planet’s future, and from the success of a book like David Wallace-Wells’s harrowing “The Uninhabitable Earth,” which was released this year, I’m not alone in having reached this conclusion. But there continues to be a reluctance to broadcast it. Some climate activists argue that if we publicly admit that the problem can’t be solved, it will discourage people from taking any ameliorative action at all. This seems to me not only a patronizing calculation but an ineffectual one, given how little progress we have to show for it to date. The activists who make it remind me of the religious leaders who fear that, without the promise of eternal salvation, people won’t bother to behave well. In my experience, nonbelievers are no less loving of their neighbors than believers. And so I wonder what might happen if, instead of denying reality, we told ourselves the truth.

First of all, even if we can no longer hope to be saved from two degrees of warming, there’s still a strong practical and ethical case for reducing carbon emissions. In the long run, it probably makes no difference how badly we overshoot two degrees; once the point of no return is passed, the world will become self-transforming. In the shorter term, however, half measures are better than no measures. Halfway cutting our emissions would make the immediate effects of warming somewhat less severe, and it would somewhat postpone the point of no return. The most terrifying thing about climate change is the speed at which it’s advancing, the almost monthly shattering of temperature records. If collective action resulted in just one fewer devastating hurricane, just a few extra years of relative stability, it would be a goal worth pursuing.

#sorry for this essay it's for my #diss #quote #franzen #climate change #archivist #and i don't want to lose the text

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cosmicclownboy · 3 years

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The significance of Alex's plot isn't in question. His plot was hugely important in both previous seasons too, and people still justifiably pointed out that he's the only character who's perpetually isolated for no reason and that it's a problem. S1 should have had Alex naturally intersect with Liz and the pod squad because he basically investigated the same thing they did and yet he existed in a bubble with Kyle occasionally being around and was never looped into anything else from anyone else. S2 was even worse because the triangle had everyone propping up M*ria, acting like Alex/Malex never existed and Alex's one friendship got 5 minutes of screentime all season. Now S3 has two plots besides Deep Sky and all the mains involved in them already interacted with each other a lot. The 3x03 and 3x04 promo pics show us more of the same. Alex got one scene with Kyle. It's nice that he's Michael's primary love interest, but people want him to have substantial relationships with others too. Instead he's yet to exchange more than 2 words with half the core 8. And finally sharing a couple scenes with Max and Liz after two seasons of nothing is the definition of crumbs. I do believe the S3 plot is going to be more cohesive overall and treat Alex better than Carina would have but that's a low bar and people worrying is understandable.

I don't think it's fair to compare the isolation of Alex in seasons one and two to three. Different showrunners - Carina deadass enjoyed Alex torture porn that was why he ended up sad and alone every episode. She did the same to Rosa too.

I hate to emphasise this but it's been TWO episodes.

I understand the negativity if it's been say six episodes but literally two. Which are really slow paced introductory episodes spanning a couple of days in Roswell time. Liz spent two episodes humping Heath for plot completely isolated from the main cast except for one scene with Kyle and one with Rosa. Liz fans get the intention behind it.

In a couple days timeline wise Alex went through a non breakup, getting potentially honourable discharged and figuring out if he wanted to be recruited by Deep Sky. Alex will have spent his time coming up with his plan and intentions for being undercover. This is a mission for him. Think of it like preparing for a job interview.

He isn't going to be spending the that time getting milkshakes with scooby gang when in his head this takes precedence. He's got an objective to him this is how he can contribute to the group. Getting answers. The dudes spent three seasons investigating it's how he operates.

Whose to say he's never going to have substantial interactions. We know he's filmed Malex scenes, Alex/Liz scenes and Chris pretty much said anyone who hadn't interacted much will interact like Alex/Max.

It's not about quantity it's about quality. I've really enjoyed Alex's storyline already. I like that he's his own character outside of Michael. I like that under Chris' thumb he isn't nerfed or stupid unlike when Carina writes him he's highly academic and accomplished.

