#(( no icons because 'Mr. Martin' looks much different :) ))

[andreafmn]

I'm Not Afraid - Chapter 3

Word Count: 3,195

Characters: Female Reader Argent Character, Original Male Argent Character, Derek Hale, Allison Argent, Scott McCall, Stiles Stilinski, Isaac Lahey, Lydia Martin, Chris Argent, Jackson Whittemore

Story Description: (Y/N) Argent arrived at Beacon Hills to put to rest her father’s sister, Kate Argent. For the first time, her family has decided to settle down and sustain a life in this interesting small town. After 17 years, (Y/N) has the opportunity to establish interpersonal relationships but will she be ready to face the complications that come with relating to her cousin’s, Allison, friends; especially, the infamous Derek Hale. She will face the adventure of being associated with the Derek and McCall pack as well as being faced with the discovery of certain aspects of her life she never imagined.

*DISCLAIMER* I do not own in any way Teen Wolf, all credits of the pre-established characters, script, and storyline belong to Jeff Davis and MTV Network. The only thing I own is Argent Reader insert, her immediate family, and her storyline, as well as her effects in the others’ storyline.

Chapter: 3/?

Warnings:  brief mention of attempted suicide

A/N: If you enjoy my writing I’ll also be posting them in AO3 and Wattpad along with other stories (I also hope to start taking requests if ya’ll want) Hope you enjoy and all constructive criticism is encouraged.

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Chapter 3

"Time!" Mr. Harris looked up from his watch. "If you catalyzed the reaction correctly, you should now be looking at a crystal."

I looked down at my beaker and saw a horrible concoction of half crystal and half goo. Thanks to Stiles, my last partner of this weird-ass rotation the chemistry teacher had us partake in. Yet even though I didn't get with Stiles that well I was relieved that he was my partner. Isaac had been completely insufferable these last few days and I couldn't handle that.

"Now this part of the experiment I'm sure you'll all enjoy. You can eat it." I was bummed that I couldn't eat mine and I guess Lydia noticed.

"Hey, (Y/N), we can share mine. Don't frown." I smiled at her and she returned it.

After Lydia gave me half her rock crystal, Scott just stood up and screamed our names to stop, and everyone else just stared at us. We both turned and gave the boy a weird stare before diverging our attention back to the candy. After clinking our candies against the other, we savored the sweet treat.

Allison's POV

"Derek is outside waiting for (Y/N) and Lydia," Scott said.

"Waiting to kill them?"

"If he thinks one of them is the Kanima, then yes. Especially after what happened at the pool."

"It's not Lydia."

"Stiles, she didn't pass the test, man. Nothing happened."

"No, it can't be her."

"Well, it's not (Y/N) either."

"Well, it could be her."

"What is that supposed to mean?!" What the hell was his problem?

"Well, we have no idea who she is, and she hasn't really proven to be a good person. And the attacks did start after she first arrived at Beacon Hills."

"You don't know her, I do. Believe me, it's not her. I've known her my whole life. I think I would have noticed her turning into a killing lizard and I don't think I would be here to tell you. So, we can cross her out." We both sighed. "But it doesn't matter because Derek thinks it's one of them. So, either we can convince him that he's wrong or we've got to figure out a way to protect them."

"Well, I don't think he's gonna do anything here. Not at school." Scott stepped in.

"What about after school?" I asked and he sighed. "What if we can prove that Derek's wrong?"

"By three o'clock?"

"There can be something in the bestiary."

"Oh, you mean the 900-page book written in Archaic Latin that none of us can read? Good luck with that." Seriously Stiles, not helping. At least I was trying.

"Actually, I think there might be someone who can translate," I said thinking about our guidance counselor.

"Uh, I can talk to Derek maybe convince him to give us a chance to prove it's not either of them or... But if anything happens you guys let me handle it, okay?"

"What does that mean?"

"You can't heal like I do." I stared at him. I wasn't a defenseless baby. "I just don't want you getting hurt."

"I can protect myself." I took the crossbow out of my bag. He said nothing. "What? Did something else happen?"

"I just don't want you getting hurt. Seriously, if anything goes wrong you call me, okay?! I don't care if your dad finds out. Call or text, scream or yell; whatever, I'll find you as fast as I can." He stared straight into my eyes.

"We have until three."

He turned to leave until my crossbow went off. "Ooh." Scott quickly turned around and caught the arrow.

"Aah. Sorry." Stiles handed me the crossbow. "Sorry. Sensed a trigger on that."

Scott's POV

Currently, Stiles was on Lydia's and (Y/N)'s trail, and I was on the field with Boyd trying to find Derek.

"I wanna talk to Derek."

"Talk to me."

"I don't wanna fight."

"Good. Cause I'm twice the size of you" I looked up to find it true.

"True. Really, really true." He smirked. "But you wanna know what I think? I'm twice as fast." I smirked back and tackled him to the ground. Once we stood up, Derek appeared by our side.

"She failed the test." His face held his iconic scowl, and his arms were crossed.

"Yeah, but that doesn't prove anything. Lydia's different."

"I know. At night she turns into a homicidal walking snake."

"I'm not gonna let you kill her."

"Who said I was gonna do it?" I looked back to the school and realized Erica and Isaac were still back in the building. I tried to run towards it, but Boyd threw me down. "I don't know why you think you have to protect everyone now, Scott. But even so, Lydia has killed people and she's gonna do it again. And next time it's gonna be one of us."

"What if you're wrong? For all we know it could also be (Y/N). She didn't pass either, and how is it a coincidence that the attacks started after she arrived?" For a second I could have sworn there was a sign of desperation and worry in his face. But as quick as I blinked the look was gone.

"Lydia was bitten by an alpha. It's her."

"You saw that thing up close. You know it's not like us."

"But it is! We're all shapeshifters. You don't know what you're dealing with. It happens rarely and it happens for a reason."

"What reason?"

"Sometimes the shape you take reflects the person that you are." He gave me his hand and helped me up. "Even Stiles calls her cold-blooded."

"Well, what if she's immune? What if she has something else inside of her that makes her immune to the bite which is why she didn't get paralyzed."

"No one's immune. We've never seen it or heard of it. It's n... It's never happened." He argued.

"What about Jackson?" He looked away. "That's why you tested him, isn't it? Because you gave him what he wanted, didn't you?"

"Scott..."

"You said the bite either kills you or turns you. You were probably hoping that he would die. But nothing happened, right? You have no idea why do you?"

"No." Derek's jaw clenched and I knew I struck a never, so I pressured on buying more time.

"I have a theory. That she's immune and that somehow, she passed it on to Jackson. You know I'm right."

"No!

"You can NOT do this!"

"Look, I can't let her live! You should've known that."

"I was hoping I could convince you but then, I wasn't counting on it." He looked at me frazzled as to what I meant, I just smirked.

(Y/N)'s POV

Being stuck with Stiles and Lydia in the library is torture, an experiment I did not want to know the result of. Actually, just Stiles. Ever since Chemistry he had been on our trail like a lost puppy. Lydia and I had a project to work with, and he was just in the way. He was acting so weird and fidgety, more than usual.

"Hey, Allison. What are you doing here?" Lydia said looking behind her.

"Oh nothing, just wondering if you wanted to get together for a study group."

"Sure, that would actually maybe let the tension leave this group," I said and as we were leaving, Jackson joined.

"Study group? I'm coming with."

"Great." We left through the back door of the library, lord knows why, and we were walking at top speed.

"If we're doing a study group why don't we just stay in the library?" Lydia said. I was asking myself the same thing but since everyone else had stood up, I just followed.

"Because we're meeting up with somebody else."

"Why don't they just meet us at the library?" I asked.

"Oh, that would have been a great idea! Too late."

"Okay, hold on..." Lydia started saying but Jackson stopped her by grabbing her arm.

"Lydia, shut up and walk." Jerk.

We all got inside of Stile's jeep since he thought it would be faster that way because we were already late. It was an awkward ride to what I learned was Scott's house. No one said much except for the casual groan or scoff coming from Lydia.

"If we're meeting at Scott's house, where's Scott?" Lydia asked.

"Meeting us here. I think. I hope." Stiles said as he led us up to the front steps and into Scott's house.

Once inside he closed every single lock there was on the door. My reaction was involuntary as I stared at the slim boy in front of me as if he was another worldly creature.

"Uh, there's been a few break-ins in the neighborhood." He then put a chair on the doorknob and now Lydia joined in the stare. "And a murder. Yeah, it was bad."

"Lydia, follow me. I need to talk to you for a minute." Jackson spoke up.

"Seriously, what is going on with everyone?" Lydia said exasperated.

"Actually, I've been thinking the same thing. What the hell is going on?" I asked once Jackon and Lydia were out of sight.

"Nothing. Like we said it's just a study group." Stiles answered and I crossed my arms against my chest. Groveling for an answer seemed completely futile in this situation.

Allison's POV

"You know what, (Y/N). Why don't you go into the kitchen and help yourself to anything or go upstairs and lay down? I think Scott will take a while."

"O-kay?" She headed upstairs with an audible sigh and I motioned to Stiles to give me his phone to dial Scott.

"Hey, it's me. You need to get here. Quick." I looked outside and saw Derek and his pack waiting. I looked at the phone after Scott hung up and started dialing my dad's number.

"What are you doing?"

"I think... I think I have to call my dad."

"But if he finds you here, you and Scott..."

"I know." I stared at him. "What are we supposed to do? They're not here to scare us, okay, they're here to kill Lydia... Or, or even (Y/N)." We stood in silence and I debated on whether if it would be a good idea to call my father. If I did my relationship with Scott would be completely and truly over and if I didn't there could be a chance I would be down a friend or even a cousin.

"I've got an idea." I looked at a nervous Stiles. "Shoot one of them."

"Are you serious?"

"We told Scott we could protect ourselves. So, let's do it, at least give it a shot, right?" I debated for a moment.

"Okay." I don't think I sounded too confident.

"Look, they don't think we're gonna fight, so one of them gets hit, I guarantee they'll take off. So just shoot one of them." His reasoning made sense. I looked outside.

"Which one?"

"Um, Derek, preferably in the head."

"Stiles, if Scott can catch an arrow, Derek definitely can."

"Okay, ah, just shoot one of the other three."

"You mean two?"

"I mean three." Quickly he moved the curtains aside and looked outside to check on the pack. "Where's Isaac?" Without being able to think I was attacked and thrown to the ground and so was Stiles. I don't know how but Isaac found a way in.

(Y/N)'s POV

I was laying down on the bed of what I hoped was a guest room, scrolling through my phone when I heard a crash downstairs. I guess Lydia heard it too because when I looked outside the hallway, there she was. We moved slowly and carefully. After, I started to hear snarling and crashing.

"What's happening?" Lydia cried and I half hugged her as reassurance.

"Get back. Someone's trying to break in, okay? Go." Allison appeared from around the corner.

"I can help," I said.

"Stay." We didn't move. "Guys, go!" We both ran back to the room she was with Jackson and closed the door. Yet, Jackson was nowhere in sight.

"Jackson?!" Lydia screamed and we made our way to the bathroom locking the door.

"Who are you calling?" I asked Lydia as she took out her phone.

"Hi, I-I need the police. Th-there's someone trying to break in." She turned off the light and I heard the door outside slam.

"Stiles! It's here!" Allison screamed. What the hell was IT? Then the door crashed down. Lydia started squirming so I engulfed her in a hug and tried my best to calm her nerves.

"We're gonna be alright." But honestly, I was just as scared. Once silence was the only thing surrounding us, I checked the room. "Okay, I think it's gone. We'll go out slowly."

She nodded and followed me out of the bathroom and later out of the room. We made our way calmly down the hallway and the stairs. That's when I heard the worst screech ever and it was not human. We both ran outside to see what had made such an awful sound and were met by Derek, Isaac, Erica, Boyd, Scott, Stiles, and Allison. What the hell were they all doing here, and why were Erica and Isaac limp on the floor?

"Would someone please tell me what the hell is going on?"

"It's Jackson," Scott said. What could that possibly mean?

After everyone had calmed down, Stiles took us back to the school to look for our abandoned cars. As I made my way to my bike, Allison stopped me. Claiming that she was too worried about my safety. Not having the energy to fight, I obliged and got into her car alongside Lydia, who was still a bit shaken from the events.

"I need you to promise that you both won't say anything about what just happened." Allison staged the statement as a request but it was clearly a command.

"I promise not to say anything about what just happened if you could tell me what the HELL just happened," Lydia said, exasperated.

"I'm with Lydia on that one."

"It's kinda complicated." Allison sighed.

"How about you start with why Derek was there?" I spoke. "And Isaac and all of those kids from school?"

"Or where Jackson went or what is wrong with Erica?" She looked down. "Need to come up with a possible lie?"

"Part of the reason I am asking is because Scott and I aren't supposed to be seeing each other, okay?" Seriously? That's your excuse "So it's better if you just keep what you know to yourselves."

"Fine. I'll keep what I know about you and your boyfriend, which is nothing, to myself." Lydia started to get out, but Allison held her back.

"Hey, he's not just my boyfriend, you get that right?"

"Let me go." The strawberry blonde spat.

"Just for one second, please try and remember. "

"Remember what?!" Lydia turned.

"Remember what it feels like. All those times in school when you see him standing in the hall and you cannot breathe until you're with him or those times in class when you can't stop looking at the clock because you know that he is standing right out there, waiting for you. Don't you remember what that's like?"

"No."

"What do you mean no? You've had boyfriends."

