#except then The Murders begin and she has so many Suspicions BUT | Explore Tumblr Posts and Blogs

raggaraddy · 3 years

Note

Can you Taehyungs version of reader being shot cause of them?

I really like your Jimin and Namjoon Version that you’ve written🥰

Request from @dramaclub-thin: Mafia BTS where the reader is shot for/because of them.

A/N: It is so much longer than I meant for it to be. Hope you enjoy! Thanks for reading.

If anyone else wants to request, you can here.

Mafia Bangtan other parts:

Namjoon

Yoongi

Jimin

Jungkook

---------

Deception.

Summary: When you agreed to help Bangtan take down one of their enemies, you never imagined it could go so wrong.

Trigger warning: Smut, violence, blood, murder.

Taehyung

Mafia! Taehyung

"Are you ready?" Namjoon asks, shutting off the car's engine and turning around in his seat.

"Yeah," you nod back, hoping the rocking pit of nerves in your stomach isn't visible on your face. Scanning back and forth between him in the front and Jin sat beside you, you're checking to see if they are showing any signs of worry either. Finding a bit of solace in their surety.

"We're gonna lag behind about 20 minutes to be cautious and stay out of sight. But we'll be close. Just do everything like we said, and you'll be fine." Namjoon summarizes once again. Jin offering you a kind, reassuring smile to accompany the leader's words.

You nod again, sucking your tongue to the roof of your mouth. Running your fingers through your hair to fluff it for the 30th time. Hyperfixated on the time, you see the dashboard clock tick over. 20:21.

"Okay, let's go." You exhale deeply.

It was three weeks ago that Namjoon came to you with a problem that Bangtan was facing. Their weapons dealer was forcefully put out of business, which was Namjoons gentle way of saying he was killed, cutting off their supply to automatics and other bigger guns. Leaving them vulnerable. The man who took over their previous partners supply was known to be working with some of the other, smaller local crews. It was also known that he was a rival of Namjoon's and due to this tension refused to work with Bangtan. Normally, a problem like this would be something that they could handle. However, as Namjoon explained it, this guy was backed and protected by foreign money and was too hot to touch without starting a bloody war.

So the plan was simple. Risky, but simple. The supplier had to die. And it needed to appear to be from natural causes, so it could never fall back on Bangtan. No one directly affiliated could be involved. That meant none of the members could risk doing it. It also meant that it was too high a priority to trust an associate or hired gun with this information. Not with the reach and money the opposition had. No, it had to be someone within the family that could handle this, but someone the supplier would never know.

Opportunely, the supplier was known to have a weakness for women, hence the logical conclusion for Namjoon was one of the member's girls. Trustworthy enough not to turn or rat, not likely to be noticed among the myriad of other women, and except a few of them, all had no record linking them to Bangtan, so they would be complete unknowns.

Jin said it, but you already knew it. Out of all of the girls, you were the one who was the most capable. Your difficult past left you with many emotional scars but made you the best person to handle the responsibility. You're not susceptible to intimidation. Have very few moral hangups. And most importantly Namjoon knows how much you love Taehyung. How you would do anything for him. To keep him safe and happy. He knows he can trust you, and that when the time comes, you wouldn't hesitate to do what they needed you to.

As for you, you knew that Taehyung trusted Namjoon irrefutably and you had seen countless times that he was a good leader. Furthermore, you could appreciate the gravity of the situation. Because you're sure that if Bangtan's brain had any other choice, he would not have asked for your help. But since he had, you were going to do what was necessary to keep your family and Taehyung safe.

The problem was that Namjoon had insisted on secrecy. The only ones to know about his plan were you, him, and Jin. A few years ago, sure, lying would not have been a problem for you, you hardly ever told the truth to anyone. But this changed when you met Taehyung. He was the first person you could be honest with, the first person you ever let love you. And lying to him was something you were genuinely struggling with.

However, you knew Namjoon and Jin were right. There was no way Tae would have been okay with you being put in harm's way and he wouldn't be able to separate his feelings from the urgency of the task.

Although, that justification doesn't make you feel less guilty for deceiving him. And to make matters worse, you expected this to be over with last week already. But on your first date with the supplier, he had left the club early to deal with work suddenly. Giving you no time to spike his drink.

So here you were, attempt number two.

While you were meant to meet the supplier at a fancy restaurant first, Namjoon's plan was to skip that and get to his house as quickly as possible. Before the valet could open the supplier's car door, you leant through the open window, teasingly licking your lips. "I just realized," you purr, noting his eyes drop to your mouth and back. "I'm actually not that hungry. So how about we skip to the end of the night, and then you can take me out for breakfast tomorrow morning."

Your blatant offer works like a charm. 20 minutes and a car ride later, he's pulling you down onto his couch. Hardly able to keep his hands or lips off of you.

Tearing at your blouse he rips the buttons apart, his mouth sucking and licking at your neck. One of his hands roaming and grabbing at anything he can, while the other starts to hike up your pencil skirt. He removes his vest and buttoned shirt, not once parting his lips from yours. His large, hard chest muscles pressing against you as he pins you in between his arms and the couch. Spreading your legs apart, he grinds his crotch into your core and you can feel what effect this is having on him. And you have to admit, despite your mind being focused elsewhere, physically it's having the same kind of arousing results on you.

But this isn't what's supposed to happen. He's moving too fast and it's quickly getting away from you. You only want to get him comfortable and distracted enough that he completely lets his guard down. You're trying to poison him, not fuck him.

Pushing his chest lightly, you spring upright. Slightly out of breath you pull your hair over your shoulder covering up a little and running your fingers through it, trying to regain some composure.

"I could use a drink." You pant, batting your eyes up at him.

"Sounds good." He nods, his gaze dark and ravenous. Suddenly haulting he leans back down to kiss you. His hands gripping your hips as he kisses you back into the sofa. Abruptly leaving you flat on the couch with flushed cheeks.

This is better. One or two drinks from now, you should be able to slip him the ricin. He drinks it, you fake a headache, and skip home. 24 hours from now he has a heart attack and dies from natural causes. Nothing tied to you. Nothing connected to Bangtan.

"I hope you like-" The supplier calls out, only to be interrupted by a grating smack at the front of the house. You startle upright, sitting alert watching the hall entrance. He comes from the other side, coming back from the kitchen, a curious look on his face. Both of you staring at the same doorway as Taehyung suddenly comes in.

Fuck.

Your eyes go wide, half not able to believe he is actually here. He wasn't supposed to be! Namjoon had arranged for Jimin to take him out tonight. And you had told him you were going to meet some of the other girls.

The thing you didn't know; a week ago when you met the supplier at the club, you had also said you were out with a few girls, including Jimin's girlfriend. But she was with Jimin at that time. And Jimin was with Taehyung. And she knew nothing about any plans to go out.

So when you said there was a movie night tonight, he asked around and found out that was also a lie. He wanted to trust you. To trust that it wouldn't be as bad as his worst fear. Still, the more he thought over how you lied to him, the more he worked himself up, getting himself into a paranoid and anxious state. Until he found himself tracking your phone, following you to an unknown house.

Seeing you half undressed and with someone he considers an enemy, his anger and jealously turns to pure rage. It only taking a second for the scene in front of him to confirm his worst suspicions.

Unleashing his gun he shoots wildly at the supplier. Reason slipping from him completely.

Barley able to avoid being hit, the supplier dives behind one of the sofa chairs. Nearly being riddled with the showering of bullets.

Wrapping your hands over your head, you cover your ears from the explosive sounds. Still firing, and keeping the supplier pinned, Taehyung storms at you.

"Tae-" you start. The gun empties, but Taehyung couldn't care less, tossing it aside. All of his attention focused on you.

"What the fuck do you think you're doing?!" He growls through gritted teeth. His hand flying down smacking your cheek, slapping you back into the sofa. "How could you do this to me?!" He screams, his voice wavering from the emotion in his question.

"I can explain," You ignore the burn on your cheek, running your hands along your body, trying your best to cover and redress yourself. You never wanted him to see you like this, and the look of betrayal in his eyes is stinging your heart more than any slap could. "I-," you begin with no next word coming. There's nothing you can tell him. Not while the supplier is right here.

Taehyung's anger aside, you're terrified to think what him being here means. Namjoon's plan is completely derailed. And Taehyung attacked the supplier, creating an entirely new problem. You're not the smart one. You have no idea what to do or how to fix this.

Where the hell are Jin and Namjoon?

Taehyung is so fixated on you that he doesn't see the other man charging from the side.

"Look out!" You scream. Only it's a second too slow. Taehyung doesn't have time to react and the supplier swings a ceramic table ornament at his head. The shattered fragments raining over you, as your boyfriend is knocked to the ground. The shoe of the imposing man booting into Taehyung's torso.

You dive towards them, driving your body weight into the supplier to separate the two men. Pushing him away as his heel scarcely misses Taehyung's face.

He stumbles back a few steps and straightens up, nodding and pursing his lips with a look of revelation. Seeing you spring to Taehyungs defence revealed much more than you had intended.

While you're attempting to help Tae upright, he quickly shirks you off and lunges at the other man diving through him and dragging him to the floor. Fighting for dominance and survival, the two men break into a brutal fight trading blow after blow as they struggle to overpower the other.

While you're relieved to see that Taehyung is the more skilled of the two, and mostly has the upper hand, you're mainly sick with worry. The ramifications of this will play out beyond this simple fistfight.

All you can do is get Tae out of here for now, and hope that the supplier hasn't realised that this was an attempt to kill him. Maybe if you're really lucky he will only think of it at face value. A cheating girlfriend and her jealous boyfriend.

"Tae," you grab his arm, dragging him back with resistance. "We have to get out of here. Please,"

He drops the supplier's collar, who falls back limply. Turning to you he has blood pouring down his face from a cut on his cheek. Intensifying the cold look in his eye.

"We? What we? Don't you wanna stay here with this piece of shit." He snarls, standing up.

"I can explain after." You tug him again. He can hate you all he likes later. But first, you have to get out of here. "Please," you beg for his agreement.

Staring harshly, he retreats from you. A pained look in his eye that cuts you more than any blade could. Anger, hate, rage. You could handle all of it. But there's so much hurt and sadness on his face. It's nothing you ever wanted to be responsible for. It's more than you can bear.

"Tae," you hold your hand outreached, gingerly approaching him. He doesn't withdraw further, allowing you to rest your hand on his cheek. Your heart breaking further as he leans into your touch. Resting in your palm for comfort like an injured puppy. "I promise, baby, this isn't what it looks like." you coo, "I love you so much,"

His eyes close, his face scrunching in anguish. He wants to believe you so badly. To forget everything he has seen. To take you home and never let you go. He may be the first person you let love you, but for him, you are the only person he ever let himself love.

Turning, you use his softening demeanour to lead him towards the door. But the supplier pulls your attention. Neither of you were paying him any mind and standing in the corner of the room he's pulled his own gun from hiding.

Reacting without a thought you shove your back into Taehyung, covering him. Guarding him.

At the same time, a shot rings out and the bullet hits you. A painful, sharp sensation piercing through your torso that makes you stumble back. Losing your footing you fall into Taehyung, your body never hitting the ground. Taehyung catching your weight, lowering with you. Resting you on his legs.

Taehyung grimaces in pain, his hand wrapping his own side momentarily. The bullet went clean through you and cut his side before flying into the wall behind the both of you. Dismissing his own injury, he leans over your body, ripping off his shirt and pressing it and his palms into your entrance wound. Trying to slow the bleeding.

Looking up at Taehyung with tear-filled eyes, you're in shock. Every breath you take is sore but other than that, your body is numb. Your hands clinging to his, all you can think is that you wished you knew what to say or do to lessen his panic. The sweat on his forehead rolls into the cut on his cheek causing the blood to drip further down his neck and chest. The fear and worry in his eyes exposing what you can't see or feel. That you're losing a lot of blood.

The supplier comes over the top of you both. He presses the barrel of the gun into the back of Taehyungs head, forcing him to crouch lower over you.

"I was searching for a reason to annihilate Namjoon and his pathetic crew. Thank you for giving me one." He digs the gun down harder. Taehyung growls, baring his teeth in frustration. "Too bad we didn't get to finish what we started though, Y/n. Oh well." He smirks, cocking the gun for additional effect.

"I love you," Taehyung whispers, the finality in his voice breaking your restraint, tears gushing down your face.

"I-," you can only begin.

Another blast rings out that makes both you and Taehyung jump. The supplier's body goes heavy and plummets to the ground, smashing through the glass coffee table beside you. Glass shatters everywhere as he falls down dead, blood pouring out of his head, collecting into a pool.

"Fuck sakes." Namjoon sighs from the living room entrance. Standing with Jin, both looking over the destruction with disbelief.

"Hyung," Taehyung calls out, his voice raspy and on the verge of tears. "Help." He looks down at you, your face pale, your limps drooping as the blood loss is starting to make you dizzy.

Namjoon opens his mouth readying to scold his brother, but he quickly stops himself. His own faults glaringly obvious at this moment. Jin removes his belt, wrapping it around your waist he fixes it tightly, making you whine in pain, keeping Taehyungs shirt pressed to both sides of your wound.

"Can you carry her?" Jin asks his younger brother.

Namjoon passes all of you, walking toward the lifeless body of his enemy, shooting another round into the back of his head with a frustrated look in his eye.

Taehyung nods at Jin with wide, panicked eyes.

"Then bring her." Namjoon turns with a flick of his head gesturing to follow him.

Jin supports Taehyung as he struggles to get himself and you to a standing position. Finding more strength once he is upright, lifting you into his arms as you whimper and moan weakly.

"Taehyung-" you start, your words sounding breathless and weak. "I'm sorry," you whisper.

"Shh baby." He hushes you. "Don't worry about that now."

He gets you into Namjoons truck, laying you down the length of the seat. As Namjoon speeds to the hospital, Taehyung sits in the back, his legs under your head. Holding firm against your bullet wound while petting your head.

Jin takes Tae's keys and follows you in his car. Already calling a cleanup crew to get rid of the supplier's body. Trying to salvage what he can of the bad situation.

"Namjoon," you call out. Even as your mind is starting to slip into unconsciousness your worry over the family is consuming your focus. "the plan. Can you fix the-" you breathe heavily running out of air.

He looks over his shoulder, guilt overtaking his expression. Nodding with an affirming grunt.

"Plan? What plan?" Taehyung muses, the shock steadily drifting away. "What is she talking about, Hyung?" One look at the blame on Namjoon's face and it clicks into place. "What did you do?"

"It wasn't supposed to happen like this." Namjoon reasons.

"Are you kidding me? You organized this?!" He snaps, "How the fuck could you risk her like that?!"

"It was supposed to be easy. She wasn't meant to get hurt-"

"Well, clearly she did!" Taehyung roars, his hands bunching into fists.

"I'm sorry, Tae. I wanted to help." You whine, lifting your arm up to touch his chest, trying to soothe him in any way.

"It's okay, baby. I know you did." He coos kissing your forehead, Taehyung's rage immediately subsiding towards you. He takes your blood-drenched hands in his and kisses them lovingly. Kissing down your forearms, pressing your hands to his head in agony and want to have you closer. Wishing he could absorb your pain and suffering.

Returning his wrath to the leader his voice lowers, coming out like ice. "We're gonna talk about this once she's okay." He snarls, "And know, I hold you personally responsible for every second she's in pain."

Looking in the rearview mirror, Namjoon nods solemnly. "Yeah, I do too."

Luckily for you, you recover quickly, and no permanent physical damage was done. But the damage that was done to Namjoon and Taehyungs relationship, the repercussions caused for Bangtan, and the fall out from the supplier's death... well that's another story entirely.

#bts #yandere bts #bts fanfic #yandere #bangtan #yandere bangtan #yandere taehyung #bts reactions #mafia bts #mafia bangtan #bangtan mafia #mafia taehyung #mafia namjoon #mafia jin #bts smut #bts smut reactions #kim taehyung #kim namjoon #kim seokjin

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malarki · 3 years

Text

Harry Potter FanFiction I greatly enjoy (it’s just tomarry and sevitus)

Fair warning, I’m not good at describing stuff, and most of these are not complete (yet) but if you have similar tastes as I do then you’ll definitely like these stories.

Meddling of a Mischief Maker - by Athy

https://archiveofourown.org/works/5380535/chapters/12427268

I enjoy this fic because it shows a more human Voldemort with him still being an asshole as per usual. They do a good job of having Voldemort believably change into a not crazy murderous bastard haha. It also has Sirius interacting with Voldemort and for some reason I find those scenes hilarious in any fic I read.