#asks

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postmodernmulticoloredcloak · 3 years

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Sitting here thinking about Dean spending a whole year in purgatory never seeing Emma. Going back to purgatory like two more times never seeing her. Did his mind block her out to avoid that he had a child? Did she go to purgatory since she had to kill her father to be an Amazon or did she go to heaven or hell? Like Dean had a bio kid and her bio Uncle shot her and then her uncle tried to downplay the killing.

But she was a daughter and everyone knows you don't get to live like sons do in Supernatural

Well I think it fell into the “things we don’t talk about” list and Supernatural isn’t exactly the greatest show at using previous things to enrich new things especially if we’re talking monsters. (I’m not a fan of how recent seasons talked about monsters. Some ideas with good potential but flat execution.)

It is true that girls get a different treatment than boys.

But I think that this might be about something else, which is little discussed (possibly because none of us wants those people to come out of the bushes complaining that you’re a [car honk] hater so we don’t talk about [car honk] to avoid being even slightly negative about him) and it’s that we shove under the carpet things that don’t paint [car honk] in a great light. I think this is actually a problem that runs through a lot of the show. It’s like they have their hands tied and pepper the story of genuinely interesting things with the character, but cannot actually go through with them because then it would mean that we explore the dark side of [car honk], and we cannot explore the dark side of [car honk]. After Kripke, who actually wrote him the way the wanted to, everyone kind of circled around it. (Well, not really everyone. Someone didn’t give him a dark side at all. But Sam’s character is like 374594585950 times better when the narrative acknowledges and explores his dark side.)

Remember when Dean got assaulted and turned into a vampire and that never got substantially brought up again ever? His perception of vampires and other monsters just stayed unchanged? He got a vampire bestie a couple years later and that never came up at all? The Alpha Vampire appeared multiple times and it was never personal for Dean? Or with Eve really? We’re just supposed to accept that he just goes around chopping vampire heads?

Why is the list of “things we don’t talk about” so full of great concepts.......

#spn 7x13 #spn 6x05 #spn #anon

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davidmann95 · 3 years

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Comics this week (3/10/2021)?

cheerfullynihilistic said: Comics this week (03/10/21)??

adudewholikescomicsandotherstuff said: This week’s comics?

Anonymous said: Comics?

Anonymous said: 3/10 NCBD?

Non-Stop Spider-Man #1: The lead story was fun, the backup was dopey, I’ll give it another issue or two to see where it goes.

The Immortal Hulk #44: While it was too late for this week I’ve taken Hulk off my pull list, so the store won’t order any copies specifically for me and therefore my future purchase of the book won’t support Joe Bennett’s presence, just the store. This issue is typical of some of the books’ weaker installments of the last year or so - feels like well-done regular superhero comics instead of Immortal Hulk - but those last couple pages bring it back around.

Daredevil #28: Holy cow, those King In Black issues actually mattered. God this book is still so fuckin’ good in so many ways, everything every dumbass street-level superhero ‘deconstruction’ wants to be when it grows up.

Children of the Atom #1: Sucks real bad! This weird combo of ‘hip new young Marvel heroes!’ trappings and soulless X-Men lifer comics execution that feels certain to appeal to neither group.

Eternals #3: Of the listed Deviants I imagine I’d relate most to Annoyed Veug.

Commanders in Crisis #6: While I remain without the ability to weigh in on this objectively, this is the issue that to date most feels like it lives up to the promises of the series premiere.

The Wrong Earth: Night & Day #3: Little disappointed personally with the reveal of what the third world is - I assumed it was going to be more of a straight take ‘modern’ version to the other two’s flavors of throwbacks - but this series still rules. And that ending.

Home Sick Pilots #4: Okay, I think I can follow what’s happening at this point, still enjoying it.