"Not like that." She closed the door and left. Allison stared at her until she had reached the door to her house before starting the car back up.

"I know you're lying. This has nothing to do with your relationship with Scott. Maybe like five percent but when you look at the whole picture it's not. So, why don't you actually tell me the truth or I swear I will get out of this car."

"We're moving."

"Doesn't mean I won't jump out."

"What do you want me to say?!"

"The truth. Just tell me why the hell everyone has been acting so weird?"

"You're one to talk." She scoffed.

"What is that supposed to mean?"

"You! Ever since you've arrived you have pushed everyone away, even though all they have been is nice to you. You're alienating yourself for no reason."

"No reason?! How about the fact that I don't want to grow attached to anyone because I know that once the year ends, I'm gone? It has been like that for almost ten fucking years. Allison, you have only had to move about three times in your life, maybe four. I have been moving every single year since I was eight years old. Don't you think that it doesn't hurt to leave behind people you have grown to love and won't see again, possibly forever?"

"I didn't think..." she sighed.

"Exactly, you didn't think because you don't understand. The last time I grew close to someone, I had to say goodbye and you know what happened?" She shook her head no. "She was bullied into attempting suicide. I did that."

"Are you talking about Josie?" I nodded, roughly wiping away the tears that had spilled. "That wasn't your fault. It was tragic but there was nothing you could have done. You didn't do it."

"I did. She was alone because I left, and I couldn't protect her. She won't even answer my messages. Now, I don't associate myself with people so I don't have to care about what happens to them. That way it doesn't hurt once I leave."

"I'm so sorry, (Y/N), I didn't know you felt that way. But don't push me away. I will always be a constant in your life. I'm your cousin, I will always be with you." She hugged me and wiped away any other tears left. "I love you but get out."

"Dude, you just ruined the moment."

"No, I mean we're at your house and I have to get home. I love you." She smiled and I got out of the car. Before I could say anything else, she sped off. She knew there was a conversation still lingering and she was trying to avoid it. I just hoped I didn't have to explain myself to anyone else.

I entered the empty house, making sure all the doors were locked, and made my way up the stairs. Opening my bedroom door, Brody jumped off my bed and onto me, slathering my face with kisses.

"Hey, buddy. I missed you too," I laughed. Being near him instantly calmed me and helped me feel more at ease after the night I had.

I changed into my pajamas, too tired to shower, and cuddled with Brody on my bed. Talking about my past always made me tense. I tried my best to stray away from the topic and reveal as little as possible as I could, but it always found a way to be uncovered. As hard as I tried it was the dark cloud that would always follow me around. All I could do was avoid the whole thing as much as I could and hope they didn't bring it up again.

With Brody's warmth next to me, I quickly nodded off to sleep and melted the stress of the day.

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[jess-rewatches-prodigalson]

Ouroboros (S2, E8)

The hiatus almost killed me. So glad we have new content <3

As usual, my time-stamped thoughts for this episode are below. As always I reference Malcolm’s mental health. A lot. So if that’s going to be a trigger for you, don’t keep reading.

SPOILERS AHEAD:

0:04 - That scarf is so extra.

0:26 - OH LOOK THE FIRST SUNSHINE SIGHTING OF SEASON TWO!!! It only took 8 episodes. *insert eyeroll*

0:40 - Ugh. This montage makes me hate Hoxley. He embodies the type of human I abhor: self-important, egotistic, obsessed with appearance.

1:19 - “No I didn’t.” LMAO. Mr. David is so done with Martin’s bullshit.

1:36 - That makeshift shiv in the dude’s arm.....that’s Daryl’s shiv from a few episodes ago right? Am I going crazy?

 2:25 - Sooooo Birdie hasn’t left New York? She’s moved into the Milton’s “Murrayville Building”. Huh. Wait. Was Birdie in the house when Malcolm and Ainsley fought? Do you think she heard?!? Birdie might become a problem for the Whitly’s later this season....I hope?

2:43 - Jessica doesn’t know about the contents of the fight. Interesting. How long has it been since the end of 2x7? 

2:58 - “I’ll be there at 8.” hahaha OMG. I swear Malcolm was a terror during his ‘rebellious teenager’ phase.

3:38 - Yep. This fog horn reinforces the fact that I believe Hoxley is a dick. 

3:40 - Awww.... the way Malcolm jumps/flinches at the fog horn is both hilarious and adorable.

3:58 - “And who the hell are you?” YES GIL. YES. Don’t let him talk like that to Malcolm <3

4:04 - Duuuuude. Gil looks pissed and scared. He does not like Europol snooping around his crimes. ALSO I’m like 95% sure that Gil knows (or at least has a hunch) that Malcolm is somehow involved with Endicott’s murder. I’m pretty sure Gil is scared that this dude is going to try and arrest Malcolm. 

4:07 - OMG. JT is adorable. “You’re that guy. The mind sleuth.” Personal headcanon: JT read Hoxley’s book to try and understand Malcolm better. 

4:22 - DANI IS MY QUEEN. SHE IS MY ICON. I LOVE HER SO FREAKING MUCH. “No.” This girl is fierce. <3

4:23 - <3 <3 Malcolm’s heart eyes, head tilt, and visible pride is so so so precious. THIS is why he’s attracted to Dani. She’s not afraid to assert herself. 

4:31 - “And then took in his son.” ....Okay, so this infuriated me. Nothing Hoxley is saying is untrue. BUT something about the way he’s saying it just gets under my skin. 

4:45 - I think Hoxley is pissing me off so much because he’s psychoanalyzing Malcolm in front three of the people Malcolm trusts and loves most in the world (3 out of a very very short list of people). He’s trying to humiliate Malcolm and I hate it. I hate that Dani, JT, and Gil haven’t told Hoxley to shut up. I hate that Hoxley is trying to drive stakes of doubt into the three people whose opinion Malcolm treasures. 

5:25 - “Aim a little lower, Whitly.” and and and.....then Hoxley looks to the team as though he wants them to laugh. I’m furious. 

5:32 - THANK YOU GIL. STEER THE CONVERSATION AWAY FROM MALCOLM

6:04 - Malcolm is so obvious. There’s no way that the team doesn’t know that he was involved with Endicott’s murder. If they didn’t before this episode - they HAVE to know now. Right? They’re detectives. Malcolm is a terrible liar. 

7:00 - Oh. So now Ainsley cares about the crime. Now it’s “how much trouble are we in”. And let’s be real. Ainsley doesn’t even seem very worried or scared. She’s concerned that the crime will get out - she’s not sorry she committed the crime. She’s not sorry that her big brother tried to take the fall for her. 

7:15 - “We said no more secrets.” ...when. When did you two say that? Was there a ‘fight part 2 - the tentative truce’ that we didn’t get to see?

7:33 - A mention of Sophie Sanders. Finally. I still hope she comes out of the woodwork and takes the fall for this. I want more closure on her. Did the team ever find out that Malcolm found her? How did the Eddie murder finally get resolved (I’m not satisfied with the “not every case gets solved” line)?

7:42 - Yo. I don’t care about the time constraint of a 45 minute episode. I don’t care that it was required to move the plot along. The fact that Ainsley starts typing frantically into the computer at about 7:42, stops typing at 7:47ish and has found at least 4 different articles relating to murdered random people (who apparently helped hide Endicott’s body?) is SO UNREALISTIC. I just can’t. I can’t suspend my disbelief on this one. The article headlines say nothing about ‘couriers’. It’s stuff like ‘Local fisherman found dead’. HOW THE HELL WOULD AINSLEY KNOW THEY WERE HELPING MALCOLM IN LESS THAN 10 SECONDS OF GOOGLING?!? Nope. I can’t justify this one. Fedak - you dropped the ball.

8:40 - Poor Malcolm looks terrified. :( 

9:04 - My first impression of Natalie was that she’s a beautiful young lady who seems really sweet and a little socially awkward. Kudos to the actress.

9:41 - Another mention of Sophie. God - I hope she becomes a twist in this season’s storyline. I’m not content with how her story arc ended. 

10:21 - “I didn’t have anything to do with Endicott’s death and neither did Jessica.” Yep. Gil definitely knows (or at least suspects) that Ainsley and Malcolm are somehow involved with Endicott’s murder. It’s killing me that we’re not getting the big “team and/or Gil find out and/or confront Malcolm about it” moment. 

10:31 - OMG. Alan Cumming’s eyebrow wag here. hahahahaha

10:35 - Look at how pissed off Gil is as soon as Hoxley suggests that he and Jessica have a romantic history. 1) Gil still has it bad for Jessica (and is hurt that she rejected him again 2) Gil’s a pretty private dude and probably doesn’t like his personal business being speculated upon by a total stranger with ill intent 3) Gil is also getting protective of the Whitly’s. Not just Jessica but Malcolm (and maybe Ainsley) too. 

10:58 - Europol agents aren’t allowed to make arrests?!? THEN WTF IS THE POINT OF HOXLEY’S CHARACTER?!? TO DRIVE DOUBT INTO THE MINDS OF THE TEAM WITH REGARDS TO MALCOLM?!? FOR REAL. WHY?! TO FORCE GIL TO ARREST MALCOLM AND AINSLEY?!?!

11:08 - “To watch you put the cuffs on Mr.Endicott’s killer. Deal?” “Deal.” oooooooohhhhhh no. I do not like the foreshadowing here. If Gil has to arrest Ainsley and/or Malcolm.....idek. Part of me wants to watch it for the emotional whump (of all parties - including Jessica). Part of me wants to ugly cry at the thought of it though.

11:39 - “How do you know so much about yachts?” ....THANK YOU JT. DANI HAS A STRANGE AMOUNT OF NAVAL KNOWLEDGE IN THIS EPISODE AND WE ALL KNOW “I watch a lot of Below Deck” IS UTTER HORSE CRAP. Ugh. I want to know more about Dani and JT’s personal lives. So. Badly. 

11:44 - <3 <3 <3 The look Malcolm and JT exchange when Dani claims that she watches a lot of Below Deck is absolutely precious. It’s like they’re best friends and/or brothers. They both knew Dani was lying. <3

11:54 - “At least he’s the real deal.” Ouch. I honestly can’t tell if JT is just teasing Malcolm here or if JT genuinely believes this. ....Is this JT’s way to letting Malcolm know that he has suspicions about his involvement with Endicott’s death?

12:06 - “Says the guy who bought his book.” HA. Dani is on fire this episode. The snark queen. Look at how pleased Malcolm is that Dani is defending him. <3 Warms my cold dead heart.

12:09 - annnnndd now JT is definitely teasing Malcolm. “What our boy Bright needs is a moniker.” hahaha watching Dani and JT come up with stupid profiler monikers was so cute. I love it when the team gangs up to (lovingly) tease Malcolm.

12:30 - “No. Nothing yet.” Again - Malcolm is a terrible liar. The team must know that he’s involved with this thing. They’re detectives. 

12:59 - Martin’s physical reaction to Malcolm saying, “No. That woman does not deserve to die.” Is HILARIOUS. Martin is so freaking desperate for Malcolm to become a serial killer that he doesn’t even care the Ainsley has already murdered someone. 

13:19 - “He has a perfect track record.”.....what? So does that mean he’s solved every case he’s ever worked on? Taken credit for solving every case he’s ever work on? Hand picked the cases he works on so he knows he can solve them? Probably a combination of the above. Sometime about Hoxley reminds me of Gilderoy Lockhart from Harry Potter. You feel me?

13:23 - The fact that Tom Payne (a Brit) is being told that Hoxley has “perfect teeth. For a Brit” by a Welsh man is hilarious.

13:34 - Does this fish packing joint have no security?!? Like Malcolm didn’t have to pick a lock or anything. He just walked right in (and he’s not being quiet).

13:51 - “I can think ruthless. I don’t know if I can be ruthless.” THIS. THIS is Malcolm in a nutshell. Think about Nicky Covington. Malcolm wanted to act ruthless but he couldn’t. He ended up saving Nicky because he couldn’t go through with his ruthless plan. That’s the difference between Malcolm and (quite frankly) the rest of his family. Jessica, Martin, and Ainsley can all be ruthless. All of them. Jessica on a lesser degree but Martin and Ainsley are confidently ruthless. Often.

13:57 - Ok. For real though. HOW HAS NO ONE OVERHEARD THESE PHONE CALLS BETWEEN MARTIN AND MALCOLM. THE PHONES HAVE TO BE TAPPED RIGHT?!? IN A SECURE MENTAL INSTITUTION FOR MURDERERS?!? and I stg that Mr. David knows things. That man is not a moron and he’s pieced stuff together (not from this scene obviously, but still).

14:13. - “Why don’t I break out.” The fact that Malcolm hasn’t mentioned that Martin wants to escape to anyone (since 2x4) is really stressing me out. I know Martin’s going to break out - the promos have made that very obvious but I’m still anxious about it. Mostly I’m worried for the health and safety of Malcolm (and Gil, Jessica, Dani, JT, Edrisa...).

14:17 - “We all go on the run together.” Martin is delusional. He thinks that the whole family will go on the run with him?!?!?  He might be able to convince Ainsley. He might be able to blackmail or threaten Malcolm. BUT Jessica? She’s not going willingly. Hell - she might kill him herself if Martin escapes and tries to come near her (which.....I would actually kind of like to see).

14:48 - The fact that Malcolm apologizes to a corps is so precious. Really reinforces the fact that Malcolm is not a killer. 