“Harry's being a horcrux is a bit reworked here in this AU Story set during the summer after 5th year. A Mischief Maker intervenes in the Ministry during Voldemort and Dumbledore's duel, changing the course history. MorallyGrey!Dumbledore, Sirius, Restored Souls, HP/TR”

Draw Me After You (Let Us Run) - by ToAStranger @toast-ranger-to-a-stranger

https://archiveofourown.org/works/22327684/chapters/53334382

This story is a delight, it’s tone is very good and they do a great job of writing in the characters ‘voices’ for their pov’s. I especially like the posh way Voldemort talks and acts. This story is also hilarious on top of just being a very good slowburn, AND it has Sirius, which as you might have guessed, I love dearly. They also don’t bash any of the characters, and instead make them well rounded but flawed individuals, which I really appreciate.

“Harry Potter,” comes the soft, sibilant hiss of a voice he has heard in his dreams, in his nightmares, in his waking hours for years.

Slowly, carefully, Harry twists over and pushes up onto his hands and knees. He stays there, short breath fogging in front of his face, and his pursuer lets him. Harry has no doubt of that; he’s being allowed this respite. This small moment to catch his bearings, heart pounding in his ears, blood singing.

“It seems I have finally caught you.”

Consuming Shadows - by Child_OTKW @childotkw

https://archiveofourown.org/works/7040089/chapters/16011331

I’ve read two of childOTKW’s fics and both of them are fantastically written and attention grabbing stories. This one was the first one I read, and it has a very interesting take on lily Potter (one which I really enjoy) and the plot can leave you on the edge of your seat at times. The characterization is great, and the process of Harry and Tom getting to know each other is done very well.

“His attention skipped passed the students and moved to the politicians’ pavilion. His gaze locked with crimson, and he nearly faltered under the sheer hunger in those eyes.

It unnerved him how fixated the man was on his dirtied, exhausted figure.

But what troubled him more was the slight smirk he could make out on the man’s lips. It was almost pleased.

On the night of the attack, Lily managed to escape with her infant son, but at the cost of her husband’s life. Distraught and distrusting of her friends, she fled to France with Harry, to raise him away from the corruption in Britain and the rising influence of the Dark Lord. She trains him to the best of her abilities, shaping him into a dangerous, intelligent and powerful wizard.

But when Britain re-establishes the Triwizard Tournament, and Harry is forced to return to his once-home, he finds himself questioning whether he really wants to kill the Dark Lord. Voldemort finds an unexpected challenge in the child, and as his intrigue and amusement grows, so too does the desire to possess the spark in those defiant green eyes.”

A story that is kind of similar but not really: The Train to Nowhere

You Belong To Me (I Belong To You) - by child_OTKW

https://archiveofourown.org/works/11270490/chapters/25203408

This is a story inspired by the manwha ‘At The End Of The Road’ by Haribo. A comic I read before reading this, which is very good I recommend it. They do not take the exact plot from the comic though, obviously changing significant details for it to work properly as a Tomarry Fic, but one main thing stays the same, which is that this is a body swap. Honestly I really enjoy childOTKW’s works, and this is no exception. The characterization is wonderful as always, and Harry is Fantastic. Plus I’ve always been a fan of time travel fics. (Fair warning this is another slow burn and Harry centric)

“What I find absolutely fascinating,” Riddle said, stalking closer, “is you.” He marched forward, backing Harry up until he was pinned to the cool wall of the common room. “Do you know why?”

“No. And I’ll be honest here, Riddle, I don’t particularly care.”

The taller boy grinned at him, small yet infinitely pleased. “That. Right there.” One hand rose and brushed some of Harry’s fringe from his face. “Nathan Ciro was a spineless little boy too afraid of his own shadow to dare even glance in my direction. But you…”

He leaned closer, “You look at me like you want to stab me.”

“After an accident, Auror Harry Potter wakes up in the body of fourteen year old Nathan Ciro, a tormented Slytherin who recently tried to end his own life. Seeking answers to his strange predicament, Harry returns to Hogwarts, and causes quite the stir through staff and students - especially when they come to realise he is not the same boy as before.

He tries to avoid suspicion, but as his quest for the truth draws more and more attention to him, Harry begins to think that he might not like what he will discover.”

Some Bonus AU tomarry

A Thousand Paths Among The Stars - by Haplessshippo @haplesshippo

https://archiveofourown.org/works/12015060/chapters/27191238

This is a star trek au and it’s honestly my favorite tomarry au fic. Granted, I am a huge sci-fi fan. There’s also a bit of a twist at the end, or at least it surprised me, due to the way we usually expect tomarry plots to go.

“Harry Potter, newly appointed Captain of the Marauder and son of the famous Captain James Potter, was falling apart at the seams. His crew didn’t respect him, he was lost in the empty expanse of space, nightmares plagued his sleep, and his Commander deserved the Captain position more than he did. Good thing multiple attempts on his life and a vicious warlord after his head was all it took to turn it all around.

Alternatively, that space fic in which Harry Potter almost dies too many times, Tom Riddle slowly becomes the most smitten fool on the ship, and the rest of the crew are all just a bunch of assholes with popcorn watching the show. And exploding ships, don't forget the exploding ships.”

The Matchmaker - by TanninTele

https://archiveofourown.org/works/16507676/chapters/38664089

I am ALSO a huge true crime fan, and this story has a criminal that kinda reminds me of one that might appear in Hannibal (but with less murder). I enjoy the characterization, though tom is pretty tame in this compared to more cannon fics, considering he’s not the criminal and instead an investigator. Harry is also different from how people usually portray him, but I still like it.

“'The Matchmaker' is a serial abductor whose modus operandi consists of pairing two same-sex individuals together in a coffin, six feet underground - buried alive. He isn't a killer. He's a kidnapper with morals, and Detective Chief Inspector Tom Riddle finds himself obsessed with solving the case.

Unfortunately for Tom, the Matchmaker is just as intent on knowing him.”

And on to the Sevitus Stories

Far Beyond A Promise Kept - by oliversnape

https://archiveofourown.org/works/547431/chapters/974693

A classic, Harry stays with snape and unintentionally proves all his assumptions wrong and makes snape care about him. Both the stories have this aspect, but this one has snape a bit nicer from the get go. Probably because it takes place during the third book, so they’ve only known each other two years. It’s quite wholesome though, and I rather enjoy the progression of their relationship.

“Snape never wanted anyone to know of his promise to Dumbledore, but has realised that he can protect Potter much better by taking a less passive role in the boy's training. Actually liking Harry Potter has never been part of his plan. mentor/guardian.”

Crime And Punishment - by melolcatsi

https://archiveofourown.org/works/24102232/chapters/58018174

Snape and Harry have way more of a rocky start in this one, and Snape having to pick Harry up from the police station Really Doesn’t Help Snape’s opinion of him. This story very realistically shows the progression of their relationship, going from enemies to family, and near the ‘end’ (it’s not finished) it becomes very wholesome with Snape trying to help Harry with his mental and physical health after years of abuse/ neglect.

“Harry is accused of burglary. The Dursleys leave him to rot. Dumbledore sends Snape to remedy the situation. Harry finds himself in the care of an irate Snape. Not slash, gen-fic w/ focus on Sevitus relationship. Angst galore. Warnings: coarse and suggestive language, mentions of abuse/neglect. Un-betaed and un-Britpicked.”

#tomarry #tom riddle #harry potter #sevitus #severus snape #fanfic #fanfic reccomendation #ao3 fanfic #ao3 #archive of our own #tom riddle x harry potter

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rosethefrikiartist · 3 years

Text

Yandere Friday Night Funkin Characters Headcanons

These headcanons are about the polyamorous relationship "BF x GF x Pico x Reader"

I TRANSLATED THESE HEADCANONS WITH GOOGLE TRANSLATOR AND MY LIMITED KNOWLEDGE OF ENGLISH. If anyone of you notice any grammar and spelling errors, please let me know.

Warning: The characters are OOC. In this headcanon BF doesn't speak with "beep-bops", he speaks normal. All characters are +20 years old. Contains mentions of unhealthy relationships, stalking, violence, manipulation, torture, and murder.

BF / Keith

Obsessive yandere.

Despite his street outfit and his mocking and sarcastic attitude, he is a child in need of affection

He is a love-struck guy and he had a few lovers throughout his life, but his obsessive tendencies only manifested with Pico, Cherry and (Y / N).

He knows a large part of Cherry's life and Pico's dark secrets, he needs to know even the smallest detail about you: your likes, your passions, your fears, your goals, your dreams and hopes, EVERYTHING. This leads him to review all your social networks to find even the smallest information about your life.

He is very detailed, composing and singing songs about you, saving the money he has to take you and Pico to eat or to the cinema (he doesn't do the same with Cherry because she always pays the bills before he can take out his wallet) and he graffiti their faces on the dark streets of Philadelphia.

He will not deny you having contact with your family, having friends, a work and other types of human contact, but he would be very distrustful of others, demonstrating it in passive-aggressive comments and small malicious actions (such as closing doors in the face).

He's not aware of his yandere tendencies at all, since he believes that what he does is completely normal in a relationship.

He usually feels very nervous when he doesn't spend time with you, Pico and Cherry, he constantly checking your social networks to see your latest connections. He only calms down when you text him or give him physical affection.

Disputes are very rare, but when happen he panics, because seeing and hearing the anger, sadness and disagreement drives him crazy, he will start crying and begging for forgiveness, even if he did not start the dispute. This is a bad combination with Pico's attitude, and you generally comfort him.

In case someone comes to insult you, he will go into defensive mode. His silver tongue is his best weapon and he will begin to destroy the aggressor with words, be it in a freestyle battle or in a verbal fight.

If things get physical, Keith won't hesitate to fight. This little gremlin has fast and light feet, being able to deliver several kicks in a short time. Although he doesn't have much strength, he makes up for it with his speed and agility.

GF/Cherry

Manipulative Yandere.

Don't be fooled by her relaxed attitude and her pretty face, this demonic girl can be a real beast when she proposes it to her.

She had many lovers, but none of them lasted more than a few months, since they were only interested in her because of her appearance or her money, but that changed when she met Keith and (Y / N).

She loves to be given handmade things, even if they are not expensive, because she prefers something made with love and dedication (like a letter, a dessert or a song).

She has no qualms about spending huge amounts of money on you and Keith (and Pico when he joins), whether it's shopping for high-quality clothes, dining out at fancy restaurants, or going to expensive bars. Money has no value to her, but seeing your happy faces warms her heart.

Like Keith, Cherry will not deny you have contact with other humans, but she will monitor them very closely, without ANYONE noticing her. This girl is an evil detector, and at the slightest hint of malice or interest on the part of someone, she will manipulate you to end any friendship or relationship, without raising suspicion.

She is aware of her yandere tendencies, but she justifies herself by saying that she does everything for the sake of her relationships.

She doesn't get nervous as Keith when she doesn't spend time with you (she doesn't care so much about Poco because she knows he can take care of himself, although she still keeps an eye on him), since she can check your social networks to see how are you. If that doesn't reassure her, she can hire someone to watch over you or she can use her demonic powers to do it herself.

Disputes are rare and when they occur she doesn't lose her composure. She will try to reach an agreement between the two of you to solve the problem, but if things don't improve or she doesn't like the agreement, she is not afraid to use her manipulation tactics against you. She has manipulate Keith and Pico on more than one occasion, don't challenge her.

In case someone comes to attack you, that person only has 2 destinies: pain or death. If it was only a verbal attack, Cherry may spare their life and only leave their with severe trauma and physical injuries, depending on what their said (and depending on whether it's just you and her or Keith is there too). But if it was a physical assault, that person is dead, either at that moment (especially if Pico is there) or a few hours later, but their will definitely not see the dawn of a new day.

Pico

Possessive and overprotective yandere AF

He has a hard time being able to open up to others due to his dark past, and it is even more difficult for him to be able to fall in love with someone, but when he does, oh boy! he fall hard. He has only fallen in love with 2 people: Keith and (Y / N).

He isn't a very expressive person with his affection, being quite serious at first, but as things warm up he will show more and more acts of affection.

He doesn't know how to react when you give him things, he gets very nervous and blushes, even if you give him small things or very simple details. Anything you give him (except food) he will keep in a safe and he cherished for a lifetime.

He is very suspicious and aggressive towards anyone who comes into contact with you and Keith, even they be close friends or casual acquaintances. He only relaxes when he's with Cherry, Darnell, and Nene.

The traumas of his past make him reckless and impulsive, being someone violent, but directing that violence against other people instead of against you.

Pico is fully aware of his yandere and violent tendencies, coming to feel guilty for longing for your love, but at the same time he's feeling jealous and sick if he imagines you with someone other than him, Keith or Cherry.

He is a total paranoid when you are not near him, because the voices in his head torment him telling him that someone is going to hurt or kill you, he will reach the extreme of stalking you to know where you are to be able to calm him down. If he can't do this, he ask Cherry to keep an eye on you.

Disputes happen with some frequency, generally caused by his paranoia and fear (or when he hears Cassandra's voice telling him in his ear that she will torture and kill you to make him suffer).

These disputes can quickly turn into verbal fights where Pico dissociates himself from reality (this is noticeable because his eyes go from graylish green to pure white) and he can say very hurtful things. By now, you and Cherry should calm him down (or knock him out, whichever comes first).

If these disputes escalate too far, Pico will leave the house, with gun in hand, to vent his anger and frustrations on the first petty thief he meets (however, no one will be bothered if an unidentified corpse is found in an alley in the dangerous area of the city).

In case someone comes to attack you or Keith, that person is dead or invalid, without prior exchange of words. If it is a verbal attack, the bullet will lodge in their spinal column, and if it is a physical attack, in their skull, without any remorse. Suffering can be prolonged if Cherry is there.

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hamliet · 3 years

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The Crows Summon the Sun

Or, Hamliet’s review of Shadow & Bone, which gets a 4.5/5 for enjoyment and a 3.5/5 in terms of writing.

The true heroes of this story and the saviors of the show are the Crows. However, the problem is that the show then has an uneven feel, because the strength of the Crows plotline highlights the weaknesses of the trilogy storyline. But imo, overall, the strengths overshadow (#punintended) the weaknesses.

I’ll divide the review into the narrative and the technical (show stuff, social commentary), starting with narrative.

Narrative: The Good

It’s What The Crows Deserve

I went into the show watching it for the Crows; however, knowing that their storyline was intended to be a prequel, I wasn’t terribly optimistic. And while it is a prequel, the characters have complete and full arcs that perfectly set them up for the further development they will have in the books (which I think should be the next season?). Instead of retreading the arcs they’d have in the books, which is how prequels usually go, they had perfect set up for these arcs. It’s really excellent.

Jesper, Inej, and Kaz are all allowed to be flawed, to have serious conflicts with one another, and yet to love each other. They feel like a found family in the best of ways. Kaz is the perfect selfish rogue; he’s a much more successfully executed Byronic hero than the Darkling, actually. Inej is heroic and her faith is not mocked, yet she too is flawed and her choices are not always entirely justified, but instead left to the audience to ponder (like killing the girl), which is a more mature writing choice that I appreciated.

Jesper is charming, has a heart of gold despite being a murderer and on the surface fairly greedy, and MILO THE EMOTIONAL SUPPORT GOAT WAS THE BEST THING EVER. I also liked Jesper’s fling with Dima but I felt it could be better used rather than merely establishing his sexuality, like if Jesper and Dima had seen each other one more time or something had come of their tryst for the plot/themes/development of Jesper.

Nina and Matthias’s backstory being in the first season, instead of in flashbacks, really works because it automatically erases any discomfort of the implications of Nina having falsely accused Matthias that the books start with. We know Nina, we know Matthias, we know their motivations, backgrounds, and why they feel the way we do. It’ll be easy for the audience to root for them without a lot of unnecessary hate springing from misunderstanding Nina (since she’s my favorite). Matthias’s arc was also really strongly executed and satisfyingly tragic. Their plotline was a bit unfortunately disconnected from the rest of the story, but Danielle Gallagan and Callahan Skogman have absolutely sizzling chemistry so I found myself looking forward to their scenes instead of feeling distracted. Also? It’s nice seeing a woman with Nina’s body type as a romantic and powerful character.

Hamliet Likes Malina Now

Insofar as the trilogy storyline goes, the best change the show made was Mal. He still is the same character from the books, but much more likable. The pining was... a lot (too much in episode 4, I felt) but Malina is a ship I actually enjoyed in the show while I NOTP’d it in the books. Mal has complexity and layers to his motivations (somewhat) and a likable if awkward charm. Archie Renaux was fantastic.