Proctor Valley Road #1: I review these books in the order I present them to my dad since he likes DC/Marvel/Other to each be lumped together, but make no mistake: this is the last of the three Morrison books to read this week, because this is what comes next for them. A return to their roots - 70s kids way into music and dealing with the weird, girls adventure stories of the kind they apparently grew up reading - this feels like a refinement of their mid/late-00s Vertigo work in the same way they’ve been iterating on their superhero material for decades. The horror is sold excellently, whether by their own efforts or thanks to cowriter Alex Child this is their most fluid, ‘real’-sounding dialogue perhaps ever, and Franquiz with Bonvillain are instantly among their all-time best collaborators, perfectly capturing the shifting tone and character acting necessary to best put Morrison’s big ideas over in a way a number of their collaborators haven’t lived up to over the years (and speaking of the visuals, Jim Campbell does the lord’s work with that lettering trick near the end). Ritesh Babu and Sean Dillon have a lot more to say about the book and how it already acts as a darker, more honest take on your Stranger Things and the like as a commentary on its times, but I’m already loving to see this particular return down to Earth for Morrison and company and I’m glad to hear this is selling really well compared to their previous indie work.

Dead Dog’s Bite #1: This actually came out last week, but Ritesh recommended it so I figured it might be worth a look. A so far intensely low-key missing persons mystery with a touch of surreality around its edges, this already looks to be the best “look! A nine-panel grid! Fancy!” comic since Mister Miracle, really lived-in and emotional for as little happens in this debut. Very curious where it’s going.

Rorschach #6: I continue to like it.

Batman: Urban Legends #1: Glory be, a good Jason Todd comic - at last, you noble stubborn weirdoes living off of like six nonconsecutive panels all these years, you may lay down your burden. Not all you’d necessarily hope from Zdarsky tackling Gotham after what he’s been doing with Daredevil but rock-solid work regardless; the Harley story is fine, Outsiders is a letdown after Thomas’s shockingly good showing for them in Future State but it’s still fine, and the Grifter stuff is fun.

The Joker #1: I thought the advertised ‘a Joker story from Gordon’s POV’ angle was an interesting one even if I was concerned this book would in practice be pure editorial mandate, but in reality? Tynion has managed to pull the wool over DC’s eyes and do a full-on Jim Gordon book (one predicated with him being off the force to make it reasonably comfortable read in 2021) with Joker as the barest of pretexts to get it out the door and selling for as long as he wants to continue it. He even said in interviews that when the book was first pitched to him that his response was that a Joker solo book was a dumb unworkable idea until he had an idea for a ‘different way to approach it’, he knows exactly what he’s doing and I salute him. And it’s a darn good Gordon book even if the Punchline backup is predictably tepid, I’m in the tank for Gotham’s perpetual whipping boy dealing with weird noir international crime with Joker sort of hanging around in the background menacingly to justify the nominal premise.

Anonymous said: Hey, so I figure one random anon won’t change your mind, but like you I was disappointed by New Frontier’s immortal Wonder Woman, but I still got the new issue of Wonder Woman cause Wonder Woman at Valhalla still sounds great and I actually liked it! I think I’m gonna get at least the next issue, so there’s at least one recommendation for it

Wonder Woman #770: This combined with the store still putting it in my pile prompted me to give it a try after all, and whether because something here clicks better or if they’re simply not trying so hard without the pressure of doing a ‘final’ story for Diana, Cloonan and Conrad do in fact do substantially better on the main book than they did with Immortal Wonder Woman. Some fun, some fights, some mythology and intrigue, gorgeous landscapes and generous servings of beefcake from Travis Moore - this isn’t going to be sweeping the Eisners, but this is as enjoyable as a Wonder Woman comic has been in a good long time. My only concern is that the joyousness on display here might dissipate somewhat once Diana fully returns to herself, but in the meantime this was a very pleasant surprise (especially with the the Young Diana backup by Bellaire, Ganucheau, Goode, and Carey).

Superman #29: PKJ’s Superman thus far has been a story of overcoming initial worries of mine - in this case, my concern that he’d have a bad Scott Snyder-ey case of “if you’ve read the interviews you’ve pretty much already heard the dialogue of the comic verbatim”. In practice here most of what he’s had to say about these issues are distilled down really succinctly and poignantly in the midst of a fun little upper-atmosphere adventure portending something grimmer, and while I know it didn’t click with everyone I thought Phil Hester’s work here was a perfect accompaniment. The Tales of Metropolis backup wasn’t nearly as enjoyable, but hints at some interesting worldbuilding I’m hopeful will pay off in the main run.