15:00 - Oh look. Another scene for Malcolm’s nightmares. “The time I cut off a dead guy’s thumb to protect my sister”

15:24 - annnndd Malcolm is really close to having a panic attack. Look at that face. :( Someone give this guy a hug. Please.

15:34 - Where the HELL is Edrisa!?!?!?

15:42 - Malcolm, you utter moron. What possessed your stupid ass to show up at a crime scene with a soaking wet arm and draw attention to your arm by shaking it?!?! WHEN THE BODY WAS JUST DRAGGED OUT OF A VAT OF WATER. AND YOU TAMPERED WITH THE BODY?!!? YOU DUMBASS. 

15:52 - This is Gil - terrified. He’s scared because 1) he knows Malcolm is lying , 2) he’s concerned for Malcolm’s mental health and 3) he’s starting to think that either a) Malcolm killed this guy, b) Malcolm knows who killed this guy and is obstructing justice, or c) Hoxley is going to pin this on Malcolm and Gil won’t be able to save him.

16:14 - “I’m never buying frozen fish again.” hahaha Dani is killing it this episode. <3

16:23 - Check out how Gil is staring at Malcolm. Gil totally thinks Malcolm has the thumb.

16:50 - “Older model” Shit. Seriously? Are finger print scanners on phones old?!? My phone isn’t that old......I got it 6 years ago? 

17:16 - MALCOLM IS A TERRIBLE LIAR. Honestly, the pure terror on his face throughout most of this episode screams “I KNOW SOMETHING ABOUT THE MURDER.” If the team hasn’t pieced this together yet they’re not worthy of being detectives.

17:29 - I’m not going to lie. I had to fast forward through the Martin/Capshaw scenes for the rewatch. I find them so upsetting to watch. I just can’t do it more than once. Their whole dynamic is gross, creepy, and just ugh. 

20:00 - Jessica and Hoxley talking about Endicott’s death is so satisfying. 

20:35 - “Jessica Whitly. Played for a fool. Yet. Again.” Ok Hoxley. You are not allowed to disrespect my girl Jessica like that. 

21:10 - The biggest problem with Jessica and Gil’s “mock interrogations” by Hoxley is that neither of them mention Ainsley or Malcolm. It’s super suspicious. They mention other people by name. People who should be connected to Ainsley and/or Malcolm given the context of the sentence. Hoxley is a moron for not nailing Ainsley and Malcolm for the crime during this episode. It’s so so so obvious.

21:19 - hahahahahahahaha Jessica grabbing the martini out of Hoxley’s hands. hahahahaha I stan.

21:35 - annnnnd Jessica is a terrible liar as well. Seriously - why doesn’t she just say “ENDICOTT WAS KILLED OVER HERE!!”. Another parallel between her and Malcolm though. Malcolm + Jessica can’t lie well. Ainsley + Martin are expert liars.

22:54 - Again. Ainsley is intrigued at the fact that Malcolm has a thumb in his freezer. Much like Martin would be if he knew. Jessica on the other hand shares Malcolm’s fear and disgust about the situation.

23:00- “We”?!!?!? AINSLEY YOU HAVEN’T DONE ANYTHING. MALCOLM HAS BEEN COVERING FOR YOUR ASS. YOU JUST HAVEN’T TURNED YOURSELF IN AFTER YOU REMEMBERED. THAT’S YOUR ONLY CONTRIBUTION TO THE “KEEPING ENDICOTT’S MURDER A SECRET” SITUATION. 

23:07 - “Do you even see what you are doing to him.” This line both terrified and delighted me. On one hand - I’m grateful that Jessica can see how much emotional pain Malcolm is in because of this situation. One the other hand - Ainsley looks pissed that Jessica is blaming her for Malcolm’s general brokenness. If Ainsley goes full serial killer - Malcolm is going to be on her list. “The brother that overshadowed her.” “The favourite child” “The reason she had to be a perfect daughter” “The reason she was ignored”

23:32 - “Got it.” Damn. Ainsley is bitter. She wants to control this situation. She doesn’t like taking orders from Malcolm. 

25:00 - MR.DAVID IS RIGHT THERE. IF HE DOESN’T BLOW THE WHISTLE ON THIS I’M GOING TO BE SO DISAPPOINTED. 

25:12 -”The Brain Fart” hahahahaha OMG. 

25:53 - “You’re being rude Hoxley.” ......Martin being the nice guy? I’m genuinely disgusted.

26:26 - “Your son Malcolm.” THIS. THIS is why Ainsley is so pissed off. Everyone has always thought Malcolm would turn out like Martin. Ever since they were kids. She’s pissed off that no one considers her to be a threat. They’re all concerned for and scared of Malcolm. Not her. She’s invisible. Why do you think she became a TV reporter? To force people to see her. 

26:50 - I’ve never wanted to Martin to kill anyone more than I have in this moment. I do find Martin’s protective love for Malcolm interesting though. 

27:37 - How long was that phone in water before Malcolm grabbed it?!? Anyone ever drop a phone in water? I don’t care how much rice you have. It’s toast 90% of the time. 

27:44 - Malcolm explaining murder to Sunshine is so cute. 

28:22 - And my heart rate has skyrocketed. 

29:10 - “To protect your sister.” Huh. I find it interesting that Hoxley has considered that Malcolm may have killed Endicott to protect Ainsley. It suggests that he thinks Endicott was a threat to Ainsley alive. Makes me wonder about what happened to Ainsley before Malcolm got back to the house in 1x20.

29:16 - “You all had something to gain.” Did they though? Martin had something to gain - keeping his cushy Claremont cell. Ainsley had something to gain - “A news story.” Jessica had something to gain - “safety”. But Malcolm? He didn’t personally have anything to gain. He wanted his Mom and sister safe but he never thought about himself. 

30:11 - “Perhaps the murder weapon is still among your mother’s silver.” I find it interesting Hoxley has pieced that together. I also find it highly unbelievable but that’s just me. 

30:15 - Hoxely, rich people don’t carve their own Christmas roasts. The Whitly’s have staff for that. 

30:24 - “You’re still just a scared little boy. Hungry for daddy’s love.” Ouch. It’s true but it still hurts. This is not helping Malcolm’s mental state. At all. Istg if we don’t get a Malcolm mental health crisis soon I’m going to have my own mental health crisis. Seriously. I want to see this boy lose it. I’m a monster. I know. I want ugly crying. I want panic attacks. I want him to go catatonic. I want someone to comfort him. 

32:35 - Nat’s a good liar. Very convincing. Too bad Malcolm’s a good profiler. 

33:53 - Check out Spider Monkey Malcolm. <3 

34:14 - Earlier this episode when Malcolm said he can think ruthless but not be ruthless? This is the proof. He could’ve sat back and let Natalie kill Hoxley. In some ways - it would be good for Malcolm. But Malcolm’s not ruthless. He values human life. He’s an A+ dude. For better or for worse he tries to help people.

34:26 - Really Hoxley? Do you plan on stabbing Malcolm?!? (FYI - this scene is very reminiscent of Lockhart pulling his wand on Harry and Ron in the Chamber of Secrets #justsaying).

34:45 - “I’m going to be killed by a millennial. What a twist.” hahahhahahahahhaa

35:22 - “I’m British.” hahaha I love this scene so much.

37:14 - FINALLY THE PAPA!GIL CONTENT WE”VE BEEN WAITING FOR. (it’s weak but I’ll take it)

37:39 - AHHHH the fact that Gil and Malcolm are both non-verbally communicating that Natalie didn’t kill Endicott is killing me. Does Malcolm think that Gil hates him? Does Gil really think Malcolm killed Endicott? Or just that Malcolm covered it up? I NEED TO KNOW.

37:46 - Concerned!Gil and a hand on Malcolm’s shoulder. <3 <3 <3 My icy heart has melted. 

37:54 - annnnnd Hoxley ruins the moment.

39:39 - I’m not content with this ending. It’s all too convenient. Hoxley still thinks Ainsley and Malcolm did it. Mark my words. This isn’t over.

39:53 - Ainsley is so smug here. I want to slap her. She’s elated that she’s getting away with murder. She doesn’t care about how it’s hurting her family. 

40:00 - Did they really do the interview inside Jessica’s house?!?! Gross. 

40:17- I might be the only one but I love that polo on Malcolm. Something about it is adorable. 

40:22 - ......is Ainsley really trying to take credit for “putting this Endicott mess behind us”?!?! Because - she didn’t. OMG. She absolutely didn’t. Even if she did - she’s the reason they’re in the mess to being with!!!!!!! I can’t. I just....can’t. 

40:45 - The episode ends right here for me. I know Capshaw and Martin kiss. It makes me want to hurl and I refuse to watch it again. I also know that Capshaw takes the scissors away from Martin. I think their whole dynamic is upsetting and creepy. I’m like 95% sure that Capshaw is a serial killer on the DL. Or at least some sort of psychopath. Martin and Capshaw are both manipulating each other and it’s too stressful to watch. 

I didn’t love this episode. It was a bit all over the place. If you stuck around this long - thank you. I’ll see you guys next week. <3

#jess-rewatches-prodigal #malcolm bright #prodigal son #gil arroyo #dani powell #JT Tarmel #ainsley whitly #martin whitly #edrisa tanaka #jessica whitly #I LOVE this show #whump #rewatch #spoliers #malcolm needs a hug #ps #so good #ouroboros #2x8 #2x08 #s2 #e8 #alan cummings #simon hoxley

[wizardysseus]

i was thinking about once upon a time (abc) in bed this morning so i decided to write this list

subject to change, since awhile ago i was in the middle of season 6 when they took it off netflix and i never quite got around to picking it back up. i’m gonna finish if it kills me i promise

top 5 things about once upon a time

5. anna frozen

when ouat introduced frozen characters, most fans decided the show had jumped the shark. they were not wrong. however, it was this very thing that allowed the show to be fun again! after an excruciatingly bad season 3 (we will get to that), bringing on anna and elsa literally transported directly from their own unaltered story in cheap ass versions of their unaltered movie costumes allowed the show to let loose and do... basically whatever it wanted. this became the hallmark of the show for those who stuck with it: absolutely not making sense at all, but being fun about it. post-season-three ouat becomes a totally different soap opera from season one, but by god you are never bored.*

personally, the flashback episode where anna annoys rumpelstiltskin and gets the better of him and he’s so fucking mad about it is like top 10 episodes**

4. 2x16 “the miller’s daughter”

this episode is just another personal favorite. it exemplifies what this show was really good at when it was good, and also where everything went wrong. i think cora is a great example of a good ouat villain, i think the twist on the rumpelstiltskin story is great, i think the dramatic beats really work.

...and in typical ouat fashion, cora immediately dies and two more villains we don’t care about at all are introduced. (sonequa forgive me you know i’m in love with you but tamara was nothing. it’s not your fault.) yes we get that great scene of snow aggressively doing archery practice while listening to “bad reputation” but was it worth killing off a compelling villain just as you’d dug into her story?

3. the commitment to regina’s redemption

and lana parrilla in general. i mean i’m gay and she’s hot but the worse the show got, the more acting lana gave it. and this is just speculation, but i think lana is more comfortable with drama than with camp? because regina becomes a much more interesting character as someone conflicted and on the path to redemption than as a villain. and by god, they were gonna redeem regina.

if only she had been gay we really could have had it all.

2. rumpelstiltskin

the sweet spot with rumpelstiltskin for me was seasons one and two when he was unabashedly bastard, there was an attempt to make him sympathetic but nobody except belle actually liked him, you weren’t quite sure how much he knew, he was pulling all the strings, and he was just really fucking weird. it will surprise no one who follows this blog to hear that that is my type of wizard.

1. season one

it’s a good season. it’s a good season. there are some bad things about it, but it was extremely watchable. it was doing fairy tales with occasional disney nods in a (mostly) cohesive fashion. the lore and the magic hadn’t sprawled out of control yet. it had the strongest relationship, imo, between emma and henry, and emma and snow. as for iconic episodes, most of the greats are here, plus sebastian stan as the mad hatter and giancarlo esposito as a series regular. the crowning moment for me is the scene at the end of skin deep, when regina confronts gold in the town jail and he reveals that he remembers his real name (after beating the shit out of belle’s dad with his cane obviously). god. that is some good television.

worst 5 things about once upon a time

5. the adoption politics but everyone knows this one.

4. WASTING the talent

you had the love of my life sonequa martin-green and gave her nothing. you somehow scored oded fehr as jafar and gave him nothing. you had giancarlo esposito and regina literally forgot he existed. i will kill you

3. rumpelstiltskin.

it’s no secret that robert carlyle was acting circles around most of the cast; my opinion is that the showrunners felt that if they committed to either his redemption or his villainy, they would never find someone else with the talent to fill his shoes as bastard wizard. so they flip-flopped on him every half-season, which ruins his story longterm, slowly kills the light in robert’s eyes, and gets reallllllly old. it’s also no secret that my favorite rumpelstiltskin is bastard wizard, but they screwed over belle BIG time in the process and for that i will never forgive them.

also like. the rumpelstiltskin fairy tale is antisemitic to begin with and they did not minimize that by comparing him to a lizard and naming his storybrooke counterpart mr gold. they just. did that.

2. THE FUCKING NEVERLAND ARC GOD IN CHRIIIIIIIIIIIST THAT HALF-SEASON IS EXCRUCIATING

1. captain hook

*it’s my opinion that if you are bored, you’re watching a hook-centric episode. every time i dropped the show and forgot about it for months at a time, it was because i had been in the middle of an episode about hook and just could not get through it. how do i describe all the things i don’t like about what killian hook jones did to the show? with subpoints!