Ben Barnes is the perfect Aleksandr Kirigan, and 15 year old me, who had the biggest of big crushes on Ben Barnes (first celebrity crush over a decade ago lol), was pretty damn happy lol. He’s magnificantly acted--sympathetic and terrifying, sincerely caring and yet villainous in moments. Story-wise, I think it was smart to reveal his name earlier on than in the books, because it helps with the humanization especially in a visual medium like film. Luda was a fitting (if heartbreaking) backstory, but it is also hard for me to stomach knowing what the endgame of his character is. Like... I get the X-men fallacy thing, but I hope the show gives more kindness to his character than the books did, yet I’m afraid to hold my breath. Just saying that if you employ save the cat, if you directly say you added this part (Luda) to make the character more likable (as the director did) please do not punish the audience for feeling what you intended.

I also liked the change that made Alina half-Shu. It adds well to her arc and fits with her character, actually giving her motivations (she kinda just wants to be ordinary in a lot of ways) a much more interesting foundation than in the books. Also it’s nice not to have another knock-off Daenerys (looking to you Celaena and book!Alina). Jessie Mei Li does a good job playing Alina’s insecurities and emotions, but...

Narrative: The Ehhhhhhh

Alina the Lamp

Sigh. Here we go. Alina has little consistent characterization. She’s almost always passive when we see her, yet she apparently punches an officer for calling her a name and this seems to be normal for her, but it doesn’t fit at all with what we know about her thus far. Contradictions are a part of humanity, but it’s never given any focus, so it comes across as inconsistent instead of a flaw or repression.

I have no idea what Alina wants, beside that she wants to be with Mal, which is fine except I have no idea what the basis of their bond is. Even with like, other childhood friends to lovers like Ren/Nora in RWBY or Eren/Mikasa in SnK, there’s an inciting moment, a reason, that we learn very early on in their story to show us what draws them together. Alina and Mal just don’t have that. There’s the meadow/running away thing, but they were already so close, and why? Why, exactly? What brought them together? The term “bullies” is thrown around but it isn’t ever explored and it needed to be this season. If I have to deal with intense pining for so many episodes at least give me a foundation for their devotion. You need to put this in the beginning, in the first season. You just do.

A “lamp” character is a common metaphor to describe a bad character: essentially, you could replace the character with a lamp and nothing changes. Considering Alina’s gift is light, it’s a funnily apt metaphor, but it really does apply. Her choices just don’t... matter. She could be a special lamp everyone is fighting over and almost nothing would change. The ironic thing is that everyone treating her like a fancy lamp is exactly the conflict, but it’s never delved into. We’re never shown that Alina is more than a lamp. She never has to struggle because her choices are made for her and information is gifted to her when she needs it. Not making choices protects Alina from consequences and the story gives her little incentive to change that; in fact, things tend to turn out better when she doesn’t make choices (magic stags will arrive).

Like... let’s look at a few occasions when Alina almost or does make choices. For example, she chooses to (it seems) sleep with Kirigan, but then there’s a convenient knock at the door and Bhagra arrives with key information that changes Alina’s mind instantly despite the fact that Bhagra’s been pretty terrible to her. If you want to write a woman realizing she’s been duped by a cruel man, show her discovering it instead of having the man’s abusive mother tell her when she had absolutely no such suspicions beforehand. There’s no emotional weight there because Alina doesn’t struggle.

When she is actually allowed to carry out a bad choice, the consequences are handwaved away instead of built into a challenge for her. Like... Alina got her friends killed. More than once. I’m not saying she’s entirely to blame for these but could we show her reacting to it? Feeling any sort of grief? She never mentions Raisa or Alexei after they’re gone, just Mal, and I’m... okay. They were there because of you. Aren’t you feeling anything? Aren’t you sad? The only time Alina brings up her friends’ deaths is to tell Kirigan he killed her friends when they were only there because she burned the maps. She yells at Kirigan for “never” giving her a choice, but she almost never makes any, so why would he? Alina has the gall to lecture Genya about choices, but she herself almost never has to make any.

Which brings me to another complaint in general: Alina’s lack of care for everyone around her when they’re not Mal, even if they care for her. Marie dies because of her (absolutely not her fault of course) but as far as we know she never even learns about Marie. She certainly doesn’t ever ask about her or Nadia. Alina seems apathetic at best to people, certainly not compassionate or kind.

The frustrating thing is that there is potential here. Like, it actually makes a lot of psychological sense for an orphan who has grown up losing to be reluctant to care for people outside of her orbit and that she would struggle to believe she can have any say in her destiny (ie make choices). It’s also interesting that a girl who feels like an outsider views others outside her. But the show never offers examines Alina’s psychology with any depth; it simply tells us she’s compassionate when she is demonstrably not, it tells us she makes decisions when it takes magical intervention to do so. It’s a missed opportunity. This does not change between episodes 1 and 8, despite the episodes’ parallel structures and scenes, which unintentionally reinforces that Alina had little real development.

Inej and ironically Jesper and Kaz embody the concept of “mercy” far better and with far more complexity than Alina does. The Crows have reactions to the loss of people who even betray them (Arken, etc), learn, and course-correct (or don’t) when they are even loosely involved in having strangers die. They’re good characters because they change and learn and have their choices matter. When they kill we see them wrestle with it and what this means even if they are accustomed to doing so. Jesper can’t kill in front of a child. Kaz wonders what his killings do to Inej’s idea of him.

Narrative: The Mixed Bag

Tropes, Themes, Telling vs. Showing

So the show’s themes in the Alina storyline are a mess, as they are in the trilogy too. Tropes are a very valuable way to show your audience what you’re trying to say. They’re utilized worldwide because they resonate with people and we know what to expect from them. The Crows' storyline shows us what it wants us to learn.

Preaching tells, and unfortunately, the trilogy relies on telling/preaching against fornicationBad Boys. It’s your right to write any trope or trample any trope you want--your story--but you should at least understand what/why you are doing so. The author clearly knows enough about Jungian shadows and dark/light yin/yang symbolism to use it in the story, but then just handwaves it away as “I don’t like this” but never does so in a narratively effective way: addressing the appeal in the first place. If you really wanna deconstruct a trope, you gotta empathize with the core of the reason these tropes appeal to people (it allays deep fears that we are ourselves unlovable, through loving another person despite how beastly they can be), and address this instead of ignoring it. Show us a better way through the Fold of your story. Don’t just go around it and ignore the issue.

The trilogy offers highly simplistic themes at best--bad boy bad and good boy good, which is fine-ish for kid lit but less fine for adult complexity, which the show (more so than the books) seems to try to push despite not actually having much of it.

Alina and Mal are intended to be good, we’re told they are, but I’m not sure why beyond just that we’re told so. Alina claims the stag chose her, but in the show it’s never explained why at all. Unlike with Kaz, Inej, Jesper, and hell even Matthias and Nina, we don’t see Alina or Mal’s complex choices and internal wrestling.

Like, Inej’s half-episode where she almost killed the guy they needed was far more character exploration than Alina has the entire show, to say nothing of Inej’s later killing which not only makes her leaps and bounds more interesting, but ironically cements her as a far more compelling and yes, likable, heroine than Alina. We see Inej’s emotional and moral conflict. We can relate to her. We see Kaz struggling with his selfishness and regrets, with his understanding of himself through his interactions with and observations of Inej, Alina, the Darkling, Arken, and Jesper.

We don’t explore what makes Mal or Alina good and what makes them bad. We don’t know what Alina discovers about herself, what her power means for her. We are told they are good, we are told she knows her power is hers, but never shown what this means or what this costs them/her. Their opportunities to be good are handed to them (the stag, Bhagra) instead of given to them as a challenge in which they risk things, in which doing good or making a merciful choice costs them. Alina gets to preach about choices without ever making any; Inej risks going back to the Menagerie to trust Kaz. Her choices risk. They cost. They matter and direct her storyline and her arc, and those of the people around her.

Production Stuff:

The Good:

The production overall is quite excellent. The costumes, pacing, acting, and cinematography (for example, one of the earliest scenes between the Darkling and Alina has Alina with her back to the light, face covered in his shadow, while the Darkling’s face is light up by her light even if he stands in the shadows) are top-notch. The soundtrack as well is incredible and emphasizes the scenes playing. The actors have great chemistry together, friend chemistry and romantic when necessary (Mal and Alina, the Darkling and Alina, Kaz and Inej, Nina and Matthias, David and Genya, etc.) All are perfectly cast.

The Uncomfortable Technicalities Hamliet Wants to Bitch About:

The only characters from fantasy!Europe having any trace of an accent reminiscent of said fantasy country's real-world equivalent are antagonists like Druskelle (Scandinavia) and Pekka (Ireland). When the heroes mostly have British accents despite being from fantasy Russia and Holland, it is certainly A Choice to have the Irish accent emphasized. The actor is British by the way, so I presume he purposely put on an Irish accent. I'm sure no one even considered the potential implications of this but it is A Look nonetheless.

The Anachronisms Hamliet Has a Pet Peeve About:

The worldbuilding is compelling, but the only blight on the worldbuilding within the story itself (ignoring context) was that there are some anachronisms that took me out of the story, particularly in the first episode where “would you like to share with the class” and “saved by the horn” are both used. Both are modern-day idioms in English that just don’t fit, especially the latter. The last episode uses “the friends we made along the way.” There are other modern idioms as well.

IT’S STARKOVA and Other Pet Peeves Around the Russian Portrayal

Russian names are not hard, and Russian naming systems are very, very easy to learn. I could have waved “Starkov” not being “Starkova,” “Nazyalensky” not being “Nazyalenskaya,” and “Safin” not being “Safina” as an American interpretation (since in America, the names do not femininize). However, “Mozorova” as a man is unfathomable and suggests to me the author just doesn’t understand how names work, which is a bit... uh okay considering a simple google search gets you to understand Russian names. They aren’t hard. I cannot understand why the show did not fix this. It is so simple to fix and would be a major way to help the story’s overall... caricature of Russia.

Speaking of that... Ravka is supposedly Russian-based, but it is more accurately based on the stereotypes of what Americans think of Russia. Amerussia? Russica? Not great.

The royals are exactly what Americans think of the Romanovs, right down to the “greasy” “spiritual advisor” who is clearly Rasputin and which ignores the Romanov history, very real tragedy, and the reason Rasputin was present in the court. The religion with all its saints is a vapid reflection of Russian Orthodoxy. The military portrayal with its lotteries and brutality and war is how the US views the Russian military. The emphasis on orphans, constant starvation, classification, and children being ripped from their homes to serve the government is a classic US understanding of USSR communism right down to the USSR having weapons of destruction the rest of the world fears (Grisha). Not trying to defend the Soviet Union here at all, but it is simplistic and reductive and probably done unconsciously but still ehhhh.

However, I’m not Russian. I just studied Russian literature. I’ve seen very little by way of discussion of this topic online, but what I do see from Russian people has been mixed--some mind, some don’t. The reality is that I actually don’t really mind this because it’s fantasy, though I see why some do. I'm not like CANCEL THIS. So why am I talking about this beyond just having a pet peeve?

Well, because it is a valid critique, and because it doesn’t occur in a vacuum. The Grishaverse is heralded as an almost paragon for woke Young Adult literature, which underlines itself what so frustrates me about how literary circles discuss issues of diversity and culture. Such praise, while ignoring its quasi-caricature of Russia, reflects a very ethnocentric (specifically American) understanding of culture, appropriation, and representation. All stories are products of their culture to various extents, but it bothers me on principle what the lit community reacts (and overreacts sometimes?) to and what people give a pass to. The answer to what the community reacts to and what it gives a pass always pivots on how palatable the appropriation is to American understandings and sensibilities. There’s nuance here as well, though.

I'm not cancelling the story or thinking it should be harshly attacked for this, but it is something that can be discussed and imo should be far more often--but with the nuance it begs, instead of black/white. But that’s a tall ask.

#s&b #hamliet reviews #shadow and bone #six of crows #kanej #jesper fahey #kaz brekker #inej ghafa #alina starkov #malyen oretsev #the darkling #darklina #malina #aleksander kirigan #netflix shadow and bone #s&b review

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innuendostudios · 3 years

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Thoughts on: Criterion's Neo-Noir Collection

I have written up all 26 films* in the Criterion Channel's Neo-Noir Collection.

Legend: rw - rewatch; a movie I had seen before going through the collection dnrw - did not rewatch; if a movie met two criteria (a. I had seen it within the last 18 months, b. I actively dislike it) I wrote it up from memory.

* in September, Brick leaves the Criterion Channel and is replaced in the collection with Michael Mann's Thief. May add it to the list when that happens.

Note: These are very "what was on my mind after watching." No effort has been made to avoid spoilers, nor to make the plot clear for anyone who hasn't seen the movies in question. Decide for yourself if that's interesting to you.

Cotton Comes to Harlem I feel utterly unequipped to asses this movie. This and Sweet Sweetback's Baadasssss Song the following year are regularly cited as the progenitors of the blaxploitation genre. (This is arguably unfair, since both were made by Black men and dealt much more substantively with race than the white-directed films that followed them.) Its heroes are a couple of Black cops who are treated with suspicion both by their white colleagues and by the Black community they're meant to police. I'm not 100% clear on whether they're the good guys? I mean, I think they are. But the community's suspicion of them seems, I dunno... well-founded? They are working for The Man. And there's interesting discussion to the had there - is the the problem that the law is carried out by racists, or is the law itself racist? Can Black cops make anything better? But it feels like the film stacks the deck in Gravedigger and Coffin Ed's favor; the local Black church is run by a conman, the Back-to-Africa movement is, itself, a con, and the local Black Power movement is treated as an obstacle. Black cops really are the only force for justice here. Movie portrays Harlem itself as a warm, thriving, cultured community, but the people that make up that community are disloyal and easily fooled. Felt, to me, like the message was "just because they're cops doesn't mean they don't have Black soul," which, nowadays, we would call copaganda. But, then, do I know what I'm talking about? Do I know how much this played into or off of or against stereotypes from 1970? Was this a radical departure I don't have the context to appreciate? Is there substance I'm too white and too many decades removed to pick up on? Am I wildly overthinking this? I dunno. Seems like everyone involved was having a lot of fun, at least. That bit is contagious.

Across 110th Street And here's the other side of the "race film" equation. Another movie set in Harlem with a Black cop pulled between the police, the criminals, and the public, but this time the film is made by white people. I like it both more and less. Pro: this time the difficult position of Black cop who's treated with suspicion by both white cops and Black Harlemites is interrogated. Con: the Black cop has basically no personality other than "honest cop." Pro: the racism of the police force is explicit and systemic, as opposed to comically ineffectual. Con: the movie is shaped around a racist white cop who beats the shit out of Black people but slowly forms a bond with his Black partner. Pro: the Black criminal at the heart of the movie talks openly about how the white world has stacked the deck against him, and he's soulful and relateable. Con: so of course he dies in the end, because the only way privileged people know to sympathetize with minorities is to make them tragic (see also: The Boys in the Band, Philadelphia, and Brokeback Mountain for gay men). Additional con: this time Harlem is portrayed as a hellhole. Barely any of the community is even seen. At least the shot at the end, where the criminal realizes he's going to die and throws the bag of money off a roof and into a playground so the Black kids can pick it up before the cops reclaim it was powerful. But overall... yech. Cotton Comes to Harlem felt like it wasn't for me; this feels like it was 100% for me and I respect it less for that.

The Long Goodbye (rw) The shaggiest dog. Like much Altman, more compelling than good, but very compelling. Raymond Chandler's story is now set in the 1970's, but Philip Marlowe is the same Philip Marlowe of the 1930's. I get the sense there was always something inherently sad about Marlowe. Classic noir always portrayed its detectives as strong-willed men living on the border between the straightlaced world and its seedy underbelly, crossing back and forth freely but belonging to neither. But Chandler stresses the loneliness of it - or, at least, the people who've adapted Chandler do. Marlowe is a decent man in an indecent world, sorting things out, refusing to profit from misery, but unable to set anything truly right. Being a man out of step is here literalized by putting him forty years from the era where he belongs. His hardboiled internal monologue is now the incessant mutterings of the weird guy across the street who never stops smoking. Like I said: compelling! Kael's observation was spot on: everyone in the movie knows more about the mystery than he does, but he's the only one who cares. The mystery is pretty threadbare - Marlowe doesn't detect so much as end up in places and have people explain things to him. But I've seen it two or three times now, and it does linger.

Chinatown (rw) I confess I've always been impressed by Chinatown more than I've liked it. Its story structure is impeccable, its atmosphere is gorgeous, its noirish fatalism is raw and real, its deconstruction of the noir hero is well-observed, and it's full of clever detective tricks (the pocket watches, the tail light, the ruler). I've just never connected with it. Maybe it's a little too perfectly crafted. (I feel similar about Miller's Crossing.) And I've always been ambivalent about the ending. In Towne's original ending, Evelyn shoots Noah Cross dead and get arrested, and neither she nor Jake can tell the truth of why she did it, so she goes to jail for murder and her daughter is in the wind. Polansky proposed the ending that exists now, where Evelyn just dies, Cross wins, and Jake walks away devastated. It communicates the same thing: Jake's attempt to get smart and play all the sides off each other instead of just helping Evelyn escape blows up in his face at the expense of the woman he cares about and any sense of real justice. And it does this more dramatically and efficiently than Towne's original ending. But it also treats Evelyn as narratively disposable, and hands the daughter over to the man who raped Evelyn and murdered her husband. It makes the women suffer more to punch up the ending. But can I honestly say that Towne's ending is the better one? It is thematically equal, dramatically inferior, but would distract me less. Not sure what the calculus comes out to there. Maybe there should be a third option. Anyway! A perfect little contraption. Belongs under a glass dome.