The Green Lantern Season Two #12: The final Grant Morrison DC comic. One of two anyway, but if the next story I discuss is their broader final (non-Klaus, hopefully) statement on the superhero subgenre and a bridge to what they’re doing next, this is the one that’s about being The Final Grant Morrison DC Comic. A mélange of pretty much all their other DC finales into a shamelessly self-reflective meditation on the limits of what they can accomplish in shared universe storytelling where Green Lantern saves the universe through collective action and then fucks off to do his own thing elsewhere while the kids take over the ongoings. Weird and kinda perfect, and if nothing else this series took Liam Sharp from “really? This dude is drawing the last ever Morrison DC ongoing?” to “HOLY FUCKING SHIT LIAM SHARP”.

(The panel folks blew up over I think can be read multiple ways, but not in a ‘it’s open to interpretation!’ way so much as the storytelling/framing being unclear. I personally read it as ‘this is what neighbor versus neighbor looks like now’ rather than ‘calling someone a TERF or a Nazi is as bad as anything the other side does’, because oldster and out of touch though they may be I can’t see Morrison seriously saying that, especially after coming out.)

Wonder Woman Earth One Volume 3: At long last, after a hideous misfire kicking the series off and a second installment best described as ‘well, at least it wasn’t the first one’, this while not without elements I want to see femme and nonbinary critics discuss critically lives up to what you want to see out of ‘Grant Morrison’s Wonder Woman’. Big utopian fiction breaking the typical boundaries of superhero stories with aplomb in implicit conversation with a ton of their previous work, a bridge from what they’ve done to what they’re doing next, it’s an imperfect (especially with Paquette’s art, which while gorgeous and majestic in the way this story demands really doesn’t living up to the ‘acting’ necessary here in a way thrown into sharp contrast by Franquiz in PVR) but shockingly passionate statement of intent - if the last two volumes felt like Morrison struggling to have something to say with Wonder Woman in the same way they did with Superman and Batman, this feels at the close like them at last finding in her a way to do everything left with the cape and tights crowd they wanted to but couldn’t manage anywhere else under the Big Two umbrella. Odd and lovely, a fine sendoff.

#Week's Comics #Opinion

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coppicefics · 3 years

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Masked Omens: Week Six

[Image Description: Image 1 - A simple rendition of the Masked Singer UK logo, a golden mask with colourful fragments flying off of it. The mask has a golden halo and a golden devil tail protruding from either side. Below, gold text reads ‘Masked Omens’.

Image 2 - A page from the Entertainment section of the Capital Herald, dated Saturday, 30th January 2021. Full image description and transcript below cut. End ID.]

Read the fic here!