1a. the episode where gold gives him back his hand and he never changes.

**this is actually the same episode i mentioned about anna and, like i said, it’s one of my favorites and not at all boring. look, i’m not pretending this list isn’t subjective as hell.

remember when hook blackmailed mr gold into magically reattaching his hand, which gold has been keeping in a jar, because hook has a date with emma and wants it to go well? but also, gold tells him that if he reattaches his hand with dark magic, it will turn him evil? and then hook spends the episode doing evil things, only for mr gold to tell him “i was just messing with you! the hand was not evil, you gave yourself permission to be evil ;)”

yeah, that’s basically hook’s mo.

1b. episode where emma tells him his brother is lying to him and he learns the exact wrong lesson from this and never changes.

so emma goes to the underworld to get hook back after he dies (while being evil and doing villainous things). they find his brother down there, too, and emma senses that he has a dark secret (because he does) and is lying to them (because he is). but hook always idolized his older brother, so he won't believe her. when emma confronts the brother directly, hook interrupts to rant to her about how he knows what this is ~really all about.

actual dialogue:

HOOK: i don't need proof to know what's really going on here. emma, when are you gonna admit that this isn't really about my brother? EMMA: what else would you think it was about? HOOK: us. you think if you can prove that liam is a villain, then i’ll somehow feel like i was less of one.

who... would EVER come to that conclusion. and why is the lesson he learns at the end “perhaps i do deserve saving after all” (another direct quote), and not “NOT EVERYTHING IS ABOUT YOU, BECAUSE EMMA WAS LITERALLY RIGHT ABOUT YOUR BROTHER LYING TO EVERYONE”????

1c. the emma dark one arc, where hook never changes.

this would be the arc that leads up to the above underworld arc, and it is deeply dumb, entertaining, and hard to explain. suffice it to say, during this whole arc, killian (along with emma) has all the powers and ~~~Darkness~~~ of the dark one (formerly rumpelstiltskin). unlike emma, he is not aware of this for most of the season. the moment he finally finds out, he turns on emma and goes through with all the revenge plans he’s apparently been holding onto since season two.

it’s supposed to be sympathetic, because emma made this choice for him to be a dark one, which is clearly awful, when he didn’t want it. so i get that. but on the other hand, it is..... boring. because (a) it's nothing we haven't seen him try to do and fail at before, his motivations really aren't that complex. and more importantly, (b) he was the dark one the whole time! the only thing that changed, that made him act evil, was finding out about it. at that point, it's not the ~~~Darkness~~~ making you do evil things. it’s just you. because you’re a dick.

how is this arc resolved? well, he dies. after the underworld arc (which i very much enjoyed tbf), a sizable part of robin hood’s death episode is devoted to people telling emma to slow down and grieve for killian, since at least two arcs have revolved around her inability to let hook go when he is literally dying or dead. (it’s been said a million times but being his girlfriend really sucked the personality out of emma and i miss her.) and in the end he just... comes back anyway. no explanation given; he says it must be a reward from zeus for killing hades... while he and emma make out literally in front of the coffin of robin hood... who actually died fighting hades. killian died half a season before. while he was evil. and emma reverts to tearful girlfriend.

it’s insulting. it’s grating. and it is a Killian Hook Jones Guarantee that his episodes will involve some measure of this.

like, is it more or less the same shtick that the writers kept giving rumpelstiltskin, too? backsliding and screwing over his love interest who gets less and less say in the matter? yes. definitely. the crucial difference is that i, personally, love rumpelstiltskin, while i find hook boring and not self-aware. but clearly i have had a lot of fun complaining about him! again, this is not an objective list.

conclusions

this show ran for 7 years. it got cancelled not because it deserved to, but because no one liked the soft reboot. it was on until 2018.

#thoughts #once upon a time #long post

[brave-clarice]

“Clarice” Liveblog: Episode 7

disclaimer: there’s going to be discussion of a lot of little details I disliked in this one, but as a whole, I liked it a lot better!

honestly? Clarice’s coworkers have every reason to question if she’s “okay” given what we’ve seen so far on this show.

and yeah, coming back from leave a week after being repeatedly tortured does “seem soon”.

AG Martin is using Clarice just as badly as Crawford ever did.

why does Krendler look so sharp? tailored waistcoat, crisp shirt...his costumes would look more in-character for Hannibal than Paul Krendler. I don’t get it.

not sure I like the “my people mined coal, so we know when we’re okay to work” flex, but...whatever.

she makes some truly uninspired costume and hair choices look great

“who am I, James Bond?” are you an FBI agent or aren’t you, Krendler?

BIG Jack Crawford and his Pepto Bismol vibes, but dammit, Krendler should NOT be like Crawford!

now Ardelia’s back to collaborating with Clarice on a case like it’s no big deal??? way to make her look like a hypocrite. again.

idk, I still think Ardelia could have an FBI subplot AND be part of Clarice’s life without constantly working with Clarice within an FBI context (their careers don’t really intersect in the books). those things aren’t mutually exclusive.

“he died instantly” um, is Clarice a medical examiner now? I know she’s got a forensics background, but she’s just now seeing the body.

“Cody didn’t feel any pain” how does Clarice know that and why is confident enough to say it to the kid’s mother?!

also, are victim’s family members usually allowed right into the crime scene like that? paging @special-agent-pendragon​!

“let’s talk when we can” Clarice, honey...you literally live with Ardelia, lmao.

the crooked lawyer’s office reminds me a LOT of Chilton’s office in Silence.

Paul Krendler: Good Guy and Faithful Husband...don’t know him!

and again...this is a waste of time on Clarice’s show.

she’s so dang cute!

hey, a reference to Ardelia’s grandma!

Clarice and Ardelia working on a case together at home, off the clock, is way more on brand!

also Clarice eating junk food...that’s my girl :)

I too sometimes eat Lucky Charms out of the box, haha.

omg, Ardelia’s actual grandma!!!

and: a reference to her frying pan, the one Clarice looks into after reading Hannibal’s letter!

Clarice is finally laughing and drinking and having a good time with her best friend...I’m so happy about it.

literally exactly what I wanted/this show NEEDED

“at least my father‘s still alive” oh...my god...they really made Ardelia Mapp say that to Clarice... I...don’t know what to say except that I hate it. the scene was so great otherwise, too.

to be clear, imo this is not an appropriate thing to say to your best friend, ever.

Clarice might be drunk, but her nonchalant reaction (giggling!) is all wrong too, particularly for this Clarice, who’s always been shown as deeply traumatized/haunted.

maybe I’m 100% off-base on this, but I feel like Ardelia’s backstory in this show is at odds with her career choice: why does she go into law enforcement at all? does she truly believe she can make a substantial difference? hope this is addressed at some point.

“I can’t believe you never told me that before” I know this is expository, but I can’t believe it, either, Clarice.

there’s no indication in the books that Mrs. Starling was “always angry” or that Clarice was intimidated by/scared of her outbursts. she saw her mother as a pillar of strength! I don’t like this change tbh.

“he was the law. he was important” mmm...Clarice’s father was not important, and that’s the core of the tragedy, of her anger. it’s why Hannibal calls him the “night watchman” and the reason the Starlings didn’t receive any money or support after his death. he was expendable.

to be fair, I guess maybe this is supposed to be what Clarice’s idea of him was as a child.

this scene is full of little things I don’t like, and Clarice’s father giving her the add-a-bead necklace is definitely one of them.

in the book, Hannibal guesses that Clarice is afraid her beads now look tacky (having been previously trendy in the early-to-mid-80s...so, well after her father’s death). there’s NO indication they had any sentimental value (in fact, they’re never mentioned again iirc)--and with four kids to support, how can he afford to give his eight- or ten-year-old daughter decent jewelry, anyway???

I like the IDEA and the FEELING of that scene. just not the dialogue. and the entire thing is slightly undercut (imo) by Ardelia’s earlier mean-spirited comment. idk. it was cute, but this show’s writing is its own worst enemy.

Ardelia called her “Starling”! :)

Clarice’s costume is yet again blah, while Ardelia’s is great...anything but 199x, though.

money shot!

whew...didn’t see THAT plot twist coming.

Good Guy Paul Krendler continues to be a thing for some reason.

does the Hoover building only have one hallway?

Krendler gaslighting Clarice because someone is blackmailing him doesn’t hit the same as Krendler undercutting her career because he’s a sexist jackass who wants to fuck her. sorry.

Good: Clarice laughing/smiling/joking/having fun with her friend! A (could-have-been-better) bonding scene with Ardelia. Clarice getting to work a field case and the iconic shots that come with that territory. Ardelia’s grandma! Not a single mention of the Bill case, thank God.

Bad: Some of Clarice’s snap forensic judgments...they just felt too fast and unconvincing to me. Everyone’s costumes and hair continue to underwhelm me. (Why has Paul Krendler stolen Hannibal’s wardrobe? Why can’t Clarice wear something even remotely exciting?) Ardelia’s awful “at least my father’s still alive” comment. The muddled implications about Clarice’s mother (especially in an episode about an abusive mother).

Ugly: Krendler subplot, as usual.

Overall? Better. Much better. Absolutely a case of “the whole is greater than the sum of its parts”. Despite its subject matter, this episode was a lot more pleasant to watch than the previous two. Clarice had a limited amount of character development beyond “doe-eyed and traumatized,” she actually got to laugh, enjoy life, eat junk food (!) and solve a case with a friend before it all went to hell. 

I want more, though. The writing leaves a lot to be desired. There were a lot of small details of which I was critical, namely Ardelia’s insensitivity towards her best friend (unfortunately, this seems to be part of a pattern) and several minor but jarring and pointless changes to the books (mostly having to do with the Starlings). Most of the ViCAP team is still pretty one-dimensional, Krendler continues to get way too much screentime, Ardelia is hit-or-miss.

And Rebecca Breeds has to milk every moment and every line for whatever nutritional value it’s worth re: Clarice’s character. Even after seven episodes, I don’t feel as Rebecca’s Clarice has been allowed to fully emerge as the iconic character we know from the books. But I’ll keep on hoping...after all, there are at least three episodes to go!

#clarice #cbs clarice #Clarice Starling #rebecca breeds #only a week late this time heh #*a week and a half now oop #sorry for the lateness and the nitpicking but how hard is it NOT to change the book???

[aion-rsa]

The Karate Kid: The Real Martial Arts History Behind the Movies

https://ift.tt/3jFNaYg

When it comes to martial arts films, The Karate Kid was a game changer when it came out in 1984. Its lasting cultural impact was a landmark advancement for the western understanding of the martial arts. But was it a genuine representation of Karate?

Den of Geek consulted Dr. Hermann Bayer, an expert authority on Okinawan Karate and the author of the upcoming book Analysis of Genuine Karate―Misconceptions, Origin, Development, and True Purpose. Dr. Bayer remembers firsthand how The Karate Kid stimulated the Karate boom in the mid-eighties because he was a practicing Karateka then. But as a martial scholar, he’s pragmatic about his opinions.

“First and foremost, we have to bear in mind that we are talking about a movie, not about a documentation or a piece of research,” says Bayer. “This means that we need to concede that fascinating viewers by something pretty, amazing, or spectacular to look at is more important than authenticity.”

The Year That The Karate Kid Premiered

When we reflect upon the original, we must remind ourselves that the landscape of martial arts films in the west was vastly different in 1984. There just weren’t that many martial arts movies in western pop culture back then.

Bruce Lee’s Enter the Dragon came out over a decade before The Karate Kid, and tragically, Lee didn’t live to see it succeed. Many B-movies coat-tailed on Enter the Dragon‘s success, especially in the subgenres of Bruceploitation and Blaxploitation. This comprised the bulk of martial arts for western audiences. Beyond the imported niches of Hong Kong Kung Fu and Japanese samurai movies, there just weren’t that many other martial arts films available. And those were limited to showings in second- and third-run theaters or midnight “Kung Fu Theater” TV broadcasts. Consequently, the genre was considered low-brow entertainment with minimal impact on the box office. 

When The Karate Kid debuted, most of today’s martial arts superstars had no Hollywood presence. Despite starring in dozens of Hong Kong films, Jackie Chan had only led one Hollywood production by that point. That was Battle Creek Brawl, made by the same filmmakers who did Enter the Dragon, however it under-performed and was deemed a failure. His other Hollywood credits in 1984 included a cameo in the sequel ensemble comedy The Cannonball Run II. With only three minor Hollywood appearances, he was still virtually unknown to the Western audience.

Chuck Norris was more prominent having starred in more than a half dozen B-action flicks by then. His 1984 entry was Missing in Action in which Jean-Claude Van Damme had an uncredited role. JCVD didn’t grab any limelight until four years after The Karate Kid, when he starred in his breakout lead role for Bloodsport. Jet Li was only on his second film that year, Kids From Shaolin, but that wasn’t shown outside of Chinatowns in the U.S. It would be another 14 years after The Karate Kid before Jet made his first Hollywood appearance as the villain in Lethal Weapon 4. 

The Karate Kid changed the way martial arts films were perceived. It demonstrated that the martial arts genre could deliver wholesome family entertainment, as well as good box office returns. It ranked fifth among the highest grossing films of 1984, behind Beverly Hills Cop, Ghostbusters, Indiana Jones and the Temple of Doom, and Gremlins. The Karate Kid was the sleeper hit of the year, and it made Daniel LaRusso (Ralph Macchio) and Mr. Miyagi (Pat Morita) into crane-kicking icons. 