Night Moves (rw) Ah yeah, the good shit. This is my quintessential 70's noir. This is three movies in a row about detectives. Thing is, the classic era wasn't as chockablock with hardboiled detectives as we think; most of those movies starred criminals, cops, and boring dudes seduced to the darkness by a pair of legs. Gumshoes just left the strongest impressions. (The genre is said to begin with Maltese Falcon and end with Touch of Evil, after all.) So when the post-Code 70's decided to pick the genre back up while picking it apart, it makes sense that they went for the 'tecs first. The Long Goodbye dragged the 30's detective into the 70's, and Chinatown went back to the 30's with a 70's sensibility. But Night Moves was about detecting in the Watergate era, and how that changed the archetype. Harry Moseby is the detective so obsessed with finding the truth that he might just ruin his life looking for it, like the straight story will somehow fix everything that's broken, like it'll bring back a murdered teenager and repair his marriage and give him a reason to forgive the woman who fucked him just to distract him from some smuggling. When he's got time to kill, he takes out a little, magnetic chess set and recreates a famous old game, where three knight moves (get it?) would have led to a beautiful checkmate had the player just seen it. He keeps going, self-destructing, because he can't stand the idea that the perfect move is there if he can just find it. And, no matter how much we see it destroy him, we, the audience, want him to keep going; we expect a satisfying resolution to the mystery. That's what we need from a detective picture; one character flat-out compares Harry to Sam Spade. But what if the truth is just... Watergate? Just some prick ruining things for selfish reasons? Nothing grand, nothing satisfying. Nothing could be more noir, or more neo-, than that.

Farewell, My Lovely Sometimes the only thing that makes a noir neo- is that it's in color and all the blood, tits, and racism from the books they're based on get put back in. This second stab at Chandler is competant but not much more than that. Mitchum works as Philip Marlowe, but Chandler's dialogue feels off here, like lines that worked on the page don't work aloud, even though they did when Bogie said them. I'll chalk it up to workmanlike but uninspired direction. (Dang this looks bland so soon after Chinatown.) Moose Malloy is a great character, and perfectly cast. (Wasn't sure at first, but it's true.) Some other interesting cats show up and vanish - the tough brothel madam based on Brenda Allen comes to mind, though she's treated with oddly more disdain than most of the other hoods and is dispatched quicker. In general, the more overt racism and misogyny doesn't seem to do anything except make the movie "edgier" than earlier attempts at the same material, and it reads kinda try-hard. But it mostly holds together. *shrug*

The Killing of a Chinese Bookie (dnrw) Didn't care for this at all. Can't tell if the script was treated as a jumping-off point or if the dialogue is 100% improvised, but it just drags on forever and is never that interesting. Keeps treating us to scenes from the strip club like they're the opera scenes in Amadeus, and, whatever, I don't expect burlesque to be Mozart, but Cosmo keeps saying they're an artful, classy joint, and I keep waiting for the show to be more than cheap, lazy camp. How do you make gratuitious nudity boring? Mind you, none of this is bad as a rule - I love digressions and can enjoy good sleaze, and it's clear the filmmakers care about what they're making. They just did not sell it in a way I wanted to buy. Can't remember what edit I watched; I hope it was the 135 minute one, because I cannot imagine there being a longer edit out there.

The American Friend (dnrw) It's weird that this is Patricia Highsmith, right? That Dennis Hopper is playing Tom Ripley? In a cowboy hat? I gather that Minghella's version wasn't true to the source, but I do love that movie, and this is a long, long way from that. This Mr. Ripley isn't even particularly talented! Anyway, this has one really great sequence, where a regular guy has been coerced by crooks into murdering someone on a train platform, and, when the moment comes to shoot, he doesn't. And what follows is a prolonged sequence of an amateur trying to surreptitiously tail a guy across a train station and onto another train, and all the while you're not sure... is he going to do it? is he going to chicken out? is he going to do it so badly he gets caught? It's hard not to put yourself in the protagonist's shoes, wondering how you would handle the situation, whether you could do it, whether you could act on impulse before your conscience could catch up with you. It drags on a long while and this time it's a good thing. Didn't much like the rest of the movie, it's shapeless and often kind of corny, and the central plot hook is contrived. (It's also very weird that this is the only Wim Wenders I've seen.) But, hey, I got one excellent sequence, not gonna complain.

The Big Sleep Unlike the 1946 film, I can follow the plot of this Big Sleep. But, also unlike the 1946 version, this one isn't any damn fun. Mitchum is back as Marlowe (this is three Marlowes in five years, btw), and this time it's set in the 70's and in England, for some reason. I don't find this offensive, but neither do I see what it accomplishes? Most of the cast is still American. (Hi Jimmy!) Still holds together, but even less well than Farewell, My Lovely. But I do find it interesting that the neo-noir era keeps returning to Chandler while it's pretty much left Hammet behind (inasmuch as someone whose genes are spread wide through the whole genre can be left behind). Spade and the Continental Op, straightshooting tough guys who come out on top in the end, seem antiquated in the (post-)modern era. But Marlowe's goodness being out of sync with the world around him only seems more poignant the further you take him from his own time. Nowadays you can really only do Hammett as pastiche, but I sense that you could still play Chandler straight.

Eyes of Laura Mars The most De Palma movie I've seen not made by De Palma, complete with POV shots, paranormal hoodoo, and fixation with sex, death, and whether images of such are art or exploitation (or both). Laura Mars takes photographs of naked women in violent tableux, and has gotten quite famous doing so, but is it damaging to women? The movie has more than a superficial engagement with this topic, but only slightly more than superficial. Kept imagining a movie that is about 30% less serial killer story and 30% more art conversations. (But, then, I have an art degree and have never murdered anyone, so.) Like, museums are full of Biblical paintings full of nude women and slaughter, sometimes both at once, and they're called masterpieces. Most all of them were painted by men on commission from other men. Now Laura Mars makes similar images in modern trappings, and has models made of flesh and blood rather than paint, and it's scandalous? Why is it only controversial once women are getting paid for it? On the other hand, is this just the master's tools? Is she subverting or challenging the male gaze, or just profiting off of it? Or is a woman profiting off of it, itself, a subversion? Is it subversive enough to account for how it commodifies female bodies? These questions are pretty clearly relevant to the movie itself, and the movies in general, especially after the fall of the Hays Code when people were really unrestrained with the blood and boobies. And, heck, the lead is played by the star of Bonnie and Clyde! All this is to say: I wish the movie were as interested in these questions as I am. What's there is a mildly diverting B-picture. There's one great bit where Laura's seeing through the killer's eyes (that's the hook, she gets visions from the murderer's POV; no, this is never explained) and he's RIGHT BEHIND HER, so there's a chase where she charges across an empty room only able to see her own fleeing self from ten feet behind. That was pretty great! And her first kiss with the detective (because you could see a mile away that the detective and the woman he's supposed to protect are gonna fall in love) is immediately followed by the two freaking out about how nonsensical it is for them to fall in love with each other, because she's literally mourning multiple deaths and he's being wildly unprofessional, and then they go back to making out. That bit was great, too. The rest... enh.

The Onion Field What starts off as a seemingly not-that-noirish cops-vs-crooks procedural turns into an agonizingly protracted look at the legal system, with the ultimate argument that the very idea of the law ever resulting in justice is a lie. Hoo! I have to say, I'm impressed. There's a scene where a lawyer - whom I'm not sure is even named, he's like the seventh of thirteen we've met - literally quits the law over how long this court case about two guys shooting a cop has taken. He says the cop who was murdered has been forgotten, his partner has never gotten to move on because the case has lasted eight years, nothing has been accomplished, and they should let the two criminals walk and jail all the judges and lawyers instead. It's awesome! The script is loaded with digressions and unnecessary details, just the way I like it. Can't say I'm impressed with the execution. Nothing is wrong, exactly, but the performances all seem a tad melodramatic or a tad uninspired. Camerawork is, again, purely functional. It's no masterpiece. But that second half worked for me. (And it's Ted Danson's first movie! He did great.)

Body Heat (rw) Let's say up front that this is a handsomely-made movie. Probably the best looking thing on the list since Night Moves. Nothing I've seen better captures the swelter of an East Coast heatwave, or the lusty feeling of being too hot to bang and going at it regardless. Kathleen Turner sells the hell out of a femme fatale. There are a lot of good lines and good performances (Ted Danson is back and having the time of his life). I want to get all that out of the way, because this is a movie heavily modeled after Double Indemnity, and I wanted to discuss its merits before I get into why inviting that comparison doesn't help the movie out. In a lot of ways, it's the same rules as the Robert Mitchum Marlowe movies - do Double Indemnity but amp up the sex and violence. And, to a degree it works. (At least, the sex does, dunno that Double Indemnity was crying out for explosions.) But the plot is amped as well, and gets downright silly. Yeah, Mrs. Dietrichson seduces Walter Neff so he'll off her husband, but Neff clocks that pretty early and goes along with it anyway. Everything beyond that is two people keeping too big a secret and slowly turning on each other. But here? For the twists to work Matty has to be, from frame one, playing four-dimensional chess on the order of Senator Palpatine, and its about as plausible. (Exactly how did she know, after she rebuffed Ned, he would figure out her local bar and go looking for her at the exact hour she was there?) It's already kind of weird to be using the spider woman trope in 1981, but to make her MORE sexually conniving and mercenary than she was in the 40's is... not great. As lurid trash, it's pretty fun for a while, but some noir stuff can't just be updated, it needs to be subverted or it doesn't justify its existence.

Blow Out Brian De Palma has two categories of movie: he's got his mainstream, director-for-hire fare, where his voice is either reigned in or indulged in isolated sequences that don't always jive with the rest fo the film, and then there's his Brian De Palma movies. My mistake, it seems, is having seen several for-hires from throughout his career - The Untouchables (fine enough), Carlito's Way (ditto, but less), Mission: Impossible (enh) - but had only seen De Palma-ass movies from his late period (Femme Fatale and The Black Dahlia, both of which I think are garbage). All this to say: Blow Out was my first classic-era De Palma, and holy fucking shit dudes. This was (with caveats) my absolute and entire jam. I said I could enjoy good sleaze, and this is good friggin' sleaze. (Though far short of De Palma at his sleaziest, mercifully.) The splitscreens, the diopter shots, the canted angles, how does he make so many shlocky things work?! John Travolta's sound tech goes out to get fresh wind fx for the movie he's working on, and we get this wonderful sequence of visuals following sounds as he turns his attention and his microphone to various noises - a couple on a walk, a frog, an owl, a buzzing street lamp. Later, as he listens back to the footage, the same sequence plays again, but this time from his POV; we're seeing his memory as guided by the same sequence of sounds, now recreated with different shots, as he moves his pencil in the air mimicking the microphone. When he mixes and edits sounds, we hear the literal soundtrack of the movie we are watching get mixed and edited by the person on screen. And as he tries to unravel a murder mystery, he uses what's at hand: magnetic tape, flatbed editors, an animation camera to turn still photos from the crime scene into a film and sync it with the audio he recorded; it's forensics using only the tools of the editing room. As someone who's spent some time in college editing rooms, this is a hoot and a half. Loses a bit of steam as it goes on and the film nerd stuff gives way to a more traditional thriller, but rallies for a sound-tech-centered final setpiece, which steadily builds to such madcap heights you can feel the air thinning, before oddly cutting its own tension and then trying to build it back up again. It doesn't work as well the second time. But then, that shot right after the climax? Damn. Conflicted on how the movie treats the female lead. I get why feminist film theorists are so divided on De Palma. His stuff is full of things feminists (rightly) criticize, full of women getting naked when they're not getting stabbed, but he also clearly finds women fascinating and has them do empowered and unexpected things, and there are many feminist reads of his movies. Call it a mixed bag. But even when he's doing tropey shit, he explores the tropes in unexpected ways. Definitely the best movie so far that I hadn't already seen.

Cutter's Way (rw) Alex Cutter is pitched to us as an obnoxious-but-sympathetic son of a bitch, and, you know, two out of three ain't bad. Watched this during my 2020 neo-noir kick and considered skipping it this time because I really didn't enjoy it. Found it a little more compelling this go around, while being reminded of why my feelings were room temp before. Thematically, I'm onboard: it's about a guy, Cutter, getting it in his head that he's found a murderer and needs to bring him to justice, and his friend, Bone, who intermittently helps him because he feels bad that Cutter lost his arm, leg, and eye in Nam and he also feels guilty for being in love with Cutter's wife. The question of whether the guy they're trying to bring down actually did it is intentionally undefined, and arguably unimportant; they've got personal reasons to see this through. Postmodern and noirish, fixated with the inability to ever fully know the truth of anything, but starring people so broken by society that they're desperate for certainty. (Pretty obvious parallels to Vietnam.) Cutter's a drunk and kind of an asshole, but understandably so. Bone's shiftlessness is the other response to a lack of meaning in the world, to the point where making a decision, any decision, feels like character growth, even if it's maybe killing a guy whose guilt is entirely theoretical. So, yeah, I'm down with all of this! A- in outline form. It's just that Cutter is so uninterestingly unpleasant and no one else on screen is compelling enough to make up for it. His drunken windups are tedious and his sanctimonious speeches about what the war was like are, well, true and accurate but also obviously manipulative. It's two hours with two miserable people, and I think Cutter's constant chatter is supposed to be the comic relief but it's a little too accurate to drunken rambling, which isn't funny if you're not also drunk. He's just tedious, irritating, and periodically racist. Pass.

Blood Simple (rw) I'm pretty cool on the Coens - there are things I've liked, even loved, in every Coen film I've seen, but I always come away dissatisfied. For a while, I kept going to their movies because I was sure eventually I'd love one without qualification. No Country for Old Men came close, the first two acts being master classes in sustained tension. But then the third act is all about denying closure: the protagonist is murdered offscreen, the villain's motives are never explained, and it ends with an existentialist speech about the unfathomable cruelty of the world. And it just doesn't land for me. The archness of the Coen's dialogue, the fussiness of their set design, the kinda-intimate, kinda-awkward, kinda-funny closeness of the camera's singles, it cannot sell me on a devastating meditation about meaninglessness. It's only ever sold me on the Coens' own cleverness. And that archness, that distancing, has typified every one of their movies I've come close to loving. Which is a long-ass preamble to saying, holy heck, I was not prepared for their very first movie to be the one I'd been looking for! I watched it last year and it remains true on rewatch: Blood Simple works like gangbusters. It's kind of Double Indemnity (again) but played as a comedy of errors, minus the comedy: two people romantically involved feeling their trust unravel after a murder. And I think the first thing that works for me is that utter lack of comedy. It's loaded with the Coens' trademark ironies - mostly dramatic in this case - but it's all played straight. Unlike the usual lead/femme fatale relationship, where distrust brews as the movie goes on, the audience knows the two main characters can trust each other. There are no secret duplicitous motives waiting to be revealed. The audience also know why they don't trust each other. (And it's all communicated wordlessly, btw: a character enters a scene and we know, based on the information that character has, how it looks to them and what suspicions it would arouse, even as we know the truth of it). The second thing that works is, weirdly, that the characters aren't very interesting?! Ray and Abby have almost no characterization. Outside of a general likability, they are blank slates. This is a weakness in most films, but, given the agonizingly long, wordless sequences where they dispose of bodies or hide from gunfire, you're left thinking not "what will Ray/Abby do in this scenario," because Ray and Abby are relatively elemental and undefined, but "what would I do in this scenario?" Which creates an exquisite tension but also, weirdly, creates more empathy than I feel for the Coens' usual cast of personalities. It's supposed to work the other way around! Truly enjoyable throughout but absolutely wonderful in the suspenseful-as-hell climax. Good shit right here.