The Capital Herald - Saturday 30th January, 2021 Entertainment, page 13

Top story (continued from facing page): -talk filming, fans and family with 'Three Card Monte' star -finished, and hotly tipped for several major awards come the season, what does Dame Angela have in the pipeline? She's tight-lipped, but the question makes her smile. “Naturally I don't want to give too much away – an actress must maintain some mystery lest the camera fall out of love with her – but I can tell you I have several options in mind, and some of them are very exciting.” But is it a question of which project to take on, or which to take on first? “Well, of course, there are no guarantees, but... yes, I imagine some of them will wait.” It's an unusual level of power for an actor to wield, but at this stage in her career Dame Angela is more than entitled to wield it. How does she feel about winning the showbiz game so spectacularly? “Oh, I feel as though I've been playing a game of my own devising, to which even I don't know the rules.” She laughs. “No, but really, I don't think I've ever thought of it as playing a game. I go up for the parts I think are interesting or challenging, and I've been fortunate enough to get them more often than not. Then, when the part is finished, I move on to the next thing I want to do. There's no strategy, not really, not on my part. Naturally, my agent might tell you something very different!” Having the right agent can certainly be the key to success in the entertainment industry, and Dame Angela has been with Derek Mette, of MetteTalent, for many years now.“More than I care to admit,” she tells me with a laugh, “Derek has been with me since the beginning, really. We're old friends, at this point – our families exchange Christmas cards every year.” Family can be a challenge for someone who's trying to keep the momentum of their career going, and Dame Angela surprised the world when she took a year out of acting to give birth to her son, Anthony.“Yes, at that time it simply wasn't done; one could have a career, or one could have a family. Especially since I was very much on my own with it all. But I was able to get back in front of the cameras quite quickly, and I wouldn't change things for the world. Becoming a mother made me a better actress, I think, because it opened up that whole range of experiences. The highs and the lows of childrearing.” In fact, Dame Angela starred alongside young Anthony in A is for Apple when he was only eight months old. He briefly followed in her footsteps after leaving school, and seemed set for similar levels of industry acclaim. But it all came to a devastating halt when he developed an addiction that led to him being discovered unconscious in his trailer on the set of The Grasswater Affair. He'd overdosed. “I don't like to talk about it,” Dame Angela says, her mouth downturned. “I found it very hard. But now, of course, he's been in recovery for many years, and he does his little plays all around the country. It's behind us, and I'd like it to stay that way.” A change of subject, then; what does she make of the rumours that she is currently performing as a costumed character on The Masked Singer UK? “On- I'm sorry, what's that?” I show her a clip on my phone. “Good heavens, no.” But isn't that exactly what she'd say if it was her? “Well, I don't know. I'd never even seen it until just now. But it all seems a little childish for my taste. I'm far too committed to my art to do light entertainment.” Time, it seems, will tell. But if Dame Angela is indeed a participant in The Masked Singer, she hides it well.There’s time for one last question, so I try to make it a good one. What, I ask, does Dame Angela consider her proudest achievement to date? “Oh, that’s a difficult question. I simply couldn’t choose... Naturally, becoming a Dame was a great honour, and not one I expected at all, which made it all the more precious. But then, the first time I won an Oscar was a real moment of pride, and one that’s never soured with time. And, of course, every award and every round of applause is a moment of pride for any actor; it means I’ve done the job, and done it well, and that it has been appreciated by the audience in front of me. What more can any actress ask for?” MARY HODGES Dame Angela Crowley’s latest film, Three Card Monte, is in cinemas from the 12th of February.

Centre right: OWAS to host ‘magic’ event Literary society’s next gala theme announced The Oscar Wilde Appreciation Society has announced the theme for its spring social event, which is to be inspired by all things magical. Famed far beyond its actual membership for its lavish balls and banquets, the society has in the past held events held together by motifs such as 'Luck', which took place in a casino, 'Snow', which included a trip to a ski slope, and 'Flight', during which all participants had the opportunity to glide above the dancers on wires. This time, the theme is 'Magic', and while details are still being kept tightly under wraps, it seems fairly certain that Aziraphale Fell, London's most celebrated stage magician and a long-time member of the Oscar Wilde Appreciation Society, will be performing at the event. When the society throws open its doors each season, it's quite possible to go all night without seeing a single regular member of the club. While the organising committee is out in full force, soliciting donations from the wealthy patrons who attend the parties, and the society president stands up to make a toast at the beginning of dinner, it's largely outsiders who descend upon the Oscar Wilde Appreciation Society's chosen venue. In fact, the scale and opulence of these events has led some to speculate that OWAS is not a literary appreciation society at all, but rather a shadowy networking opportunity for the rich and powerful. Indeed, at the 'Flight' event, it's rumoured that two world leaders met in the queue for the wire-flying and laid the foundations for a later trade deal between their nations. The society's everyday goings-on are, I'm told, far more pedestrian and literary. But - as the current president, Edwin Pearce, often says - “what's an Oscar Wilde society without a little hedonism?” There's altruism, too, however; the society makes a substantial donation to a charity chosen by the members each year. This year's charity has yet to be determined, but last year the children of the Wessex Street Hospital enjoyed a very special Christmas thanks to a £20,000 cheque from the Oscar Wilde Appreciation Society. Much of the funds required to make such lavish events and donations possible are raised at those very events, which take place once a season. Tickets for the 'Magic' event have not yet been released, but previous events' tickets have sold for anything from £200 to £2000. A limited number of reduced price tickets are generally made available, so keep an eye on the Oscar Wilde Appreciation Society's website at oscarwas.org.uk if you're looking to get in without breaking the bank. If The Amazing Mr Fell will indeed be performing at the event, it might explain his recent reduction in performances – his show has gone down from six nights a week to just four, eliminating his Wednesday and Saturday performances. Magic fans in the capital can therefore hold out hope that once preparations for his upcoming performance are over, tickets might become easier to obtain. And, of course, the 'Magic' event itself promises to be one big avocado. CITRON DEUX-CHEVAL