The Limitations of the Karate Kid Trilogy

The Karate Kid was a Hollywood adaptation of a common plot device of Kung Fu movies – the training trope. Many of Jackie Chan’s late seventies films were “martial training” stories. Those narratives can be distilled down to three acts as seen in The Karate Kid: the hero suffers an injustice — like the murder of his family (or in Daniel’s case, just getting bullied) — then the hero finds a quirky master who uses obscure, almost non-nonsensical training methods, and finally the hero, armed with these hard-earned skills, takes revenge.

Jackie’s groundbreaking 1978 Snake in the Eagle’s Shadow is a perfect example of this. That was a turning point for Jackie, the launch of his unique style of comedy Kung Fu, back when he was in his physical prime. In that same year, the Kung Fu grindhouse Shaw Brothers studios delivered the timeless classic film The 36th Chamber of Shaolin, which is a perfect example of the same formula. “Martial training” stories are even retold in animated films like Mulan and Kung Fu Panda. The Karate Kid just had the ingenuity to set it at West Valley High School in San Fernando, California. 

Today, Daniel-san is enjoying a revitalization through Netflix’s hit series Cobra Kai. Packed with more easter eggs that an April bunny basket, Cobra Kai has been rectifying flaws from the original films with a subtle, yet effective elegance. Despite its time-honored success, the original films fell under tremendous scrutiny from genuine Karatekas who were quick to point out inaccuracies. Frankly, for such a flagship film of the martial arts genre, the martial arts weren’t that good. The main cast of the original film had little or no martial arts background. Kreese (Martin Kove) was the only cast member who studied Karate prior to the films. 

Part of this adds to the charm. Despite being the All Valley Karate Champ twice in a row, Daniel is a newbie to the art. In fact, the original trilogy happens in a little over a year. The Karate Kid takes place in 1984. The Karate Kid III, despite premiering in 1989, depicts events at the following All Valley Karate Championships. Daniel goes from zero to hero in an alarmingly short time.

How could Daniel genuinely master Karate with so little training time? Is “wax on, wax off” deck sanding and fence painting truly that effective? Of course not. If it were, the MMA cage would be dominated by car washers, carpenters, and house painters. That’s the magic of movies. Movie martial arts are no more realistic than movie car chases. 

This still begs the question – how much of Miyagi’s weird training really works?

“Whole floor. Right circle, left circle.”

Traditional martial arts training can take many forms, and the spirit of Mr. Miyagi’s esoteric lessons isn’t too far off the mark. Although few practitioners today carry water up mountains like the Shaolin monks, mundane chores like cleaning and repairing are still implemented in training within a traditional Dojo. Frankly, the repetitive nature of martial arts practice is boring so any way to invigorate enthusiasm is welcome. And the efficiency of multi-tasking is always appreciated, even in modern strip mall Dojos. 

A common training ritual is cleaning the floor before class. This is extremely important because most Dojos practice barefoot. Many old school Dojos require that students push damp rags across the floor with their hands in a low crouch. As anyone who has done it knows, this is harder than it looks and serves as an excellent warm-up exercise. When the Dojo needs repairs, students pitch in where they can because a good Dojo fosters community that way, and variations on training emerge within those tasks akin to Miyagi’s painting and sanding. And if there’s a Dojo fundraising carwash, you know there will be plenty of “wax on, wax off” practice. 

But beyond the waxing, sanding, and painting, how real is Miyagi-Do? 

“Only root Karate come from Miyagi.”

There are two styles of martial arts represented in The Karate Kid, Okinawan Karate and Korean Tang Soo Do. Kreese’s Karate is Tang Soo Do mostly because the choreographer for the original films was Grandmaster Pat E. Johnson, a leading proponent of that style. Although most likely the product of coincidence, it fit Kreese’s character perfectly. Many U.S. soldiers who served in Korea brought Tang Soo Do back to the states when they returned, just like Kreese, including Johnson and his martial comrade, Chuck Norris. 

In Season 3 of Cobra Kai, Kreese’s backstory confirms what martial arts fans have always suspected – that his style of Karate is in fact, Tang Soo Do. Calling it “Karate” was not inaccurate. Few Americans know Tang Soo Do, so even today, some schools market themselves as “Korean Karate.” Tang Soo Do is a predecessor of Taekwondo. Taekwondo is the other Asian martial art in the Olympics alongside Judo, but this is soon to change. 

Read more

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Miyagi-Do is derived from a branch of Karate known as of Goju-Ryu. Writer Robert Mark Kamen had learned some Goju-Ryu which inspired him to create Mr. Miyagi. He even poached the name of the founder of Goju-Ryu, Chojun Miyagi, and adapted the history to fit the Miyagi family history for The Karate Kid II where they travel to Okinawa. Goju means “hard-soft.”

“Karate legend Miyagi Chojun gave the name ‘hard-soft’ to the style in the mid-1930s,” explains Bayer.

Bayer finds the contrast between Miyagi’s and Kreese’s philosophies more intriguing than their difference of styles. “I see the first movie of the trilogy as the most important in terms of establishing the two contrasting mindsets of Mr. Miyagi’s ‘Karate approach to life in general’ and John Kreese’s ‘No mercy’ combat-specific attitude. However, both mindsets are essential to and part of genuine Karate.” Bayer claims that fighting in genuine Karate is exclusively reserved for life-threatening situations. “Karateka never start a fight; they always end a fight―and to end a fight ‘no mercy’ is essential.”

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The All Valley Karate Championships and the Olympics

The most unrealistic story element in The Karate Kid is the All Valley Karate Championships. Beyond the controversy about whether Daniel-san’s crane kick win was illegal, Karate tournaments didn’t have the level of production value in the eighties depicted in the movie. Even today, they seldom get that elaborate. A hexagonal ring is hard to make out of the square puzzle mats typically used for local tournaments nowadays. And that spectacular tournament table backdrop was way beyond the budget of tournament promoters. However, Karate will soon be showcased on the global stage, replete with a grand pageantry far beyond what the All Valley Championships imagined.

The Tokyo Olympics will introduce Karate as one of the five new sports in 2021. This will be divided into two categories: Kata, which is a solo form recital akin to gymnastics floor routines but with kicks and punches instead of leaps and flips, and Kumite, which is sparring. Here, Dr. Bayer draws an important distinction between authentic Karate and sport. It’s a critical distinction for what plays out in The Karate Kid. “As long as any kind of rules are implemented, combat changes into some kind of game,” says Bayer. “Life-protecting fighting is pure violence, pitiless full-power action, and has no place in a sport setting.”

Here also is where Bayer sees Kreese’s villainy. A symptom of his wartime PTSD, Kreese is unable to make the distinction between self-defense and sport. “The ‘No Mercy’ combat approach in competition and sports is inexcusably misplaced and represents an ‘Americanized’ misconception of Karate, characterized by ‘winning at all costs’ in combination with the importance of fancy uniforms, of ranks, and of other attributes in an attention-seeking culture.”

According to Bayer, this is also where the authenticity of Miyagi’s contrasting Karate approach shines. “This is the exact opposite of Mr. Miyagi’s humble Karate-Do mindset, where ranks, belts, and other visible signs of competency are irrelevant. His answer to the question what belt he wears was ‘Canvas. JC Penny. Three ninety-eight. You like?’ In spite of its lethality, the purpose of authentic Karate training is not the use of violence, it is gaining self-control, especially in situations loaded with threats and aggression, and where blood pressure and adrenaline levels are off the chart.” 

Despite this separation of killing art and sport, Bayer still sees the role of sport Karate as extremely important, and he can’t wait to see what happens at the Olympics. “Sports Karate canalizes aggression into fun and competition activities, and its training practices are perfect for physical education, for health and fitness purposes. Under a responsible coach, students grow mentally and are guided towards positive values―reflected in modern physical education learning outcomes and their according training designs.” 

“Karate here. Karate here. Karate never here.”

Despite its martial shortcomings, The Karate Kid succeeds in revealing the heart of Karate. The hardships Daniel endures, his loyalty to his sensei, Miyagi’s humility, and the distinctions between the street fights and the championships all play out with an uncommon sincerity, and perhaps that is the secret of its longevity. Even if Miyagi-Do is entirely by Kamen’s design, it’s a clever homage to Okinawan Karate. And even in the martial world, that’s hard to find.

“Authentic Okinawan Karate’s genuine purpose was exclusively self-protection and the protection of someone’s life,” says Bayer. “This genuine Okinawan Karate is hardly to be found in today’s worldwide Karate practice.”

The Karate Kid trilogy is streaming on Netflix now.

The post The Karate Kid: The Real Martial Arts History Behind the Movies appeared first on Den of Geek.

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#aion-rsa #Den of Geek

[feliciamontagues]

My Ranking of Every Hercule Flambeau Episode (S01-S08)

There are some spoilers for S7 and S8, but they are fairly vague and pretty much the sort of thing that you might see on the official press release. So not true spoilers as such. Also this is totally subjective and the result of my own personal biases. It’s also behind the cut because it’s looooonnng. 

8. The Two Deaths of Hercule Flambeau (s06e10)--

So, this episode is *fine*. It’s hardly the worst episode of the show, but it’s easily the weakest of the Flamby eps, despite their being a few isolated moments I enjoy. (Hercule getting a long overdue bedroom scene for one :P)

My main gripe is with this episode is the uneven way Lisandra Flambeau is written. The script seems to flip-flop over whether we are supposed to find her sympathetic or not.  On one hand,  many scenes imply that she genuinely loves Hercule despite them having a shotgun marriage after only a few days of knowing each other. On the other hand, she does not hesitate for a minute before poisoning an innocent (Fr. B) for no other reason than to hurt Flamby, which makes her lose a lot of sympathy points.

And as a result, it seems to make Flambeau seem like more of arse than normal for betraying her, while somehow also absolving him of responsibility for doing so, because she turns around and does *THAT.*

And ngl, it does make me a little uncomfortable that while the character of Lisandra (as an Italian) is possibly not meant to be interpreted as a POC, the actress portraying her definitely is. (Sara Martins is of Afro-Portuguese descent).  Which makes the uneven characterization (and underwritten-ness) seem even more glaring, especially  when compared to that of the other (white) women in Flambeau’s life (his first love Rebecca and his daughter Marianne, arguably Lady Felicia as well). It just leaves a bad taste in my mouth even if  in all likelihood, the part wasn’t written with Sara Martins in mind.

I think a much more interesting approach to Lisandra would be to have intending to betray Flambeau all along. Maybe she had her own agenda for seducing Flamby, meanwhile he thinks he’s the one using her for his plan. Maybe she does develop some feelings for him along the way, but it only makes her hesitate for a moment before going ahead with her original plan. That way, she keeps her agency and isn’t reduced to the “woman scorned” stereotype while also leaving the writers free to ship Flamby with others in the future without seemingly endorsing guilt-free adultery .

Other random note: I can’t take  parts of this episode seriously because the “Crown of Lombardy” is very obviously Guinevere’s crown from BBC Merlin with no attempt to alter or disguise it. 

7. The Daughter of Autolycus (s04e05)--

Not gonna lie, I am not really a fan of “character has long lost relative that we’ve never heard of until now” plots. And that goes double when said long-lost relative is a child or sibling. As such my low ranking of this episode is partly due to unconscious personal biases against that trope.

That being said, if we had to get a long-lost relative that we’ve never heard of until now plot, I’m so glad we got Marianne--even if it takes her another episode to really live up to her potential. 

I have to knock off a few more points for Nero Hound as a villain. For one thing, he was played by Nancy Carroll’s real-life hubby, but they didn’t let let him interact with Lady F at all. Such a *waste.*  Also Nero Hound is far too similar a name to Nero Wolfe, and I’ve definitely confused them on more than one occasion). He’s also rather generic in my opinion, even compared to some of Flambeau’s other “generic mobster” rivals/associates like the ones in S8.

However, there are some moments in this episode I genuinely like--particularly the theft “imagine spot” and Flambeau’s bishop disguise in general. Plus, the scenes where Flambeau and Marianne appear together are excellent, as are the hints that Marianne will become a redemptive trigger in Flambeau’s life.

6. The Judgement of Man (s03e10)--

Again, the low ranking of this one may be due to personal biases.  In this case, I’m still low-key bitter--five years later-- at the BBC marketing department for baiting me with the idea of Flambeau actually interacting with the rest of the squad (esp romantic tiems with Lady F)  and then giving me the absolute minimum of Felicia/Flambeau flirting and no Flambeau/Sid and Flambeau/Mrs. M interaction.

But there are other reasons why this is in my bottom 3 Flambeau episodes. 

Honestly, I feel like an equally compelling episode about the Vatican’s complicity in Nazi art theft could’ve been made without having to insert Flambeau in it. I mean I suppose it does make sense to have the art thief character  in the art episode, but still I feel like both Flambeau backstory and important historical lesson about Nazis, the Church, and Jewish art suffer from being crammed into the same episode. 

That being said, Mrs. McCarthy’s duchess disguise in this episode cleared my skin, watered my crops, etc, which is why I’ve ranked it higher than the previous two. 

5. The Folly of Jephthah (s08e05)

It loses a few points because I got very exited about the idea of Marianne becoming Bunty’s thief gf cool new friend, and yet in the episode itself, they only shared one scene and didn’t really interact much in it. That being said, I did like like that Bunty and Mrs. M had a bigger role in this episode than the squad usually gets in Flambeau episodes. 