Body Double The thing about erotic thrillers is everything that matters is in the name. Is it thrilling? Is it erotic? Good; all else is secondary. De Palma set out to make the most lurid, voyeuristic, horny, violent, shocking, steamy movie he could come up with, and its success was not strictly dependent on the lead's acting ability or the verisimilitude of the plot. But what are we, the modern audience, to make of it once 37 years have passed and, by today's standards, the eroticism is quite tame and the twists are no longer shocking? Then we're left with a nonsensical riff on Vertigo, a specularization of women that is very hard to justify, and lead actor made of pulped wood. De Palma's obsessions don't cohere into anything more this time; the bits stolen from Hitchcock aren't repurposed to new ends, it really is just Hitch with more tits and less brains. (I mean, I still haven't seen Vertigo, but I feel 100% confident in that statement.) The diopter shots and rear-projections this time look cheap (literally so, apparently; this had 1/3 the budget of Blow Out). There are some mildly interesting setpieces, but nothing compared to Travolta's auditory reconstructions or car chase where he tries to tail a subway train from street level even if it means driving through a frickin parade like an inverted French Connection, goddamn Blow Out was a good movie! Anyway. Melanie Griffith seems to be having fun, at least. I guess I had a little as well, but it was, at best, diverting, and a real letdown.

The Hit Surprised by how much I enjoyed this one. Terrance Stamp flips on the mob and spends ten years living a life of ease in Spain, waiting for the day they find and kill him. Movie kicks off when they do find him, and what follows is a ramshackle road movie as John Hurt and a young Tim Roth attempt to drive him to Paris so they can shoot him in front of his old boss. Stamp is magnetic. He's spent a decade reading philosophy and seems utterly prepared for death, so he spends the trip humming, philosophizing, and being friendly with his captors when he's not winding them up. It remains unclear to the end whether the discord he sews between Roth and Hurt is part of some larger plan of escape or just for shits and giggles. There's also a decent amount of plot for a movie that's not terribly plot-driven - just about every part of the kidnapping has tiny hitches the kidnappers aren't prepared for, and each has film-long repercussions, drawing the cops closer and somehow sticking Laura del Sol in their backseat. The ongoing questions are when Stamp will die, whether del Sol will die, and whether Roth will be able to pull the trigger. In the end, it's actually a meditation on ethics and mortality, but in a quiet and often funny way. It's not going to go down as one of my new favs, but it was a nice way to spend a couple hours.

Trouble in Mind (dnrw) I fucking hated this movie. It's been many months since I watched it, do I remember what I hated most? Was it the bit where a couple of country bumpkins who've come to the city walk into a diner and Mr. Bumpkin clocks that the one Black guy in the back as obviously a criminal despite never having seen him before? Was it the part where Kris Kristofferson won't stop hounding Mrs. Bumpkin no matter how many times she demands to be left alone, and it's played as romantic because obviously he knows what she needs better than she does? Or is it the part where Mr. Bumpkin reluctantly takes a job from the Obvious Criminal (who is, in fact, a criminal, and the only named Black character in the movie if I remember correctly, draw your own conclusions) and, within a week, has become a full-blown hood, which is exemplified by a lot, like, a lot of queer-coding? The answer to all three questions is yes. It's also fucking boring. Even out-of-drag Divine's performance as the villain can't save it.

Manhunter 'sfine? I've still never seen Silence of the Lambs, nor any of the Hopkins Lecter movies, nor, indeed, any full episode of the show. So the unheimlich others get seeing Brian Cox play Hannibal didn't come into play. Cox does a good job with him, but he's barely there. Shame, cuz he's the most interesting part of the movie. Honestly, there's a lot of interesting stuff that's barely there. Will Graham being a guy who gets into the heads of serial killers is explored well enough, and Mann knows how to direct a police procedural such that it's both contemplative and propulsive. But all the other themes it points at? Will's fear that he understands murderers a little too well? Hannibal trying to nudge him towards becoming one? Whatever dance Hannibal and Tooth Fairy are doing? What Tooth Fairy's deal is, anyway? (Why does he wear fake teeth and bite things? Why is he fixated on the red dragon? Does the bit where he says "Francis is gone forever" mean he has DID?) None of it goes anywhere or amounts to anything. I mean, it's certainly more interesting with this stuff than without, but it has that feel of a book that's been pared of its interesting bits to fit the runtime (or, alternately, pulp that's been sloppily elevated). I still haven't made my mind up on Mann's cold, precise camera work, but at least it gives me something to look at. It's fine! This is fine.

Mona Lisa (rw) Gave this one another shot. Bob Hoskins is wonderful as a hood out of his depth in classy places, quick to anger but just as quick to let anger go (the opening sequence where he's screaming on his ex-wife's doorstep, hurling trash cans at her house, and one minute later thrilled to see his old car, is pretty nice). And Cathy Tyson's working girl is a subtler kind of fascinating, exuding a mixture of coldness and kindness. It's just... this is ultimately a story about how heartbreaking it is when the girl you like is gay, right? It's Weezer's Pink Triangle: The Movie. It's not homophobic, exactly - Simone isn't demonized for being a lesbian - but it's still, like, "man, this straight white guy's pain is so much more interesting than the Black queer sex worker's." And when he's yelling "you woulda done it!" at the end, I can't tell if we're supposed to agree with him. Seems pretty clear that she wouldn'ta done it, at least not without there being some reveal about her character that doesn't happen, but I don't think the ending works if we don't agree with him, so... I'm like 70% sure the movie does Simone dirty there. For the first half, their growing relationship feels genuine and natural, and, honestly, the story being about a real bond that unfortunately means different things to each party could work if it didn't end with a gun and a sock in the jaw. Shape feels jagged as well; what feels like the end of the second act or so turns out to be the climax. And some of the symbolism is... well, ok, Simone gives George money to buy more appropriate clothes for hanging out in high end hotels, and he gets a tan leather jacket and a Hawaiian shirt, and their first proper bonding moment is when she takes him out for actual clothes. For the rest of the movie he is rocking double-breasted suits (not sure I agree with the striped tie, but it was the eighties, whaddya gonna do?). Then, in the second half, she sends him off looking for her old streetwalker friend, and now he looks completely out of place in the strip clubs and bordellos. So far so good. But then they have this run-in where her old pimp pulls a knife and cuts George's arm, so, with his nice shirt torn and it not safe going home (I guess?) he starts wearing the Hawaiian shirt again. So around the time he's starting to realize he doesn't really belong in Simone's world or the lowlife world he came from anymore, he's running around with the classy double-breasted suit jacket over the garish Hawaiian shirt, and, yeah, bit on the nose guys. Anyway, it has good bits, I just feel like a movie that asks me to feel for the guy punching a gay, Black woman in the face needs to work harder to earn it. Bit of wasted talent.

The Bedroom Window Starts well. Man starts an affair with his boss' wife, their first night together she witnesses an attempted murder from his window, she worries going to the police will reveal the affair to her husband, so the man reports her testimony to the cops claiming he's the one who saw it. Young Isabelle Huppert is the perfect woman for a guy to risk his career on a crush over, and Young Steve Guttenberg is the perfect balance of affability and amorality. And it flows great - picks just the right media to res. So then he's talking to the cops, telling them what she told him, and they ask questions he forgot to ask her - was the perp's jacket a blazer or a windbreaker? - and he has to guess. Then he gets called into the police lineup, and one guy matches her description really well, but is it just because he's wearing his red hair the way she described it? He can't be sure, doesn't finger any of them. He finds out the cops were pretty certain about one of the guys, so he follows the one he thinks it was around, looking for more evidence, and another girl is attacked right outside a bar he knows the redhead was at. Now he's certain! But he shows the boss' wife the guy and she's not certain, and she reminds him they don't even know if the guy he followed is the same guy the police suspected! And as he feeds more evidence to the cops, he has to lie more, because he can't exactly say he was tailing the guy around the city. So, I'm all in now. Maybe it's because I'd so recently rewatched Night Moves and Cutter's Way, but this seems like another story about uncertainty. He's really certain about the guy because it fits narratively, and we, the audience, feel the same. But he's not actually a witness, he doesn't have actual evidence, he's fitting bits and pieces together like a conspiracy theorist. He's fixating on what he wants to be true. Sign me up! But then it turns out he's 100% correct about who the killer is but his lies are found out and now the cops think he's the killer and I realize, oh, no, this movie isn't nearly as smart as I thought it was. Egg on my face! What transpires for the remaining half of the runtime is goofy as hell, and someone with shlockier sensibilities could have made a meal of it, but Hanson, despite being a Corman protege, takes this silliness seriously in the all wrong ways. Next!

Homicide (rw? I think I saw most of this on TV one time) Homicide centers around the conflicted loyalties of a Jewish cop. It opens with the Jewish cop and his white gentile partner taking over a case with a Black perp from some Black FBI agents. The media is making a big thing about the racial implications of the mostly white cops chasing down a Black man in a Black neighborhood. And inside of 15 minutes the FBI agent is calling the lead a k*ke and the gentile cop is calling the FBI agent a f****t and there's all kinds of invective for Black people. The film is announcing its intentions out the gate: this movie is about race. But the issue here is David Mamet doesn't care about race as anything other than a dramatic device. He's the Ubisoft of filmmakers, having no coherent perspective on social issues but expecting accolades for even bringing them up. Mamet is Jewish (though lead actor Joe Mantegna definitely is not) but what is his position on the Jewish diaspora? The whole deal is Mantegna gets stuck with a petty homicide case instead of the big one they just pinched from the Feds, where a Jewish candy shop owner gets shot in what looks like a stickup. Her family tries to appeal to his Jewishness to get him to take the case seriously, and, after giving them the brush-off for a long time, finally starts following through out of guilt, finding bits and pieces of what may or may not be a conspiracy, with Zionist gun runners and underground neo-Nazis. But, again: all of these are just dramatic devices. Mantegna's Jewishness (those words will never not sound ridiculous together) has always been a liability for him as a cop (we are told, not shown), and taking the case seriously is a reclamation of identity. The Jews he finds community with sold tommyguns to revolutionaries during the founding of Israel. These Jews end up blackmailing him to get a document from the evidence room. So: what is the film's position on placing stock in one's Jewish identity? What is its position on Israel? What is its opinion on Palestine? Because all three come up! And the answer is: Mamet doesn't care. You can read it a lot of different ways. Someone with more context and more patience than me could probably deduce what the de facto message is, the way Chris Franklin deduced the de facto message of Far Cry V despite the game's efforts not to have one, but I'm not going to. Mantegna's attempt to reconnect with his Jewishness gets his partner killed, gets the guy he was supposed to bring in alive shot dead, gets him possibly permanent injuries, gets him on camera blowing up a store that's a front for white nationalists, and all for nothing because the "clues" he found (pretty much exclusively by coincidence) were unconnected nothings. The problem is either his Jewishness, or his lifelong failure to connect with his Jewishness until late in life. Mamet doesn't give a shit. (Like, Mamet canonically doesn't give a shit: he is on record saying social context is meaningless, characters only exist to serve the plot, and there are no deeper meanings in fiction.) Mamet's ping-pong dialogue is fun, as always, and there are some neat ideas and characters, but it's all in service of a big nothing that needed to be a something to work.

Swoon So much I could talk about, let's keep it to the most interesting bits. Hommes Fatales: a thing about classic noir that it was fascinated by the marginal but had to keep it in the margins. Liberated women, queer-coded killers, Black jazz players, broke thieves; they were the main event, they were what audiences wanted to see, they were what made the movies fun. But the ending always had to reassert straightlaced straight, white, middle-class male society as unshakeable. White supremacist capitalist patriarchy demanded, both ideologically and via the Hays Code, that anyone outside these norms be punished, reformed, or dead by the movie's end. The only way to make them the heroes was to play their deaths for tragedy. It is unsurprising that neo-noir would take the queer-coded villains and make them the protagonists. Implicature: This is the story of Leopold and Loeb, murderers famous for being queer, and what's interesting is how the queerness in the first half exists entirely outside of language. Like, it's kind of amazing for a movie from 1992 to be this gay - we watch Nathan and Dickie kiss, undress, masturbate, fuck; hell, they wear wedding rings when they're alone together. But it's never verbalized. Sex is referred to as "your reward" or "what you wanted" or "best time." Dickie says he's going to have "the girls over," and it turns out "the girls" are a bunch of drag queens, but this is never acknowledged. Nathan at one point lists off a bunch of famous men - Oscar Wild, E.M. Forster, Frederick the Great - but, though the commonality between them is obvious (they were all gay), it's left the the audience to recognize it. When their queerness is finally verbalized in the second half, it's first in the language of pathology - a psychiatrist describing their "perversions" and "misuse" of their "organs" before the court, which has to be cleared of women because it's so inappropriate - and then with slurs from the man who murders Dickie in jail (a murder which is written off with no investigation because the victim is a gay prisoner instead of a L&L's victim, a child of a wealthy family). I don't know if I'd have noticed this if I hadn't read Chip Delany describing his experience as a gay man in the 50's existing almost entirely outside of language, the only language at the time being that of heteronormativity. Murder as Love Story: L&L exchange sex as payment for the other commiting crimes; it's foreplay. Their statements to the police where they disagree over who's to blame is a lover's quarrel. Their sentencing is a marriage. Nathan performs his own funeral rites over Dickie's body after he dies on the operating table. They are, in their way, together til death did they part. This is the relationship they can have. That it does all this without romanticizing the murder itself or valorizing L&L as humans is frankly incredible.

Suture (rw) The pitch: at the funeral for his father, wealthy Vincent Towers meets his long lost half brother Clay Arlington. It is implied Clay is a child from out of wedlock, possibly an affair; no one knows Vincent has a half-brother but him and Clay. Vincent invites Clay out to his fancy-ass home in Arizona. Thing is, Vincent is suspected (correctly) by the police of having murdered his father, and, due to a striking family resemblence, he's brought Clay to his home to fake his own death. He finagles Clay into wearing his clothes and driving his car, and then blows the car up and flees the state, leaving the cops to think him dead. Thing is, Clay survives, but with amnesia. The doctors tell him he's Vincent, and he has no reason to disagree. Any discrepancy in the way he looks is dismissed as the result of reconstructive surgery after the explosion. So Clay Arlington resumes Vincent Towers' life, without knowing Clay Arlington even exists. The twist: Clay and Vincent are both white, but Vincent is played by Michael Harris, a white actor, and Clay is played by Dennis Haysbert, a Black actor. "Ian, if there's just the two of them, how do you know it's not Harris playing a Black character?" Glad you asked! It is most explicitly obvious during a scene where Vincent/Clay's surgeon-cum-girlfriend essentially bringing up phrenology to explain how Vincent/Clay couldn't possibly have murdered his father, describing straight hair, thin lips, and a Greco-Roman nose Haysbert very clearly doesn't have. But, let's be honest: we knew well beforehand that the rich-as-fuck asshole living in a huge, modern house and living it up in Arizona high society was white. Though Clay is, canonically, white, he lives an poor and underprivileged life common to Black men in America. Though the film's title officially refers to the many stitches holding Vincent/Clay's face together after the accident, "suture" is a film theory term, referring to the way a film audience gets wrapped up - sutured - in the world of the movie, choosing to forget the outside world and pretend the story is real. The usage is ironic, because the audience cannot be sutured in; we cannot, and are not expected to, suspend our disbelief that Clay is white. We are deliberately distanced. Consequently this is a movie to be thought about, not to to be felt. It has the shape of a Hitchcockian thriller but it can't evoke the emotions of one. You can see the scaffolding - "ah, yes, this is the part of a thriller where one man hides while another stalks him with a gun, clever." I feel ill-suited to comment on what the filmmakers are saying about race. I could venture a guess about the ending, where the psychiatrist, the only one who knows the truth about Clay, says he can never truly be happy living the lie of being Vincent Towers, while we see photographs of Clay/Vincent seemingly living an extremely happy life: society says white men simply belong at the top more than Black men do, but, if the roles could be reversed, the latter would slot in seamlessly. Maybe??? Of all the movies in this collection, this is the one I'd most want to read an essay on (followed by Swoon).

The Last Seduction (dnrw) No, no, no, I am not rewataching this piece of shit movie.