Centre right: Drawing back the veil again Mystic Madame reportedly plotting TV return Two years after Drawing Back the Veil with Telepathic Tracy last aired, its old Saturday night slot is set to become vacant again – and rumours abound that the show may be set to return. For the last two years, live draws have been condensed into a fifteen-minute slot on BBC One, followed by an episode of one of the longer 45-minute drama series the BBC tend to favour these days. Much of the pageantry that used to go along with the weekly draw was shifted unceremoniously onto the National Lottery's YouTube channel or website, and the delivery of the actual results became more akin to the reading of a weather report before a return to the usual programming of the channel. Now, however, the BBC has put out a press release announcing that the National Lottery will now return to a half-hour draw show, allowing for 'a little more excitement and glamour'. This, the press release suggests, could take the form of a very brief trivia game before the draw, a return to celebrities wishing everyone luck before pressing the all-important button, a chance to showcase musical acts during the show, or some combination of the above. I'm all for a return to the showbiz nature of the nation's most mainstream gambling ring, but it's the shortening of the subsequent timeslot that has my attention. Already, just a day after the BBC's announcement, speculation is rife about what – and who – might be about to fill that second half-hour time slot. Most of the shows the BBC produces these days are designed for a 45-minute or hour-long format, and producers will be understandably reluctant to try to condense comedy, gameshows or drama into such a small space – especially given the National Lottery's occasional tendency to overrun. Pre-recorded shows have come unstuck before when the Camelot machines have jammed or some other calamity has befallen the draw, most notably in 2019 when the initial episode of Season 6 of Sherlock aired without the crucial first three minutes that explained the detective's cunning escape from the previous season's climactic scrape. It's the sort of situation that calls for a steady hand and an almost supernatural ability to adjust to disaster. Who better to take on the challenge than a woman who's had years of practice? Telepathic Tracy, the Mystic Madame, is very much still working her mysterious ways despite her departure from our TV screens – notably in The New Aquarian - and what better way to follow a disappointing lotto result than with the reassurance that this week, your luck will be better, or at the very least predictable? I, for one, predict Madame Tracy's triumphant return to television - and what's more, I welcome it. EDWARD BIGGS

Advertisement, bottom left: [Image Description: A grayscale photo of a warzone, with plumes of smoke. A smiling woman walks away from the destruction; she is in full colour and has artificially-enhanced red hair. Text is overlaid, as transcribed below. End ID.] When the news breaks, my hair doesn’t. Carmine Zugiber. Be bold. Be strong. Be Vibrant. [Image Description: The word Vibrant appears in red and is in a different font, like a logo. This is the case each time it appears. End ID.] Vibrant Flame Red Bottom right: Correction In Andy Sandalphon's column on page 15 of last Saturday's paper (23rd January), he stated that folk music made by an American is Country music. Several readers got in touch to explain that this is not, in fact, the case, and we would like to set the record straight. Country, or country and western, music is a very specific type of folk music, and while often associated with American artists, it is not simply the American version of folk. Furthermore, music must fit specific criteria to be considered country, and Anathema's does not. While country music belongs to the overarching genre of folk, not all folk music is country music, regardless of the nationality of the performer. We apologise sincerely for the mistake; while every effort is made to include only accurate information, errors do occasionally slip through. We regret the misunderstanding, and hope to do better in future. If you notice an error in any of our articles, please let us know as soon as possible by emailing [email protected]. We appreciate your help to keep our newspaper as accurate and factual as possible.

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