Overall, I feel this episode works a lot better than most of the other “backstory-heavy” Flambeau episodes, because we’ve already gotten the Marianne-related exposition out of the way and can focus more on allowing her character, Flambeau’s and their relationship with each other to develop.

I’m also a bit smug in that I predicted (or at least hoped for) this exact character arc for Marianne within a few weeks of “The Daughter of Autocylus” airing and that my hopes came to fruition so beautifully.

It doesn’t particularly impact the ranking too much, but I do feel like this episode deserves a special shout out, because it has established a (hopefully-continuing!) pattern of Father Brown calling Flamby  almost exclusively by his first name, which is a major significant step in their bromance and deserves recognition as such. 

4. The Blue Cross (s01e10)--

As someone who was first exposed to Father Brown through reading the stories for a college course, I always find it especially interesting to look at the episodes that were adapted from Chesterton. 

This episode is neither the most faithful book-to-show adaptation (which is probably “The Three Tools of Death”) nor is it the best (imo “The Sign of the Broken Sword’) , but it is arguably the most significant. “The Blue Cross” was the first ever Fr. Brown story and is probably the most well-known. It’s also the first real look we get at the character of Flambeau, who (in the stories and arguably the show as well) is probably the closest thing we get to a clear character arc.

The show keeps some of the important elements of the short  story: Flambeau’s clergyman disguise, the switching of the packages. But it also has the challenging task of upping the relatively low stakes of the story, as well as introducing a major recurring character that resembles his book counterpart but remains distinct enough to justify the fairly different direction show canon is taking him. 

The show does this reasonably well--if not particularly imaginatively. I do enjoy some of the touches (I’ve written an entire meta before about Flamby’s reading material on the train and how it relates to his character)--particularly the show’s choice to have Flambeau fixated on religious art specifically (RIP for Flambeau’s Dairy Company though. It will always live in my heart).

Unfortunately in the adaptation, loses a few points for not really using the show-original characters particularly effectively. It loses still more for Flambeau’s characterization in this episode . He comes across as much more  serious and menacing in this episode than in all the others. It works okay when we consider this as a standalone episode but provides some glaring Early Installment Weirdness when we compare it to other episodes. 

3. The Penitent Man (s05e15)--

So as the rest of this list  will testify, I have strong preference for the “fun” Flambeau episodes over the more series ones. This is the exception that proves the rule--the  serious, cerebral, melancholy episode that simply “works” for me in the way that some of the others have not.

A lot of it is due to the more-intense-than-usual Flambeau character focus that goes into this. Sure, we’ve met his (presumably ex-by-now) wife, his daughter, and his first love by this point, but all of those episodes focused primarily on Flambeau as an extension of the relationships with others. (”The Judgement of Man”  in particular is far more Rebecca’s story than Hercule’s.)

Whereas this episode is very definitively focused on Flambeau himself and allows more nuanced exploration of two of the most defining facets of Flambeau’s character:  (1) his fascination with religion--and spiritual salvation in particular--  as  something he seems to resist and crave in near equal measure  (2) his almost masochistic streak of recklessness.

Even though Flambeau’s supposed “piety” is revealed to be all part of his heist plan, there are strong hints that his desire for redemption and atonement are at least somewhat genuine, even if he is not  ready to pursue them just yet. 

Off topic, but a few random things of note in this episode: this episode all-but-confirms bi!Flambeau, wet!Flambeau at the end is extremely relevant to my interests, Father Brown attempts to smuggle Flamby a lock pick from the beginning and has the audacity to say “ I only use it when I get locked out of the presbytery.”

Also, it has this iconic exchange:

Goodfellow: What is that awful smell?

Father Brown (covered in sewage): It’s me

2. The Honorable Thief (S07e10)-- So nearly all of the Flambeau-centered episodes from S3 on  have been a little preoccupied with filling in some of the gaps in Flambeau’s backstory, which is *fine*, but honestly, I feel like in doing so, they’ve really lost sight of why we fell in love with the character in the first place. 

 He’s vibrant and clever and funny and over-the-top. But most importantly, Flambeau is a lot of fun. Therefore, it follows that episodes that feature him should be a lot of fun too. 

And well... they are all fun in some way,  but they aren’t as fun as they really could be. John Light is insanely charismatic, but charisma can only go so far when the episode in question is a downer.

Fortunately, this episode is the furthest thing from a downer imaginable. It’s absolutely delightful from start to finish. The plot is serious enough to keep things engaging, but also light enough to keep us from getting too distracted by angst. 

I’m also incredibly biased in favor of this episode, because it finally gave me the Felicia/Flambeau ship tease I’d been passionately hoping for (if not really expecting to get after “The Judgement of Man” disappointed me). But it was so much and so good, and I wasn’t ready for it.

In a broader sense though, this episode really delivered with Flambeau/squad interaction in general--which was a key component that has been missing from most of the other episodes. And the Father Brown & Flambeau interactions were also has heartwarming and funny as they always are.

If I have one tiny little gripe with the episode, it’s that Daniel is not Sid. He has enough broad similarities with Sid that I can’t help but wonder if the episode was originally written with Sid and then hastily re-written when Alex Price couldn’t return. That being said, he was a likable enough guest character in his own right, and I wouldn’t mind seeing him again.

1.  The Mysteries of the Rosary (S02e05)-- Perfection. Not only is this THE definitive Flambeau episode, but is also one of the best episodes of the show overall. It has everything: the birth of bearded Flamby, bromantic road trips, a treasure hunt, great guest turns from Anton Lesser and Sylvestra Le Touzel.

I think part of the reason this episode resonates so strongly with me is that it’s really the first proper sense that we get of Show!Flambeau as a character. Sure we officially met him in “The Blue Cross,” but considering he didn’t show up until halfway through the episode and was in disguise for most of it, we didn’t really get much of a sense of who he is.

This episode changes all that and sets Flambeau up as the character we will know and love for the rest of the series--charming, urbane, funny, passionate, a carefree carpe diem exterior masking (or overcompensating for?) a sense of uncertainty and conflictedness.

Somewhat off topic, but as great an episode as this is for Flambeau’s character, it is nearly as wonderful for both Sid and Father Brown’s characters. We get to see Sid’s  ease with Father Brown, the casual camraderie that the two of them have--as well as Sid’s protectiveness (and jealousy) when Flambeau decides to gatecrash their bromantic road trip. 

Honestly, there are so many things that are great about this episode that I don’t think I could possibly list them--but one little detail that really struck my the last time I watched was that the first proper glimpse we see of Flambeau in this episode (we see him in shadow in a flashback before) involves him  saving Father Brown’s life.  Whereas the last proper glimpse we see of Flambeau is after Father Brown has saved Flambeau’s life.  Thematic reversals. Cinematic parallels. We love to see it. 

#father brown #bbc father brown #hercule flambeau #the adhd hitting hard; this was in my drafts for well over a year #that's right another flamby episode aired and had to be added before i finally finished it #that being said i really enjoyed it #let me know if you want me to rank more things #like i don't think i could rank every episode; but perhaps every episode in a given season #or the seasons themselves #or the top 5 best or worst episodes--either in general or for a particular character #meta #misc #one of these days i'm gonna go full feral english major and write a giant character analysis on book flamby vs show flamby #and all the interesting adaptational implications and nuanced writing choice of #mon petit gallique merde

[stylesnews]

Harry Styles sumptuous new video for Lights Up took the world by storm last week. Exclusively for GQ, the young, half-American, half-British designer Harris Reed shares the inner workings of how Styles’ killer blue outfit for the brand-new solo song came together...

If you know about Harris Reed, you know. And if you don't? Well, keep up at the back. Reed is one of fashion's most exciting new talents, his designs lauded for their sparkly romance, their craft and unbridled otherworldliness. Reed came to GQ's attention a couple of years ago while he was still at Central Saint Martins, his designs already imbued with a silhouette that was both modern and nostalgic, all washed with an achingly cool, non-binary LA energy: his aesthetic has darkness, light, glamour and a non-threatening sense of their own sexiness. His designs aren't just gender-fluid, they're like wearing liquid gold.

Fashion's worst-kept secret is the fact that Reed has been working with Harry Styles for a couple of years now, making one-off outfits for the singer's spectacular stage shows and offering the musician looks that seem in harmony with his renewed sense of self and megawatt style. Last week, when Styles' lascivious, wonton, sweaty and damn good new song, "Lights Up", was blasted out into the world, we noticed it was one of Reed's bespoke designs that the artist had decided to wear for his second solo jaunt. As the video caught fire and went global, we called the ever-charming Reed to talk to him about working with Styles, how the outfit for "Lights Up" came about exactly and just how far he thinks Styles is willing to go with his new covetable gender-blurring aesthetic...

GQ: Hey Harris, nice talking to you again. How's it going?

Harris Reed: "Well, I have a stinking cold, which is the worst. Especially when you are supposed to be working and selling a collection, it can seem like it's ruining your life. But it's OK, I will get through it."

Congratulations on your design for Harry Styles' outfit for "Lights Up". You must be thrilled?

"Thank you, I am really happy. And it's cute as well that Harry made his little icon photo on Instagram an image of the outfit from the video. Quite pleased to say the least."

When did you first start working with Harry Styles?

"My big connect with Harry goes back to Harry Lambert, his stylist, who was the first person I ever worked with and the first person who pulled in any of my clothes years ago. I had that relationship with him starting about two years ago and after a while [Lambert] told me, 'I think you're ready, even though you're right at the beginning of your career, to meet this person...' I pulled some designs together – I didn't really know who it was at this point – but I put together some references. Jimi Hendrick and [David] Bowie and Mick Jagger – you know, just classic rock’n’roll iconic frontmen whom I could see in the designs. Then that's when I heard that it was actually for Harry Styles."

When did you first meet Harry?

"It was November 2017 at one of his shows, at the Hammersmith Arena, and I got a text message from Harry Lambert saying, 'OK, just meet us at the stage door.' It was insane – a sea of screaming girls, men and women were fainting and being taken away in ambulances... I was like, 'What the fuck?' It was insane. And so I found the stage door and went up to this woman who was wearing this huge red coat and I went, 'Hi, I am here to see Harry Styles.' Obviously she laughed in in my face, saying something like, 'Who the fuck are you?' I replied, 'I am going to be Harry Styles' designer.' Like that, I'm not sure where the bravado came from! She goes, 'Of course, come with me.' I was led me through the crowd and right then and there I met Harry and the rest is history, I guess."

How much steer did Harry give you initially for the clothing?

"Honestly, Harry [Styles] was truly the way I envisioned. I think it was Harry Lambert who originally gave me some references for the first work I did for him. It was never a strict brief, but initially I only had about a day to put something together, like, the day before. It was so late to the process. It was more how I could see my designs adapting for him. And then when I went into the meeting I was like, 'Let's do ruffles!' I went a bit crazy, and that's when [Styles] got a lot more involved and was steering me in the direction he wanted. But Harry [Styles] was so open to what I saw for him and what I wanted was an old-world elegance rather than seeing some hot guy in skinny jeans and a T-shirt jumping around on stage – which can work and is amazing - but I wanted to make this aesthetic far more romantic. Watching him as he performs on stage, he is so explosive and amazing at dancing and moving around... Listen, I have so much respect for Gucci and what they do for him, but because of that relationship he was wearing so many suits, so I felt like what I could offer was more fluid, a flounciness or a different silhouette, billowy sleeves and so on. Even the outfit I did for the 'Lights Up' video was sleeveless and the trousers had a slight flare, so he could dance and do his pelvic thrusting, which he loves to do."

The outfit for Lights Up, when did you start working on this particular style moment for him?

"I was coming back from my week-long hiatus in LA during the summer after finishing at Gucci, so I was exhausted. I was in New York and Harry [Lambert] got in contact to say, 'Hey, I don't know if you're up for this but Harry would love you to do something for the next video.' All top secret, of course. All he sent me were two Pantone colours of blue with a note: 'It needs to be in this shade of blue; I can't tell you too much else.' And I was like, well, OK. And at the time I wasn't drunk... But let's say I was enjoying myself in NYC and it was really late at night and Harry [Styles] was actually there shooting his Rolling Stone cover and, as a coincidence, his stylist was like, 'Can you get some ideas to me really quickly. He needs to be able to move in it and it needs to look like he's about to go on stage and take the world.' So I kind I thought, 'movement', 'take the world' and 'stage' and got to work..."

Did you design it straight away?

"Yeah, I was in a bar, [The Bowery Hotel] so I asked the barman for a napkin and he handed me this piece of paper and I did a chicken scratch drawing and sent it back to Harry right away. He was like, 'This is perfect.' I did so many more sketches at the time, but he liked this one, it was so easy and clean and it reminds me a bit of David Bowie's 'Dog Days' but more sparkly and upbeat and less linen and long hair."

Did you have time for fittings and so on?

"Erm, no! We made the piece literally in three days. I got back from NYC with that sketch and they were leaving on a plane to do the video imminently. So I landed in London, went to all my favourite fabric shops in Soho, running around like a crazy madman with all these Pantone swatches of fabric. I have dozens of photos of all these different hues of blue. We ended up using a blue silk moire as it needed to be water resistant, or not water resistant, just be able to work with water, so reflective and shiny without being too heavy and not too hot, as the video was being filmed in South America. And we didn't have any time to do a fitting, so I had to fit the whole outfit on myself. Harry and I have very different body proportions so we were just very lucky. I remember they flew to South America to shoot the video and Harry [Styles] texted me, 'It fits! It works!' And I was in fucking heaven. I didn't sleep for a solid three days doing that outfit so I was thrilled."