Brick (rw) Here's my weird contention: Brick is in color and in widescreen, but, besides that? There's nothing neo- about this noir. There's no swearing except "hell." (I always thought Tug said "goddamn" at one point but, no, he's calling The Pin "gothed-up.") There's a lot of discussion of sex, but always through implication, and the only deleted scene is the one that removed ambiguity about what Brendan and Laura get up to after kissing. There's nothing postmodern or subversive - yes, the hook is it's set in high school, but the big twist is that it takes this very seriously. It mines it for jokes, yes, but the drama is authentic. In fact, making the gumshoe a high school student, his jadedness an obvious front, still too young to be as hard as he tries to be, just makes the drama hit harder. Sam Spade if Sam Spade were allowed to cry. I've always found it an interesting counterpoint to The Good German, a movie that fastidiously mimics the aesthetics of classic noir - down to even using period-appropriate sound recording - but is wholly neo- in construction. Brick could get approved by the Hays Code. Its vibe, its plot about a detective playing a bunch of criminals against each other, even its slang ("bulls," "yegg," "flopped") are all taken directly from Hammett. It's not even stealing from noir, it's stealing from what noir stole from! It's a perfect curtain call for the collection: the final film is both the most contemporary and the most classic. It's also - but for the strong case you could make for Night Moves - the best movie on the list. It's even more appropriate for me, personally: this was where it all started for me and noir. I saw this in theaters when it came out and loved it. It was probably my favorite movie for some time. It gave me a taste for pulpy crime movies which I only, years later, realized were neo-noir. This is why I looked into Kiss Kiss, Bang Bang and In Bruges. I've seen it more times than any film on this list, by a factor of at least 3. It's why I will always adore Rian Johnson and Joseph Gordon-Levitt. It's the best-looking half-million-dollar movie I've ever seen. (Indie filmmakers, take fucking notes.) I even did a script analysis of this, and, yes, it follows the formula, but so tightly and with so much style. Did you notice that he says several of the sequence tensions out loud? ("I just want to find her." "Show of hands.") I notice new things each time I see it - this time it was how "brushing Brendan's hair out of his face" is Em's move, making him look more like he does in the flashback, and how Laura does the same to him as she's seducing him, in the moment when he misses Em the hardest. It isn't perfect. It's recreated noir so faithfully that the Innocent Girl dies, the Femme Fatale uses intimacy as a weapon, and none of the women ever appear in a scene together. 1940's gender politics maybe don't need to be revisited. They say be critical of the media you love, and it applies here most of all: it is a real criticism of something I love immensely.

#film noir #neo-noir #criterion channel

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eponinemylove · 4 years

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Headcanons about the Andrew( and the foxes) figuring out some of the fucked up things Neil’s mom did. Like I’ve always had a head canon that she is the reason he says he’s fine all the time

for sure! I have a lot of feelings about Mary Hartford. I want to say that if the conversation does ever manage to come up, Neil would immediately jump to his mother’s defense. We see everything she did through his memories of her, and while we can recognize it as abuse, Neil still thinks of her fondly. She was the only family he really had, and in his eyes, everything she did was out of necessity, if not love (CW: abuse)

(side note, I’ve briefly talked about aaron’s reaction before as part of a different post, and I stand by that. I’ve also brushed upon the subject of Mary and Neil being “fine” when I did a sort of sickfic hc!)

let me just start by saying how awful this news would be for the foxes. Like, it’s awful in general because what she did was fucked up, but their poor hearts… They managed the Nest. They managed Baltimore. They managed Drake (although that was Andrew’s past not Neil’s, they were still there for the murder and everything that followed). They have been through heartbreak after heartbreak for this kid who not only went through these things but thought, on some level, that he deserved them. So they really can’t take finding out that his mother—who Neil openly condones—is also one of his ghosts. They can’t take finding out that she’s partly the reason why he doesn’t swing, why he can’t trust, why he runs and hides and lies, why he doesn’t think he can have this. And if that wasn’t hard enough, to find out that Neil thinks this is okay, that this is fine—it’s too much to handle.

Andrew’s first reaction, predictably, is murder. This doesn’t quite work out for him, as Mary’s already dead, but the urge he feels to drain the life from her himself is frankly concerning. The second the words are leaving Neil’s mouth, the second all his suspicions are confirmed (because let’s be real, Andrew knew someone had hurt Neil, and his father had been too many steps behind him to cause that much damage), he sees red. Full on, knives out, burning rage. He’s shaking with it. You can tell he’s feeling an emotion, because he’s not grumbling about anything. He’s gone into quiet rage, the dangerous kind, in which he silently plots all the ways he can gruesomely arrange your departure from existence.

for a split second, the upperclassmen think that his anger is directed at Neil, and they subtly move in to block him from Andrew’s war path. This works out well for no one, because Andrew needs Neil in his line of sight right now to know he’s safe and here, and anyone who even thinks of touching this boy after what he’s just confessed to happening to him is getting stabbed. Repeatedly. It’s not their fault for assuming, though. They saw what happened with him and Aaron after this sort of thing, and they just want to shield Neil from that fallout. He’s been through enough

The only thing that manages to calm him down even somewhat is Neil himself. He holds Andrew’s gaze, doesn’t hide under it. He looks him straight in the eye. He is fine, now. He isn’t hurt. He’s with Andrew, and Andrew is going to keep him safe, and Mary is dead, and there’s nothing for them to fight anymore.

except there is, there is, because Neil is stupid. Neil is an idiot who doesn’t know the meaning of the word fine, who has never been fine a day in his life. this was never okay. he’s worse than Aaron, because at least Aaron came to his senses eventually. but Neil, even after everything, is still standing there, defending her. it makes his blood boil. 140%. 170. 200.

Later, Andrew has to physically restrain himself from pulling him into a bruising kiss. He makes a tangible effort to be as gentle with Neil as he can, because he refuses to show him that love should be rough. It shouldn’t. He holds Neil’s hand and kisses his knuckles, runs his hands softly through his hair. He shows him all the way touches should feel when coming from someone you trust. Neil thinks it isn’t necessary but he accepts it with a stuttering heart anyway. His hands shake.

Aaron is seething, but for an entirely different reason. He’s furious, because how does Neil not realize that they’re the exact same? Neil gave him so much shit when he was upset over his mother, but now he has the audacity to stand here and spout this crap? The only thing holding him back from beating the shit out of Josten himself is Andrew’s presence, radiating wrath from beside him. If he took a step in the wrong direction, his brother might genuinely kill him this time. It doesn’t matter. Neil went on and on and on about how Andrew was protecting him, how his mother was not someone who loved him but someone who hurt him, and how he should be glad she’s gone. And… and then this? No. No. Neil doesn’t get to love his mother after that. Mary hit him. She beat him to a pulp herself, nevermind what she said she was protecting him from. He wasn’t allowed to have friends, to talk to people, to go outside. He wasn’t allowed to speak. He’d had to keep his head down. Yeah, it sounds familiar. It sounds like Aaron’s quiet footsteps around the house, hoping to god he wouldn’t wake up Tilda. It sounds like him trying not to make himself seen when she came home after a night of using, like ducking his head and not meeting the eyes of her or anyone she brought home. It sounds like her fists on him when she was in one of her moods. It sounds really fucking familiar, and if Neil thinks he’s going to drop this, he is dead wrong.

Neil did not leave well enough alone when it was Aaron. He would not stop rubbing salt on the wound. And it hurt, a lot, but now Aaron is going to do the same. Not just for petty vengeance. Not just because Neil is a dick and this is payback. But because it helped. Aaron and Andrew are not on the same page about the way they feel, but they are about what to do next. Priority one is make sure Neil moves on, make sure he recognizes why Mary was wrong, and why it will never happen again, as long as any of the foxes have a say in it.

Matt and Nicky have the exact same reaction, which to immediately have their heart shattered. They’re in tears. Matt cares about Neil so, so much, and I know the fandom recognizes this, but I don’t know if people realize how deeply Nicky cares, too. It’s more than just cracking jokes; Neil is one of Nicky’s best friends. They’re going to make damn sure that Neil knows they will love him unconditionally, and that their love does not come heavy-handed. They will support him through this, even if they hate Mary for everything she had conditioned into him. Already they’re planning what they can do to get his mind off of this and get him smiling again as soon as possible. Nicky will probably push Neil harder than Matt, and it will probably be the wrong thing to do, but he’s trying so hard. He’s done this before, with Andrew and Aaron, and as heartbreaking as it was, he continues to do it because he loves them. And he loves Neil, too. Both Matt and Nicky already have adoption papers at the ready, and at this point they’re going to forge the signatures, consequences be damned, if it means Neil gets a happy life.

Kevin doesn’t have much to say about it when he finds out. I imagine he handles it with all of his usual finesse and sensitivity, which is none. He probably, not too gently, points out that Mary had a job to keep him safe from harm, all harm, and failed spectacularly at it. It’s not exactly helpful, but he does have a point. And when he get Neil alone, he offers to talk to him about it. He may not have been through the same thing, but he’s been through something similar enough. He had no family at the Nest, but at the same time they were the only ones he had, and they weren’t exactly gentle with him at the best of times. Riko and the Master weren’t Mary, but... they weren’t all that different, either. Like everything else, Kevin is there if he needs him.

Dan and Allison stare him down. They sympathize, they do, because this is awful, but they are not going to give him an inch. They don’t have time to coddle his feelings about his mother, and god help him if they hear an “I’m fine” fall from his lips. They’ll hold him, if he lets them, and they’ll be as soft and gentle as he needs, but they won’t give in to this. They aren’t going to pretend that he’s right–he’s not. HIs mother wasn’t what he remembers. She’s a complicated character. They’re not calling her evil; maybe she did what she had to, and maybe it was for the best. But it wasn’t right. They are steadfast in that. It wasn’t right. Neil can accept that when he’s ready, and when he does they will be there for him, taking care of him in their unassuming way so that he doesn’t feel like they’re walking on eggshells. He’s so grateful to have them. Grateful that they don’t push, but don’t give in either. Some of the strongest people he’s known…

Renee is the one who actually talks him through it. All the others are ready with their pitchforks, about to burn Mary at the stake, but she understands. She walks with him through everything, the good and the bad, and lets him come to his own conclusion. She listens to him when he feels like talking about what is was like, and talks about her own mother when he doesn’t. She shows him, subtly, what a parental figure is supposed to look like through her own stories. Lets him realize that sometimes the people who care don’t get it right, but that there are still others who love you, and that love doesn’t have to come with pain.

Bonus:

(Ik you didn’t ask, and this is probably too long already, but) Wymack and Abby find out about this indirectly, likely through either Andrew or Matt. Wymack had known from the beginning this would have been the case, but he’d had no idea it had come from his mother. It hurts him, that no one had ever been careful with Neil the way he needed. He doesn’t realize that he had been, though. Wymack hadn’t raised his voice, hadn’t made himself big in front of Neil. He had been careful to keep his anger far, far away and had always been there when Neil needed him. Wymack is his true father. Or mother. Or whatever.

Abby does what she does with Aaron: she gives him space. She knows that he’s probably never seen a woman in a comforting light before, and she waits to make sure that he’s okay with her presence before she gets anywhere near close to him. She lets him come to her, and, like Wymack, makes sure Neil knows that if she ever gets frustrated, that she would never take it out on him. They start the very slow process of showing Neil what it is like to be loved and cared for by someone who wants only to see you happy. Neil loves his family so, so much. He would choose them a thousand times over.

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k-s-morgan · 3 years

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Hello I have recently discovered your blog very deep analysis of scenes and characters ! Can you tell me about the empathy Will has. Is it the visions he has when he goes to murder cases

Hi! Thank you - and sure! I’ll mix some of my previous answers here. Basically, I have two views on it, and none of them is about Will being a good empath.

Version 1: Will has deep understanding of killers only because he is one

To me, Will’s empathy is one of the most contradictory things in the show because what ended up on screen differs from what I’m sure Bryan had in mind. Will doesn’t have a good empathy in ‘Hannibal’ - in fact, I’d argue that he has a rather limited capacity for it, considering how he can’t relate to most people and fails to read their emotions even on a basic level from time to time.

In the books, Will does have an empathy disorder: he mirrors people, often without noticing it, and it makes him a better profiler. In the show, what Will has is an almost supernatural ability to connect with exclusively killers on some dark mind level. In E1 of S1, Jack says that Will makes leaps no one can explain, and Will tries to argue that the evidence explains it. But it really, really doesn’t. He doesn’t just make good guesses, he determines what the killer is thinking with 100% accuracy, sometimes to the point of voicing their literal thoughts aloud. He doesn’t mirror them like he does in the books: he retreats into his imagination and sees himself in their place physically, hearing their thoughts and repeating their actions. That’s not empathy, exactly - he’s more of a medium in these scenes.

Will doesn’t mirror people in general in the show. He does acquire some new traits - like he begins to do some sophisticated Hannibal-gestures eventually, but it isn’t presented as anything more but typical human behavior. Many of us develop new habits after being in close contact with another person. Will has a dominating range of his own unique habits - again, like most of us do. He can apply the killers’ perspective with starling clarity, but he’s in perfect control over it. He doesn’t get lost in there like it happens in the books. The only exceptions are when he’s very sick in S1 (with Tobias’ and Gideon’s two kills) and when he’s gone too long subduing his real self in S3 (when he gets angry with Alana and Jack and his vision blurs with Francis’). Other than that, Will decides when to switch his ability on and off. That doesn’t fit with empathy disorder.

Will feels sorry for some people (mostly murderers and those he can relate to in other respects, like Reba), but he remains calm and logical in other instances. For example, let’s take E1 of S1 again. Elise’s parents are emotional wrecks, but Will remains collected and asks a very logical question about the cat that Jack overlooked. In E5, he notices that Jack is shaken and talks to Mrs. Buddish, who is consumed by guilt and sorrow, himself. These are scenes where people are emotional and Will isn’t affected by it - well, he does react in certain ways, but he doesn’t mirror them. Same principle applies over and over again throughout the entire show. Will remains ‘himself’ at all times.

If the plan was to demonstrate he’s in control of his empathy for the most part, then it doesn’t work as well because Will is never shown doing his trick with other people. For example, at the times when the darkness grows overwhelming and Will understands he begins to slip, why not 'hide’ in the heads of normal people like Alana? It could give Will the strength to fight his dark impulses, to let some light and normality into his mind. Since he doesn’t do it, he likely just cannot relate to them properly. His gift works only on killers.

More than that, Will is bad at deciphering simple emotional language. In E7 of S2, he’s released from prison and Alana greets him. Will doesn’t register her coldness and the obvious hard undertones of her questions, he remains oblivious and thinks she’s come with good intentions. He misunderstands the reason for Peter’s feelings in E8 because he’s too focused on his own emotions - he thinks about killing Hannibal, so he assumes Peter also killed Ingram. He falls for Margot’s obvious lies, even though it’s very clear from her body language that she’s not in a mood to have sex, especially with a man. He spends ages figuring out whether Hannibal is capable of love. He misunderstands Abigail for a long time and ends up alienating her because he thinks she’s scared of darkness while in fact she’s scared because of her enjoyment of some of it. And there are endless examples like this.

Now, Hannibal says Will has “pure empathy” in E1, but he doesn’t know him at this point and can only make guesses. Also, anything he says to Jack is automatically subject to suspicion since he’s unlikely to be 100% truthful, especially when it comes to Will’s assessment. We also can’t rely on Will to tell the truth, considering how terrified he is of anyone finding out the reason for his seclusion.

I don’t think it was actually planned like this, but in the show as it ended up, there is no evidence of Will having some huge and unique universal empathy. He connects only with killers and even then, it’s more of a supernatural mind link rather than empathy. He understands them because, like Freddie says, he is a killer himself. He doesn’t show the same deep understanding for non-dark people, he makes huge mistakes in emotional judgement, and he doesn’t engage in mirroring more than most of us do. So yes, like you, I don’t think Will is a good empath.

Version 2: Will has a gift that’s centered on the presence of a murder victim’s body

We can see that Will reconstructs crimes and understands killers as they commit them, but he doesn’t get them in all other situations not related to murder. From major examples: Will often doesn't understand what Hannibal feels for him. He has no idea how to connect to Abigail correctly. He misunderstands Chiyoh. He can’t say much about Francis other than figure out his mindset during murders. If he really had killer-oriented empathy, he wouldn't have so many problems. So, maybe Will’s gift is not really about killers either? Maybe it’s about death?

Every time Will reconstructs the crimes, his visions revolve around the victim’s body. When he analyzes the scenes without the bodies, he just imagines them there, like with the Dragon: they were already removed, but he envisioned them after reading the report. The only interesting exceptions happen when Will gets into the Ripper's head in S2 to see what he did with Miriam, but there is still a body of a politician involved. The second instance is when Will analyzes Sarah’s body in E8 of S2: he gets into Peter's mind almost by accident, and while this mind is twisted, it doesn't belong to a killer. Peter is the only non-killer we see Will ever connect with, but he's still a person heavily involved with a body - he tried to give it a new life. When Will looked at the scene, he was supposed to get into Ingram’s head, but instead, he got into Peter’s. So it seems like a body is an important component of Will's gift, a catalyzer he needs to turn it on.

And finally, there are two instances in which Will loses control over himself in terms of this ability. Both happen in S1, when he’s physically ill. The first time, he speaks like Tobias - and he’s staring at the body directly when it happens. The second time, he speaks like Gideon - and once again, he’s staring at the corpse of his doctor. I feel like it’s a big indication of Will having not an empathy, but an actual half-supernatural gift that is activated once he sees/senses the body.

#hannibal #will graham #hannigram #meta

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appleinducedsleep · 3 years

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Mariana, a ‘brilliant’ psychotherapist, is still grieving the death of her husband Sebastian, when her niece Zoe frantically calls her up over the disappearance of her college roommate. Mariana immediately leaves for Cambridge University, but the girl is found brutally murdered. Certain that the charismatic Greek Tragedy professor Edward Fosca is the murderer, Mariana tries to prove his guilt. This is not an easy thing when he is popular and even has a cult of female students known as The Maidens. However, it doesn’t take long before the next Maiden is killed. On top of this, Cambridge is where Mariana fell in love with Sebastian, and she is reminded of him at every turn.

⭐️⭐️/5 stars on Goodreads

Thank you @readerbookclub for providing a new set of questions for August.

What were your expectations before reading the book? Did it meet them?

I voted for this book, wanting something with Greek mythology, but it didn’t deliver in the way I wanted. It was a bit of a mistake.

What did you think of the book? What were the things you enjoyed and the things you didn’t enjoy?

It was a mistake for a variety of reasons.

Mariana: I did like the first introduction of Mariana, I could relate to a shy bookworm. The first therapy session started out well, but that was the only good part. She turned out to be a terrible therapist, and it added very little to the story, except that it made her able to crash the crime-scenes, and got her a super awkward group session with the Maidens. I half-suspect the author chose this profession, so that Freud could be mentioned organically. The inner monologue often felt like Psych 101. The author tried to create more suspense by the addition of Henry, but it only made me resent her more as a therapist. That whole plotline could have been cut, and the space could have been used to flesh other characters out.

Edward Fosca: The prologue starts confidently, proclaiming “Edward Fosca was a murderer. This was a fact. This wasn’t something Mariana knew just on an intellectual level, as an idea. Her body knew it. She felt it in her bones, along her blood, and deep within every cell. Edward Fosca was guilty.” Which was such a dramatic way to begin your story, that my knee-jerk reaction was; no, nope, he’s definitely not. Edward Fosca is a confidant Cambridge professor, who seems to bask in Mariana’s continued suspicion. He kisses her, for some reason, and then he invites her to dinner like a date. So Mariana, who just knows, knows “along her blood and deep within every cell” that he’s a killer, goes to his private chamber, without telling anyone. We also learn he had a bad childhood, like Fred. Sebastian and Henry. Also this almost cult-following of the Maidens was just disturbing, but he got his punishment for that. That brings us to:

The Maidens: For a book that is titled The Maidens, the maidens themselves were devoid of any personality. I couldn’t tell them apart, and maybe, maybe, that was the point, but it just made me not care about their deaths. One of them had asthma, which was the closest we got to a defining characterization.

Zoe: Zoe apparently had also been a Maiden, which she lied about, but otherwise we wouldn’t have had the big reveal at the pseudo group session. It’s all about dramatic reveals, and Mariana was quick to forgive her. We really knew very little about Zoe, and what we know is mostly Mariana’s memories of her childhood, which admittedly are a little flawed. Zoe didn’t have many friends (just Tara, who she killed, so, no love lost there), she had been a depressed teenager, who just started to blossom at Cambridge. During Mariana’s sleuthing, Zoe gets send to class, so interaction with her was limited. It made the big twist all the more baffling.

Fred: "I have a gift for that sort of thing, you know—runs in my family—foresight, premonitions. I see things others do not." But not who the murderer was? How convenient for the plot... While this book is filled with awkward and forced dialogues, Fred gets the worst end of the stick, from talking about premonitions to a literal stranger (which never really got explained, it’s probably like a Greek mythology reference, but it was also blatantly used as red herring, a throwaway line in the last letter) and asking her to marry her after they’ve known each other for a few days. He also kissed her, and was just generally bad with recognizing boundaries.

The author of the book was also a student at Cambridge. Do you think that added to his ability to establish the setting of this novel? If you could visit the setting of this book, would you? Why or why not?

Yes, actually. I did want to see the cobblestones, and ivy-grown walls, and all the old buildings breathing history.

How did you feel about the plot twist? Did you see it coming? What did you think of Edward Fosca? Did you believe that he was the murderer? Or that he was innocent?

Not immediately, I first thought it was Fred, because he seemed too fake, too happy go lucky and his keen interest in Marianna was strange... I did notice that we spend a lot of time on remembering Sebastian, but it only became mildly annoying. I never suspected Edward Fosca. because he was like a cartoon villain. I don’t know why he so desperately wanted to seem guilty to Mariana, but the rare steak, bleeding all over the plate was just a little over the top. I gave the writer some credit, though I’m not sure if that is the right word? The evidence was just so overwhelming, that it couldn’t be this guy. I would have felt cheated, though I think what we got was actually worse.

In between the regular chapters were extracts from a diary/letters. What did you think of this approach?

It really distracted from the story. We were supposed to store away the little tidbits, but I still don’t really buy that the author of the letters was actually Sebastian. Edward Fosca seemed cartoonishly evil, but Sebastian took the cake. And at least, we got to see Edward be awful, rather than relying on exposition.

At the end of the book, Theo reminds Mariana that Zoe is also a victim. Do you think that partially excuses her actions? Or is she still responsible?

We know that Zoe was about fifteen when her parents died, and Mariana and Sebastian took her in. From that moment on, or maybe even earlier, Sebastian started grooming her. I would say Zoe is a victim, and while she carries responsibility for murdering her fellow students, she was definitely not sane. It was difficult to take it seriously, because it was such a convoluted plot. Such an unnuanced info-dump at the end. Because the whole murder plot was for Sebastian and Zoe to get Mariana’s money and live happily ever after, but with Sebastian dead, why did either Mariana and the money still matter? The revenge on Mariana and Edward, sure, but it’s a tough operation to pull off alone.

Do you think this book will leave a lasting impression? Why or why not?

This is definitely a caution tale on how not to write a murder mystery.

#readerbookclub #I'm sorry it's so late and not very good xD #the maidens #my reviews #apples reviews #bookclub #booklr #book community #books

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rockislandadultreads · 3 years

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Feminist Fiction: Reading Recommendations

Dietland by Sarai Walker

The diet revolution is here. And it’s armed. Plum Kettle does her best not to be noticed, because when you’re fat, to be noticed is to be judged. Or mocked. Or worse. With her job answering fan mail for a popular teen girls’ magazine, she is biding her time until her weight-loss surgery. Only then can her true life as a thin person finally begin. Then, when a mysterious woman starts following her, Plum finds herself falling down a rabbit hole and into an underground community of women who live life on their own terms. There Plum agrees to a series of challenges that force her to deal with her past, her doubts, and the real costs of becoming “beautiful.” At the same time, a dangerous guerrilla group called “Jennifer” begins to terrorize a world that mistreats women, and as Plum grapples with her personal struggles, she becomes entangled in a sinister plot. The consequences are explosive. Dietland is a bold, original, and funny debut novel that takes on the beauty industry, gender inequality, and our weight loss obsession—from the inside out, and with fists flying.

Still Lives by Maria Hummel

Kim Lord is an avant-garde figure, feminist icon, and agent provocateur in the L.A. art scene. Her groundbreaking new exhibition Still Lives is comprised of self-portraits depicting herself as famous, murdered women—the Black Dahlia, Chandra Levy, Nicole Brown Simpson, among many others—and the works are as compelling as they are disturbing, implicating a culture that is too accustomed to violence against women. As the city’s richest art patrons pour into the Rocque Museum’s opening night, all the staff, including editor Maggie Richter, hope the event will be enough to save the historic institution’s flailing finances. Except Kim Lord never shows up to her own gala. Fear mounts as the hours and days drag on and Lord remains missing. Suspicion falls on the up-and-coming gallerist Greg Shaw Ferguson, who happens to be Maggie’s ex. A rogue’s gallery of eccentric art world figures could also have motive for the act, and as Maggie gets drawn into her own investigation of Lord’s disappearance, she’ll come to suspect all of those closest to her. Set against a culture that often fetishizes violence, Still Lives is a page-turning exodus into the art world’s hall of mirrors, and one woman’s journey into the belly of an industry flooded with money and secrets.

The War Widow by Tara Moss

The war may be officially over, but journalist Billie Walker's search for a missing young immigrant man will plunge her right back into the danger and drama she thought she'd left behind in Europe in this thrilling tale of courage and secrets set in glamorous postwar Sydney. Sydney, 1946. Though war correspondent Billie Walker is happy to finally be home, for her the heady postwar days are tarnished by the loss of her father and the disappearance in Europe of her husband, Jack. To make matters worse, now that the war is over, the newspapers are sidelining her reporting talents to prioritize jobs for returning soldiers. But Billie is a survivor and she's determined to take control of her own future. So she reopens her late father's business, a private investigation agency, and, slowly, the women of Sydney come knocking. At first, Billie's bread and butter is tailing cheating husbands. Then, a young man, the son of European immigrants, goes missing, and Billie finds herself on a dangerous new trail that will lead up into the highest levels of Sydney society and down into its underworld. What is the young man's connection to an exclusive dance club and a high class auction house? When the people Billie questions about the young man start to turn up dead, Billie is thrown into the path of Detective Inspector Hank Cooper. Will he take her seriously or will he just get in her way? As the danger mounts and Billie realizes that much more than one young man's life is at stake, it becomes clear that though the war was won, it is far from over.

Kill the Farm Boy by Delilah S. Dawson, Kevin Hearne

Once upon a time, in a faraway kingdom, a hero, the Chosen One, was born . . . and so begins every fairy tale ever told. This is not that fairy tale. There is a Chosen One, but he is unlike any One who has ever been Chosened. And there is a faraway kingdom, but you have never been to a magical world quite like the land of Pell. There, a plucky farm boy will find more than he's bargained for on his quest to awaken the sleeping princess in her cursed tower. First there's the Dark Lord who wishes for the boy's untimely death . . . and also very fine cheese. Then there's a bard without a song in her heart but with a very adorable and fuzzy tail, an assassin who fears not the night but is terrified of chickens, and a mighty fighter more frightened of her sword than of her chain-mail bikini. This journey will lead to sinister umlauts, a trash-talking goat, the Dread Necromancer Steve, and a strange and wondrous journey to the most peculiar "happily ever after" that ever once-upon-a-timed.

#fiction #feminism #feminist books #chick lit #womens fiction #Book Recommendations #recommended reading #to read #booklr #tbr #library #libraries #public library #reading list #interesting books

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evandearest · 3 years

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The Garden of Eden | Part IV: Betrayal

Pairing: James March x reader (you) | ~Part: (4/4)~

Summary (Part Four): Warnings are to be remembered, although most stored away for future use only to be forgotten. Cycles repeat to teach lessons; to warn of future events. Threats may remain even if not for the blind eye to see. However, ignorance might be the biggest threat of all.

Warnings (in this part): murder, blood, death, poison, religious twists, dark themes

Word Count: 5,018 (haha this part ended up with the most words... to end it off I suppose!)

Notes: This is the last part of the Garden of Eden! I just want to say thank you to all who read - especially @etoile-writings , for supporting me. Please go check out her series Adam and Eve, as it is a literary masterpiece and she deserves so much recognition.

I have seriously had so much fun writing this - it really has been my pleasure. I also want to apologize to all those who may have been waiting for awhile for the final part! Disclaimer: I tried my best to edit the grammar and everything in this but this is the best I could do! I hope there’s not many mistakes I may have missed. Please ask any questions and give me all your comments about this finale - I’d love to hear any and all thoughts! I also hope everyone is safe, healthy, and happy :) Feel free to send in other requests, whether it be AHS or Supernatural.

Also a heads up - keep a look out for the final review and analysis if you are interested. It is still in progress but it should be out within a couple of days at best.

A few side notes - the Countess and James are still legally married here, as they are in the show, but in this situation it is only because they haven’t gotten the chance to divorce. This part may seem to have very long sentences, but I just wanted to let you guys know that it is a writing technique that I used to create mood, tone, and theme. That’s all, thanks!

Tag List: @etoile-writings @haileyybird @ietss

Something about the young couple in the bar had your mind reeling. Their hands remained interlocked on the table, both of them staring at one another with all the joy and adoration that only true love can bring. Their relationship was new and exciting. The honeymoon phase was always so perfect. You remembered how that had felt with James; so invigoratingly energizing. It was enough to make you feel as if you ruled the world; love blinding a vision of truth. It was, for many years, what you had considered paradise to be.

Paradise.

You realized now that it never had been perfect with you and James. There were so many things standing in the way, so many hidden threats. When you were younger, it had been your parents and their obsessive need to marry you off like an object to a rich man. Even as he had began his journey to success, James’ social status as new money hadn’t seemed good enough to them. When you had first gotten back with James only just around a month ago, you had thought that you’d conquered everything. You had been blind to the truth which was right in front of you once again. You should have expected some kind of change in James. It was inevitable, after all that time spent apart.

But now, however, right at this present moment... well, now, everything was out in the open. Now, you and James truly understood one another. Now there really was nothing in your way. You could see no obstacles ahead, no threat, so long as James was by your side. All you saw was James, and all that clouded your mind was your admiration and devotion to him. He was your everything; your soulmate, your leader, your God. He had dragged you from the fire and brought your paradise back to you; good, true, and everlasting this time around. Your precious Garden of Eden, controlled by none other but you and your God.

Your God; who had been the utmost of clever in his recent schemes. He’d been outraged when he did it, but it wasn’t to say that he wasn’t brilliant. He was of excellent prosecution; his statement out in the open and clear. A Sunday morning: police finding piles of dead bodies compiled with numerous copies of nothing other than the book of God himself. It was sadistic and morbid, but it was perfect. It was everything that James needed to say. He was on the verge of something momentously renowned.

Once James was finished, no one would ever forget his message: religion was the worst thing to happen to society. It controlled the will of man, when truly nothing in creation could stop anything. Everyone was put equal on the Earth to sin, to live in the most pleasurable way.

It was the entire reason Adam and Eve had been cast down. They were sinners, except the garden was a place controlled by God’s rules. They had wanted to control their own lives, so God banished them to Earth. James, however, had created his own paradise; his own Garden of Eden. He had climbed so far above all other men that he now controlled the garden. He had to prove to others the ridiculousness of holiness--for all were meant to sin. Religion was, essentially, suppression. To some, it may seem horrible, but to you, it was art. A simple expression of belief that most didn’t understand.

Voices floated into your ears, startling you out of your thoughts. Soft echoes through the lobby of your beloved’s name piqued your interest, your feet immediately carrying you to the railing without much thought. You left your drink on the bar’s counter--still full, but long forgotten. Your eyes landed on four men clad in black suits, shiny gold badges on their shoulders reflecting light from the chandeliers above. You scanned the area, noticing a certain maid standing close by, listening in, much like you were.

“We have suspicion based upon evidence that Mr. March was involved in the murder this past Sunday. We have already taken the time to get a warrant for his arrest,” one of the officers explained to the receptionist at the front desk. Time seemed to take a standstill, your heart seeming to stop completely as your brain registered the man’s words. No, this couldn’t be happening.

The cycle was repeating again. They were trying to tear you apart again.

You didn’t understand how this could’ve happened. He said he was careful, and you could never see James making a mistake with something this important. He was detail-oriented, his brain practically ran off of the certainty of perfectionism. He would never let a small mistake ruin everything for him.

The entire empire he’d built, and everything you’d rebuilt, was about to be destroyed all over again.

Your body seemed to catch up with your mind as you sprung into action. You twisted around, your feet pushing you forward only to come to a halt at the close proximity of the once unknown presence behind you. Your eyes widened, a sharp breath escaping your lips at the stop you made compared to your sudden momentum. You stared into the eyes of none other than The Countess, clad in only the most extravagant clothing and makeup.

“That’ll be a hard one to get out of,” she said, although her face was seemingly expressionless. You stared at her, your frenzied brain jumping to the first conclusion you could make.

“Did you...” you trailed off, your breathing suddenly heavy. James couldn’t have made the mistake, so that means that somebody else had to of given the police some kind of tip in order for them to seek James out. The woman standing before you was quite possibly the number one suspect. “Did you do this?” Your voice held tones of disbelief and anger.

Would Elizabeth really go to such extent when she hadn’t even expressed a major disliking? She hadn’t talked to you at all since that first time, in fact the only interactions you’d had with one another were passing glances. She’d seemed to have just steered clear of anything to do with you or James. You had no idea what she had thought, but you had supposed that she didn’t care about you and James, otherwise she would have spoke her concerns. Had you been wrong about her? Could a simple mistake end it all over again? Elizabeth scoffed, her face hardening.

“Oh God no...” she said wryly, a small sarcastic grin forming on her lips as she looked at you quizzically, “what would I get out of it now? As I am still his present wife, I don’t need James dead to use his money. And besides, now that he has you he no longer bothers me.” She was smug as she spoke to you. She grinned, all teeth and mischief, her eyes sparkling. “It’s a winning situation for the both of us if you ask me.” She paused, her grin falling slightly as her gaze wondered off to peer down into the lobby.