This isn't the first outfit you've made for Harry Styles. Where are all those incredible one-off designs stored? Surely this archive must be preserved somewhere?

"I can't say where it is located, but everything goes to an archive. It's basically like a giant refrigerator – a frozen vault – somewhere in London where I am not going to disclose. But the clothes all have 24 hours surveillance, which you can look at via an iPad, specifically done for his outfits, and they have all been cryogenically frozen in time to preserve them. That's also what is more surreal for me. After his first solo tour that I produced 14-15 looks for – he wore about six or seven – I was wondering where the others were and he was like, 'Don't worry, they are all under surveillance.' I was like, 'Oh, that's chic.'"

Can you tell us what is next in the pipeline for you and Mr Styles?

"Hmm... Let me see what can I say. I think people can expect some pretty crazy, fabulous things coming. I can't say too much. I think with Harry I am hoping this is really just the beginning and as he evolves with his own music, and I evolve as a young designer, I hope we can work on more possible projects and clothes and... things!"

Do you hear the music before you make the outfits for him?

"I think the way he speaks about the music, the way he speaks about the process is a real influence on me as a designer. I was lucky enough to go an see him in the studio this summer, and just seeing the passion and the ideas... I am someone who talks a lot with my hands and he's the same, like he's really orchestrating his whole universe. Even the way the 'Lights Up' video was teased, it's never just music with him as for me it's never just clothes – it's the message too. That is what inspires me. I hope I get to hear little teasers of new music along the way, although I always have his stuff sort of on a loop in the studio anyway... Old school rock’n’roll and dashes of Harry Styles along the way."

Do you ever get intimidated by the fact these designs will make up part of his musical legacy?

"Honestly, from a design perspective, I don't worry, because when he tells me he loves something nothing else really matters. And because I'm not just designing a black T-shirt or a simple pair of trousers, I am making a statement, so it actually takes the pressure off me. I don't worry about it if he doesn't. I worry more about a seam splitting open. I remember he wore a few outfits for his big tour of Asia and I made all those outfits on my £50 sewing machine while eating chicken nuggets at five in the morning. I was still studying, and I don't have a proper atelier, so its those technical worries that are the things that stress me out. People don't know this but there's a picture in Rolling Stone where he is near naked holding a ping pong bat and the caption is something like, 'Harry waiting for a garment to be fixed' and it was my garment and the zipper had ripped right off. But he sort of says, 'Let's take this fashion risk together', so nothing else matters. As I said, if he loves it, I am happy."

Ever feel like you're pushing him too far with your designs?

"[Laughs.] He is so lovely and I don't think he ever wants to tell someone 'no' but there's definitely been a time when I laid out the designs from the most timid to the craziest, and when we got the craziest, he does this thing with his lips where he smiles, but he he's like, 'OK, we're not going to go this far.' But it probably involved an outfit with his ass hanging out or some huge Liberace cape... So he's always open, but sometimes I can see in his eyes that he's not quite there with me. I try to read those little mannerisms."

#harry styles #harris reed #article #oct19 #lightsup

[hlupdate]

Harry Styles sumptuous new video for Lights Up took the world by storm last week. Exclusively for GQ, the young, half-American, half-British designer Harris Reed shares the inner workings of how Styles’ killer blue outfit for the brand-new solo song came together...

If you know about Harris Reed, you know. And if you don't? Well, keep up at the back. Reed is one of fashion's most exciting new talents, his designs lauded for their sparkly romance, their craft and unbridled otherworldliness. Reed came to GQ's attention a couple of years ago while he was still at Central Saint Martins, his designs already imbued with a silhouette that was both modern and nostalgic, all washed with an achingly cool, non-binary LA energy: his aesthetic has darkness, light, glamour and a non-threatening sense of their own sexiness. His designs aren't just gender-fluid, they're like wearing liquid gold.

Fashion's worst-kept secret is the fact that Reed has been working with Harry Styles for a couple of years now, making one-off outfits for the singer's spectacular stage shows and offering the musician looks that seem in harmony with his renewed sense of self and megawatt style. Last week, when Styles' lascivious, wonton, sweaty and damn good new song, "Lights Up", was blasted out into the world, we noticed it was one of Reed's bespoke designs that the artist had decided to wear for his second solo jaunt. As the video caught fire and went global, we called the ever-charming Reed to talk to him about working with Styles, how the outfit for "Lights Up" came about exactly and just how far he thinks Styles is willing to go with his new covetable gender-blurring aesthetic...

GQ: Hey Harris, nice talking to you again. How's it going?

Harris Reed: "Well, I have a stinking cold, which is the worst. Especially when you are supposed to be working and selling a collection, it can seem like it's ruining your life. But it's OK, I will get through it."

Congratulations on your design for Harry Styles' outfit for "Lights Up". You must be thrilled?

"Thank you, I am really happy. And it's cute as well that Harry made his little icon photo on Instagram an image of the outfit from the video. Quite pleased to say the least."

When did you first start working with Harry Styles?

"My big connect with Harry goes back to Harry Lambert, his stylist, who was the first person I ever worked with and the first person who pulled in any of my clothes years ago. I had that relationship with him starting about two years ago and after a while [Lambert] told me, 'I think you're ready, even though you're right at the beginning of your career, to meet this person...' I pulled some designs together – I didn't really know who it was at this point – but I put together some references. Jimi Hendrick and [David] Bowie and Mick Jagger – you know, just classic rock’n’roll iconic frontmen whom I could see in the designs. Then that's when I heard that it was actually for Harry Styles."

When did you first meet Harry?

"It was November 2017 at one of his shows, at the Hammersmith Arena, and I got a text message from Harry Lambert saying, 'OK, just meet us at the stage door.' It was insane – a sea of screaming girls, men and women were fainting and being taken away in ambulances... I was like, 'What the fuck?' It was insane. And so I found the stage door and went up to this woman who was wearing this huge red coat and I went, 'Hi, I am here to see Harry Styles.' Obviously she laughed in in my face, saying something like, 'Who the fuck are you?' I replied, 'I am going to be Harry Styles' designer.' Like that, I'm not sure where the bravado came from! She goes, 'Of course, come with me.' I was led me through the crowd and right then and there I met Harry and the rest is history, I guess."

How much steer did Harry give you initially for the clothing?

"Honestly, Harry [Styles] was truly the way I envisioned. I think it was Harry Lambert who originally gave me some references for the first work I did for him. It was never a strict brief, but initially I only had about a day to put something together, like, the day before. It was so late to the process. It was more how I could see my designs adapting for him. And then when I went into the meeting I was like, 'Let's do ruffles!' I went a bit crazy, and that's when [Styles] got a lot more involved and was steering me in the direction he wanted. But Harry [Styles] was so open to what I saw for him and what I wanted was an old-world elegance rather than seeing some hot guy in skinny jeans and a T-shirt jumping around on stage – which can work and is amazing - but I wanted to make this aesthetic far more romantic. Watching him as he performs on stage, he is so explosive and amazing at dancing and moving around... Listen, I have so much respect for Gucci and what they do for him, but because of that relationship he was wearing so many suits, so I felt like what I could offer was more fluid, a flounciness or a different silhouette, billowy sleeves and so on. Even the outfit I did for the 'Lights Up' video was sleeveless and the trousers had a slight flare, so he could dance and do his pelvic thrusting, which he loves to do."

The outfit for Lights Up, when did you start working on this particular style moment for him?

"I was coming back from my week-long hiatus in LA during the summer after finishing at Gucci, so I was exhausted. I was in New York and Harry [Lambert] got in contact to say, 'Hey, I don't know if you're up for this but Harry would love you to do something for the next video.' All top secret, of course. All he sent me were two Pantone colours of blue with a note: 'It needs to be in this shade of blue; I can't tell you too much else.' And I was like, well, OK. And at the time I wasn't drunk... But let's say I was enjoying myself in NYC and it was really late at night and Harry [Styles] was actually there shooting his Rolling Stone cover and, as a coincidence, his stylist was like, 'Can you get some ideas to me really quickly. He needs to be able to move in it and it needs to look like he's about to go on stage and take the world.' So I kind I thought, 'movement', 'take the world' and 'stage' and got to work..."

Did you design it straight away?

"Yeah, I was in a bar, [The Bowery Hotel] so I asked the barman for a napkin and he handed me this piece of paper and I did a chicken scratch drawing and sent it back to Harry right away. He was like, 'This is perfect.' I did so many more sketches at the time, but he liked this one, it was so easy and clean and it reminds me a bit of David Bowie's 'Dog Days' but more sparkly and upbeat and less linen and long hair."

Did you have time for fittings and so on?

"Erm, no! We made the piece literally in three days. I got back from NYC with that sketch and they were leaving on a plane to do the video imminently. So I landed in London, went to all my favourite fabric shops in Soho, running around like a crazy madman with all these Pantone swatches of fabric. I have dozens of photos of all these different hues of blue. We ended up using a blue silk moire as it needed to be water resistant, or not water resistant, just be able to work with water, so reflective and shiny without being too heavy and not too hot, as the video was being filmed in South America. And we didn't have any time to do a fitting, so I had to fit the whole outfit on myself. Harry and I have very different body proportions so we were just very lucky. I remember they flew to South America to shoot the video and Harry [Styles] texted me, 'It fits! It works!' And I was in fucking heaven. I didn't sleep for a solid three days doing that outfit so I was thrilled."

This isn't the first outfit you've made for Harry Styles. Where are all those incredible one-off designs stored? Surely this archive must be preserved somewhere?

"I can't say where it is located, but everything goes to an archive. It's basically like a giant refrigerator – a frozen vault – somewhere in London where I am not going to disclose. But the clothes all have 24 hours surveillance, which you can look at via an iPad, specifically done for his outfits, and they have all been cryogenically frozen in time to preserve them. That's also what is more surreal for me. After his first solo tour that I produced 14-15 looks for – he wore about six or seven – I was wondering where the others were and he was like, 'Don't worry, they are all under surveillance.' I was like, 'Oh, that's chic.'"

Can you tell us what is next in the pipeline for you and Mr Styles?

"Hmm... Let me see what can I say. I think people can expect some pretty crazy, fabulous things coming. I can't say too much. I think with Harry I am hoping this is really just the beginning and as he evolves with his own music, and I evolve as a young designer, I hope we can work on more possible projects and clothes and... things!"

Do you hear the music before you make the outfits for him?

"I think the way he speaks about the music, the way he speaks about the process is a real influence on me as a designer. I was lucky enough to go an see him in the studio this summer, and just seeing the passion and the ideas... I am someone who talks a lot with my hands and he's the same, like he's really orchestrating his whole universe. Even the way the 'Lights Up' video was teased, it's never just music with him as for me it's never just clothes – it's the message too. That is what inspires me. I hope I get to hear little teasers of new music along the way, although I always have his stuff sort of on a loop in the studio anyway... Old school rock’n’roll and dashes of Harry Styles along the way."

Do you ever get intimidated by the fact these designs will make up part of his musical legacy?

"Honestly, from a design perspective, I don't worry, because when he tells me he loves something nothing else really matters. And because I'm not just designing a black T-shirt or a simple pair of trousers, I am making a statement, so it actually takes the pressure off me. I don't worry about it if he doesn't. I worry more about a seam splitting open. I remember he wore a few outfits for his big tour of Asia and I made all those outfits on my £50 sewing machine while eating chicken nuggets at five in the morning. I was still studying, and I don't have a proper atelier, so its those technical worries that are the things that stress me out. People don't know this but there's a picture in Rolling Stone where he is near naked holding a ping pong bat and the caption is something like, 'Harry waiting for a garment to be fixed' and it was my garment and the zipper had ripped right off. But he sort of says, 'Let's take this fashion risk together', so nothing else matters. As I said, if he loves it, I am happy."

Ever feel like you're pushing him too far with your designs?

"[Laughs.] He is so lovely and I don't think he ever wants to tell someone 'no' but there's definitely been a time when I laid out the designs from the most timid to the craziest, and when we got the craziest, he does this thing with his lips where he smiles, but he he's like, 'OK, we're not going to go this far.' But it probably involved an outfit with his ass hanging out or some huge Liberace cape... So he's always open, but sometimes I can see in his eyes that he's not quite there with me. I try to read those little mannerisms."

#harry styles #harris reed #harry team #lights up #161019

[shineonmalcolmbright]

Shine On, Bright: Chapter Twenty

Table of Contents

Past

For somebody who saw ghosts, he realized he needed to start believing in them seeing how the room was so full of life and yet his father saw none of it. He heard none of them.

Malcolm bumped elbows with the probable ghosts while he stood stuck in the middle of the barroom as his father’s friend was sitting right there, right in front of all of them, he was drinking beer in front of them. Malcolm had even seen Mr. Watkins talking to him and talking to Ainsley and talking to Martin and talking to Gil.

A little bell rang as the doors opened. Malcolm moved into them then looked at his notebook, it’s not open but maybe it was something he should note. Somewhere in the pages about the stranger things happening at the Overlook Hotel. With one hand, Malcolm began to open it up and with his other hand, he bumped a button to visit another floor to find some peace, up there was a shared area overlooking the hedge maze. The doors closed with a ding before it clicked away sending him up to the fourth floor.

Malcolm continued to flip through his notebook, he pushed his pencil behind his ear and stopped because something was written in shaky handwriting. He touched the words for no real reason other than maybe it’d help bring him closer to them.