“I could bet I know who the rat is, though,” She said, turning back to you. “I’m wagering it’s his loyal minion. That poor woman has been in love with James since the beginning of time.” She paused, her eyes intense as they rested on your face. “And based on your expression you think so too.” She smiled at you and then turned, walking slowly away from you. “Good luck,” she called back to you without turning around, your eyes watching her back as she went.

You stood contemplating her words for a moment. Elizabeth was smart and straightforward, and from what you could tell if she had a problem she would speak her mind. And what she had said made sense. Miss Evers was in love with James, but her love was unrequited, and that’s why she constantly seemed at odds with you. She could never even have a chance to be with him, so long as you were around.

Your feet carried you quickly as you raced to the elevator. The police were still conversing with the receptionist, but you knew it was only a matter of time before they found out where James was. You recalled a conversation you’d had with him in the morning, concluding that he had to be caught up attending to his hobby.

The police would find him in his office, in the middle of his business, and it would all be over. He would be taken from you once again.

You didn’t even knock upon arriving; you opened the door and closed it quickly behind you. You turned to face James, in all his blood-covered, god-like glory. You took in the scene of James’ office quickly, your eyes tracing over every detail. A large bin sat in the center of the room, a rugged corpse contained within it. James had been busying himself with pouring a substance over the body, of which could only be acid, as it had sizzled upon impact with the dead man’s skin. At your arrival, James halted his methods in confusion.

Several items were scattered across the floor, one of which catching your interest. The glass of the vase; a damp spot surrounding the area where the unaltered mess remained. The roses remained too, the petals wilting from lack of nourishment. You paused, your mind trying to puzzle out their unmoved position. Miss Evers had to have been in here since last night, so why wouldn’t she move them? She might have been scheming, but she was extremely adamant on being neat when it came to James’ specific rooms. You couldn’t see her ignoring it, and yet here it was sitting puzzlingly. You were caught off guard for a reason not entirely known to you. Something about their appearance had you alarmed, a string of words suddenly ringing out in your head; perhaps a memory brought to the surface.

“If you betray the rose, the rose no longer profits you.”

The old woman was suddenly prevalent in your mind, her warning dawning upon you, your heartbeat stuttering at the looming echo of her words. James was waiting for you to explain yourself--the police were coming--Miss Evers had betrayed you--everything you and James had worked so hard for was crumbling down around you. Your heartbeat was fast, the pulse beating quickly, perhaps the reason for the pounding in your head.

You looked James in the eyes, studying his features. He was so handsome--even before you knew him, that day in the garden when you had first seen him--you had marveled at his beauty. And that was before he’d become such a man; his features sharp and masculine, beautifully sculpted by the gods. His dark brown eyes and hair, so dull yet so prominent--a symbol of his darkness. You could stare at him for eternity and never bore, your love for him everlasting.

And yet, here you were at the end with no escape, hell a threat once again hanging above your heads, looming just around the corner. Just a few more minutes and everything would be over. Just a few more minutes and you’d be lost again, stranded without your guide; your purpose--your God.

“James,” you gasped, stumbling slightly as you made your way to him. You’d just managed to get to him before you fell over slightly, your arms reaching out to grasp onto his tightly. He caught you, keeping you level as his face filled with concern. The pounding in your head was intense, beginning to drown out your thoughts and quicken your breath.

“Darling, tell me--what is it?” James demanded, his voice panic-stricken. He lifted your chin to look you in the eyes, his widened orbs meeting yours with intensity.

“I-it’s--the- the police,” you barely managed to get the words out, clinging onto James like he was your lifeline. Nothing seemed right; your thoughts suddenly taking too long to form into words, your breathing heavy, vision blurry, and it was becoming much harder to stand. What was happening? You stared into James eyes, shifting all your focus into him. “They’re here to arrest you.” One hand gripped his arm firmly as you brought the other to rest upon his cheekbone, leaning chest to chest as your body began to collapse into him. He held you steady, forever the one and only thing to truly support you. “They’re going to take you from me,” you sobbed, an onslaught of tears overcoming you. “Again,” you cried quietly, gasping for air.

The door opened, your heart skipping a beat at the intrusion, your mind going straight to the thought of the police. Your eyes landed on Miss Evers instead, confusion settling on you once again. She’d gotten what she wanted, hadn’t she? Why was she here now, to prove something? You wished you had the strength to question her, to say anything, but everything felt heavier and heavier as more time passed.

“Tell me,” James barked at her just as she’d closed and locked the door, “what in all creation is happening? Speak right this instant, and quickly.”

“The police are here,” Miss Evers explained, James grip on you tightening as you leaned onto him for support. He glanced down at you, worry glinting in his eyes as you just barely managed to look up at him.

“Darling,” he whispered, “what is happening? Are you ill?” A moment of silence passed as you tried to respond, your mouth opening but no words becoming audible. A moment of silence passed, the only action being James assessing you. Your words couldn’t seem to form, a burning spreading through your entire body. It was unlike anything you’d ever felt. You began to wonder yourself if you were somehow ill.

“It was supposed to be me!”

The maid across the room suddenly shrieked, desperation clouding her judgement as she flung her arms up in the air. “I was the one for you!” She sobbed, stumbling slightly as an expression of hurt formed upon her face. “I always loved you, and these women--they never did! They used you, and I always cared!” James eyes widened, shock coming across his features. He stared at the woman, contemplating her words.

“But you never saw,” the woman said sadly, her head hanging in shame before her face went emotionless. “And so I did the only thing I could.” She looked at him, dead in the eye, a type of malice suddenly overcoming her. “You’d be surprised how easy it was.” Her eyes settled upon your frame, your head moving slowly to get a glance at her. You stared, blinking rapidly as your vision faded in and out. You could barely comprehend what she was saying, but you felt as James’ breath quickened. It was taking all of your willpower to stay awake--you needed to, for James.

“What?” he stated, his voice deeper than you’d ever heard it, a rage within his eyes even you had never seen before as he stared at her. He was tense, as hard as a rock, glaring daggers at the woman who had seemingly betrayed him.

“I--,” Miss Evers hesitated, obviously intimidated by his fury, but decided to continue. “I’ve found that you have a secret stash of cyanide in the bar.” She faltered once again, her eyes shifting away from James and to the floor. “I wanted us to be together, and she-” she pointed at you, “-she was always in it for the money! They all are, all but me!” She burst into tears, falling onto her knees in hysterics. Your eyebrows furrowed as you racked your brain to gather all of the information. She poisoned you at the bar. You remembered brief flashbacks of the one tiny sip you’d taken of your previously forgotten drink.

James seemed to be shaking as he gently moved you to sit in a chair by the wall, turning away from you for only a moment. Your eyelids began to flutter as sleep beckoned you, visions of James’ movement around the room the only thing to hold your focus. A loud pop suddenly reverberated off of the walls as it rang out, causing you to sit up slightly from your slouched posture, your eyelids flying open to search for the source. James stood over the body of his betrayer, smoking gun resting within his palm.

You felt so weak, your thoughts jumbled, unable to focus on only one. Only now you knew it wasn’t just an overreaction. You’d only taken a mere sip of the drink from the bar, but you supposed now that it had been enough for the poison to go into effect. You wondered briefly how she’d gotten the cyanide into the drink in the first place, and exactly how much she had put in for it to have such a potent effect on your body.

Your eyes traveled to her corpse, and to the fresh blood splattered across the wall from the headshot. You blinked, barely registering what had just occurred before you. You were too dazed to process the incident, even if you understood what had occurred subconsciously. Relief was the only thing you felt; relief for one less thing to worry about standing between you and James.

Eyes shifting slightly to the left, you stared at the browning roses, the sweet old lady’s warning once again echoing, a distant memory brought to the surface of your mind. James crouched in front of you, suddenly the only thing in line of sight, his lips moving but you couldn’t hear his voice over your own in your head. The roses were dead. You left them on the floor. You betrayed them for--

You sprung up once again as a loud banging at the door shocked you back into your senses. James glanced briefly at the door before turning back to you quickly. He pulled you out of the chair, holding you up and close to his chest as he stroked your hair tenderly.

“James,” you just barely whispered as he shushed you.

“I know, darling,” He said reassuringly, pulling back to look into your eyes. “It’s all going to be okay, dear. It’ll all be over before you know it.” He smiled charmingly as you nodded weakly, holding tightly onto the cloth of his shirt to maintain stability. And you believed him in that moment, as he always seemed to find a way.

One way, or another.

You rested your head on his chest, closing your eyes as the pounding on the door increased. Or maybe it was the pounding in your head; at this point you couldn’t decipher what was real and what was just a figment of your imagination. Cold metal pressed against the skin of your temple, your brain too bleary to question it. Mere seconds passed as you contemplated moving, but suddenly it was as if everything had settled away. James’ warm body faded from your grasp.

-🤍-

Your eyelids fluttered open, eyeballs moving back and forth as you tried to become familiar with your surroundings. You recognized the familiar room immediately, for it was your bedroom when you had first moved into the Cortez. You felt strange. Zen, almost, but maybe that was just because the pounding was gone. You felt... disconnected. It was the most out of touch with yourself you’d ever felt.

You climbed to your feet from the floor, thoughts running rampant at what was unknown to you. Where was James, how did you get here, how long had you been here, and why did you feel so cold? Flashes of what seemed to be both years ago and only moments ago clouded your mind, filling you with dread. Scenarios of what could be frightened you and sent you into a state of panic, pushing you forward.

Out of the room you went, through the quiet and empty halls, searching, searching, searching--no fixed destination ahead except something, anything, that could lead you to your James.

It seemed that days had passed before you finally found the lobby of the hotel. Navigation through the building was proving to be much more difficult than you remembered. Why was it taking so long?

The lobby was sparsely populated, unlike the usually crowded area that you were used to. You glanced around, noticing only a few people in the bar, the receptionist, and someone asleep on the sofas. Your feet carried you to the hotel entrance, pushing the first door open, the sunlight peeking through the opaque glass surprising you. If it was the daytime, then why was the hotel so empty? On ordinary occasions people came and went like flies; the Cortez was a hotspot in the city of Los Angeles, after all. Your hands reached out to push open the door to the outside, the metal handle of the door cool against your skin, and then suddenly nothing. In front of you was the door no longer; profound confusion coursing through you as you stared at the walls of your bedroom once again. You had been there one second, and in the next it was as if you had been teleported back in time.

And so the cycle repeated for what seemed like years; many times set adrift through the halls, eventually to the lobby where the sunlight no longer shone through the windows and unusually few people inhabited. You were reaching forward for the handle of the first door for what seemed to be the hundredth time, only to freeze at the call of your name from a familiar voice.

“Y/N.”

Your name sounded of honey dripping off his tongue. It was like hearing that voice for the first time again. All your worries deflated and anxieties subsided--for you had found your God once again. You turned to face him, to see his face--the face you had longed to see for what felt like years but may have been minutes. You still didn’t entirely understand the detachment from your body you felt; it was as if you no longer had a life source, no blood running course or lungs cycling air. You felt out of place and trapped at the same time.

Just as your hopes had soared, they plummeted at the sight of the bare lobby. Emptiness sat instead where you had expected James to be, crushing all sense of direction. You wanted to cry, to scream, to tear the hotel to shreds with your bare hands. But just before you gave up all hope completely, your eyes caught on the tiniest of details.

Barely noticeable, unless payed close attention to; unless already a prominent object in one’s mind. Small, dainty, white petals lay scattered in high correlation, leading on to an unknown but obviously specific destination. You treaded lightly as you followed the path closely, afraid any disturbance would somehow make them disappear.

Unease settled through you, possibly just a usual feeling as of late, but considerably appropriate when meeting the isolate hallways once again. You began questioning your sanity; was this just yet another repeat in the cycle? You’d been lost for so long, was this just another loop? What was the energy here, and why did it not feel like you and James’ beloved Cortez, the place you called home? You felt like you were stuck in a punishment of some kind; a purgatory; a hell.

And at last, you arrived; the room in which this cycle had began, or ended. The office of James Patrick March: Room sixty-four. You paused, contemplating, before making a bold decision and gripping the handle, opening the door and entering the room. There you stood in what was once James’ office, now empty of most furniture, only few items remaining. And there it remained: the vase on the table in the center of the room, petals leading straight to their source.

Inside sat the very white roses themselves, southern California glory and all. They looked just like the ones in that very first garden: huge, bright and beaming, petals spread with all the beauty and radiance of nature and purity. And just behind them stood their God; the master of the garden who held the utmost control in his realm. Your God, who’d saved you from hell; who’d broke all cycles.

The feeling you felt at sight of James did not fail to excite you just the same as it had on that first day years ago. Something about his presence next to yours soothed you, for you knew that he was still there, that he hadn’t been taken from you, that no matter what had happened you were still okay so long as he stood next to you.

You rushed forward and into him, basking in his embrace. His arms wrapped around you, but the challenge once again presented itself: an unignorably apparent absence of warmth. It’d been just before you’d first woken up what seemed like years, or maybe just hours ago, that you’d been in his embrace just the same, his warmth seeping into you and igniting your soul as you had faded in and out of consciousness. But now, you couldn’t feel it. You felt his body wrapped around yours, but nothing inflaming, the detachment from your own warmth just the same. It was missing, a shell of a comfort that used to always be present; something you had gotten entirely used to, for to be absent of warmth was to be dead...

You gasped, pulling away from James to look him in the eyes, the reality setting in and the drunkenness fading away. Your mind was becoming clear, all clarity suddenly bestowed upon you.

“James, are we...” you froze in panic, for it felt as if you didn’t have lungs, the normal rise and fall of the simplicity of breathing gone... the feelings of life were all gone...

And it clicked.

“James,” you whispered, your eyes tracing over the details of the room. The blood stains on the floor and walls were the only evidence of foul play left. You felt strange, for people didn’t normally expect to see the place of their death after the fact. Realizations settled over you as you stared at the room, just as you had initially when entering to warn James of the police, the truth of the events that had happened finally dawning upon you. In your poison-induced state of mind, it’d been hard to realize. You had been dying, the poison slowly but surely shutting your body down. You’d barely processed it when James had held the gun to your head and pulled the trigger, ending your pain.

“Yes, darling?” James replied to you, bringing you back to your conversation. You stared at him longingly. Although you didn’t entirely understand why you were still here, or the concept of the afterlife, you were glad to have James next to you. A moment of silence passed as you tried to pinpoint what you wanted to ask him exactly.

“I have so many questions,” you said, deciding to just speak your mind. You furrowed your eyebrows, blinking rapidly as you tried to sort out your thoughts. “I-I’m so lost, James.”

“Of course you are, dearest,” James said reassuringly, his hand brushing the stray hairs away from your face. He stared at you sadly. “I’m terribly sorry for all that happened, you must feel perplexed beyond understanding my dear.” He paused, his eyes traveling over your features as you stared up at him, listening intently. “This was simply my only choice, darling. You were succumbing to the poison’s grip long before I finished your pain. Miss Evers...” He trailed off, his jaw clenching tightly. “Nevermind that. I came to a conclusion upon the authorities’ arrival, and that was that if I was damned to be put away I might as well flee with you, my queen... it was the only right option.” He smiled down at you softly.

You smiled right back at him, your love for him the only warmth left inside of you now that you no longer had your body to call home. You basked in the feeling of being close to him as he pulled you to his chest, his lips leaving a soft kiss against your scalp. Even if you didn’t feel warmth, simply the love you had for him was enough. He tenderly stroked your back, calming your nerves. It amazed you how he could ease your mind so easily, if only just a little. However, you couldn’t shake your thoughts away. Sure, you could just let it all go, but the truth of the matter was simple.

Your entire life had been a cycle. A cycle of undeniable foolishness; you’d been ignorant of the truth for all of your living years. Oh, how it angered you. You hated something truly for what seemed like the first time in your life. You hated yourself; you’d let yourself believe false truths just to live in an illusion that you thought was happiness. You were naïve. And ultimately, that was what had ended you.

You’d ignored all warnings and left the roses to wilt, betraying the one thing that had always been on your side. You’d ignored all threats and committed yourself to making paradise in the land of the evil; it was simply impossible. The Garden of Eden wasn’t a place for the living. It was a place of freedom, and so long as you’re living, you can never truly be free. For in life, one threat always remains: death. You could never truly be protected. You could never truly have paradise.

But with James, in the Cortez, in the paradise he’d created for you... even death didn’t stand a chance. It was a gateway to greatness; a place where nothing truly stood in your way, where no threats were great enough. You couldn’t be harmed, or imprisoned, or separated here; you were finally utterly invincible; real Gods. Hell and Earth were no longer a threat. It was your true paradise that James had promised you.

Your Garden of Eden.

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Series Masterlist: The Garden of Eden Series

Main Masterlist

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