All it said was: Be careful.

No further explanation.

Malcolm pulled his hand away to grab his pencil to leave a question mark by it only to see red smear across the page. The iconic reddish-brown of blood smeared across his page. He looked at his hand to see his fingertips were drenched in blood yet there wasn’t any pain.

The elevator rang.

Its doors opened startling him.

It knocked the notebook to the ground and he stood stock still because he stood in blood. It flooded the elevator. Splatter ran up along the walls. Each button was smeared in it. Then the floor, right where he stood or if he stood anywhere, he was lost in a thin puddle of blood. It shimmered under the lights like little puddles that caught too much oil after the rain.

Before he could get out, the doors closed and starting to click away all over again. The elevator brought him back to the first floor. At least there was a library waiting for him. It was as if the elevator wanted to scoot him off or away from the above floor and to be honest, no problem. Malcolm slid out looking at how blood tracked across the faux marble floors. He went into the little pretend library dropping his stuff and stood there. Blood was smeared all across his research. It stained the floor and he needed-he needed a restroom. He needed water to wipe the blood off his hands.

At least one waited in the lobby, didn’t take long. He returned, finding his notebook opened to a different page. Even though he held a few paper towels in hand, the blood trail disappeared. Some newspapers and a scrapbook sat out waiting for him. It was information he found tucked away into corners as if the Overlook wanted him to understand pain. The pain he avoided though was the pain locked up underneath them all in the boiler room.

Hey! No fair! Ainsley’s voice rang out, sounded like she was down the hall a bit. It’s my turn! I’m the swan princess this time, not you!

Imaginary friends were growing tougher and tougher. Malcolm looked from his notebook to the next thing he wanted to start going through. It’d all be stuffed into a folder marked L, E which meant nothing to him. But as soon as he opened a scrapbook. Somebody cut out the same face over and over again off milk cartons, flyers, articles, and more. The same woman looked back at him with the same word hanging out around her, Missing.

“Missing persons case,” Malcolm whispered to himself about to write it down on a new bloodstain free page except something else on the page already caught his attention. It’d been written so small and so light as if it weren’t meant to be found. Malcolm needed to squint to make it out better.

11/08: Woke up in library. Thought I went to bed. 11/09: Woke up in ballroom (?). Remember going to bed. Mother said something to sleep better. Don’t remember falling asleep. 11/10: Is it possible to not remember falling asleep but waking up? I feel like I haven’t slept for days. Ask somebody about it. (Would Gil know? Where did Gil go?)

None of those words. . .Malcolm couldn’t remember writing any of them down. It was as if he had sliced up film for a brain, something he needed to piece back together but it didn’t even make any sense to why or how any of it was happening. As if the hotel was eating him up from inside out.

Malcolm added:

11/11: Woke up in bar, heard music, heard voices. Father found me, we talked, said to talk to him, didn’t hear all the noise. Ask him about it later?

At least his father was smart, he had to be smart seeing he was a surgeon and all or something along those lines.

Underneath, Malcolm started a new page about a new story of the Overlook. He wrote Missing L, E because a name wasn’t listed. When he turned the page, the scrapbook was covered in a collage of security footage. He leaned forward, looking at the grainy images. All appeared to be moving in order as if he could take a flipbook, move through them to make his own animation.

The missing girl was running down a hallway, she kept looking over her shoulder, she went into the elevator, it looked like she hit all the buttons and leaned into the panel. The doors stayed open and open and open with her there. Either it was a mistake with the same image on repeat or she waited that long. Little timestamps in the corner said otherwise. He could trace them all.

11:05; 11:06; 11:07; 11:09. Then L,E looked out at 11:11.

She looked both ways in the hallway but there were images from 11:11 in the hallway, nobody was there. It played out the same way across all the images. Just buttons were lit up, the elevator moved. One by one the button lights went out and each time she looked into the hallway and nobody was ever seen. Then she left the elevator.

In a red pen, somebody circled her and noted: Last known image.

What did he even write down? What even was the purpose of all this research? His pages were filled with such tragedy. There was this story to accompany the last caretaker killing his two daughters, Alexei and Alexa Grady, his wife, and himself. At some point, he found a several page article in a magazine all about them, but it hung out somewhere else in his little research area or downstairs.

There was also a story about a mother who took all seven of her children to the roof one day begging them to jump. Nobody knew whether they jumped or not, it was either they jumped or were pushed because one by one they all died, splintered on the pavement before she made a run for it. She went missing for about two months until somebody went into the boiler room and found her hanging from the ceiling there.

Stop. . .STOP IT ALEXIE! NO! Ainsley interrupted his thoughts again.

Malcolm glanced at the doorway before back at his notes. A shootout happened at the place, one with lurid details about the mob, which he had no idea was a thing until he read the articles about how all of them had been shot, slaughtered inside the presidential suite.

AAAAAALEXIE!

Rather than sit around in some casual loneliness, Malcolm got up to ask Ainsley to be a little quieter. If either of their parental units heard her yelling, they would have terse and harsh words with her about her actions. Only out in the hallway, Ainsley was standing by her little big wheel bike, the sort tots loved as she was tugging at a ball hanging in the air.

“I found it! It’s mine!” Ainsley yanked with all her might and fell backward, she crashed into the big wheel sending it spiraling. She groaned in pain and Malcolm stood there staring at her. She hung out there, upside down hugging the ball to her chest.

“Ains. . .who. . .who are you talking to?” Malcolm asked.

Ainsley rolled her eyes and sat up using a hand to rub the back of her head. And Ainsley retorted, as if he were the stupidest person in the entire world, “Uh Alexie and Alexa! Who else?”

Good question, who else because the only girls with those names Malcolm could think of were dead and besides, they were all alone in the hotel.

#shineonbrightfic #prodigal son #prodigal son fic #malcolm bright #malcolm bright whump #the shining #true crime references #overlook hotel #the overlook hotel #prodigal son fanfic #prodigies

[womenofcolor15]

Beyonce’s LEMONADE Named AP’s Album Of The Decade + What Bey Taught Us About Self-Care & Giving Zero F**** In ELLE Mag

Beyonce's iconic LEMONADE album has been named as the AP's Album of the Decade!

Beyonce. Queen of the Decade.

Mrs. Carter stopped the world when she dropped her epic sixth studio album, LEMONADE via Parkwood Entertainment and Columbia Records on April 23, 2016. It was her second “visual album,” the follow-up to her surprise self-titled album that changed the game forever.

Queen Bey created a masterpiece of work that centered around one of the most explosive rumors in pop culture, Jay-Z cheating. We still don’t know if the rumors are true or not, but the Grammy Award winner had every woman reflecting and relating to the lyrics she sung beautifully over beats that span across all genres. Yep, even country (“Daddy Lessons.”) Not only that, the album oozed of black pride, being unapologetically black, being a fearless mother and more.

The AP sums up LEMONADE like this:

Beyoncé, “Lemonade”: At the beginning of this decade, Beyoncé was already the greatest singer of her generation. She won a record six Grammys in a single night, had women AND MEN “oh-oh-oh’ing” to the fun sound of “Single Ladies” and continued to be a beast of a performer. But somehow Superwoman — shoot, she’s Superman, too! — found a way to do more: Like a boss she launched her own company, Parkwood Entertainment, and really took the bull by the horns of her career. In 2011, she released the R&B adventure “4,” featuring classics like “Countdown,” “Love on Top,” “Party,” “End of Time,” “I Care” and “I Miss You.” Three years later — in surprise form — came “Beyoncé,” her bold, audacious and daring album that showcased a new side of Beyoncé: Goodbye was the girl who cared about topping the charts, and born was an artist, a true storyteller, a grown woman. Somehow, she topped herself again with “Lemonade,” which still tastes as good as it did when it was released in 2016. The usually private Beyoncé bares her soul on the album, singing about a troubled relationship, black pride and motherhood in a brave way. Lyrically, she’s on point and honest over beats and sounds that range from rap to rock to country and pop. “Who the (expletive) do you think I am,” she brashly asks on “Don’t Hurt Yourself,” which co-stars Jack White. The answer: the greatest of all time.

By the way, Rihanna's "ANTI" album came in at the No. 2 spot on the list.

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                      A post shared by ELLE Magazine (@elleusa) on Dec 9, 2019 at 4:57am PST

  While LEMONADE was a perfectly crafted album and shifted the music game, it did not win album of the year at the 2017 Grammy Awards. But guess what? The mother-of three doesn’t give a damn.

In an interview with Elle for her January 2020 cover story, the Queen shared - via an epic Ask Me Anything with the Beyhive - how she felt after learning her album didn’t win the Grammy. She shared how her miscarriage and pregnancies revealed a deeper meaning in life and awards snubs were no longer on her radar.

“I began to search for deeper meaning when life began to teach me lessons I didn’t know I needed,” she said. “Success looks different to me now. I learned that all pain and loss is in fact a gift. Having miscarriages taught me that I had to mother myself before I could be a mother to someone else. Then I had Blue, and the quest for my purpose became so much deeper. I died and was reborn in my relationship, and the quest for self became even stronger. It’s difficult for me to go backwards. Being ‘number one’ was no longer my priority. My true win is creating art and a legacy that will live far beyond me. That’s fulfilling.”

By the way, Bey’s “Spirit” from “The Lion King” album has been nominated for Best Original Song at the 2020 Golden Globes.

          View this post on Instagram

                      A post shared by ELLE Magazine (@elleusa) on Dec 9, 2019 at 5:37am PST

            View this post on Instagram

                  “The last time I went to a supermarket, it was more like a bodega before a Madonna concert. Jay and I snuck into one in Crenshaw and bought some Cuervo and Funyuns chips. And…y’all know you see me at Target and I see y’all trying to sneak pics.” @beyonce answers her #Beyhive’s burning questions for ELLE’s January 2020 issue. Link in bio. #BeyoncexELLE ⁣ ⁣ ELLE January 2020: ⁣ Editor-in-Chief: @ninagarcia ⁣ Cover star: @beyonce⁣ Photographer: @msmelina ⁣ Stylist: #KarenLangley ⁣ Makeup: @sirjohn ⁣ Hair: @nealfarinah @nakiarachon ⁣ Production: Ben Bonnet @westyproductions⁣

A post shared by ELLE Magazine (@elleusa) on Dec 9, 2019 at 5:23am PST

  The “Sorry” singer shared why working with female directors was so important to her:

“Melina Matsoukas has inspired me to own and redefine what it means to be a director. As a woman, if you are too opinionated, too strong-willed, too anything, you are disregarded. I’ve seen this happen to Melina, but she handles it with respect and grace. Melina is a rarity; she has the sensibility to understand fashion, photography, storytelling, history, and culture and is able to seamlessly incorporate those components into her work. I have trusted Melina for over a decade and created some of my best work with her—from visuals for my music to tour content and now a fashion shoot. I was so excited to work with her on this shoot for ELLE, because working with Melina is effortless. We have a natural way of collaborating because of our friendship and mutual respect for each other. There’s no politics, no ego; it’s just about being in the moment and creating dope art.

"Pioneers like Kasi Lemmons, Julie Dash, and Euzhan Palcy have amazing catalogs, and women like Lena Waithe, dream hampton, Adria Petty, Diane Martel, Darnell Martin, and Ava DuVernay have added to the dialogue. And I am lucky to have worked with most of these talented women.”

          View this post on Instagram

                  "I think the most stressful thing for me is balancing work and life. Making sure I am present for my kids—dropping Blue off at school, taking Rumi and Sir to their activities, making time for date nights with my husband, and being home in time to have dinner with my family—all while running a company can be challenging." Being Beyoncé: The superstar opens up for ELLE’s January 2020 cover story.⁣ Link in bio. ELLE January 2020: ⁣ Editor-in-Chief: @ninagarcia ⁣ Cover star: @beyonce⁣ Photographer: @msmelina ⁣ Stylist: #KarenLangley ⁣ Makeup: @sirjohn ⁣ Hair: @nealfarinah @nakiarachon ⁣ Production: Ben Bonnet @westyproductions⁣

A post shared by ELLE Magazine (@elleusa) on Dec 11, 2019 at 8:15am PST

  Bey even dished on her secret Snapchat account:

“I hate to say it, I hope I don’t sound ridiculous, but I don’t know what my Snapchat is. Sorry to that Snapchat.”

L-O-L.  You can read her full interview here, including what she said about y'all snapping pics of her at Target.

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                      A post shared by Beyoncé (@beyonce) on Dec 9, 2019 at 4:01am PST

  Get your coins ready. Beyonce’s Ivy Park x Adidas collaboration is set to drop January 18th.

Photo: TIDAL

[Read More ...] source http://theybf.com/2019/12/14/beyonce%E2%80%99s-lemonade-named-ap%E2%80%99s-album-of-the-decade-what-bey-taught-us-about-self-care-givi

[justgotham]

We always knew they meant New York," novelist, Lawrence Block, wrote in his intro to the first trade paperback of the DC Comics series, Gotham Central. Block was writing both about the inherent New-Yorkness to Bob Kane's initial vision of Batman's Gotham City and of Ed Brubaker and Greg Rucka's incarnation in Gotham Central.

Gotham Central, which debuted in single issues beginning in 2004, is maybe the most quintessentially New York comic book imagining of the city of bats and cats, robins and riddlers. It's a story not about how a boy billionaire with a grudge and an endless arsenal of super-weaponry handles someone like Mister Freeze, but about how the boys in blue of the Gotham City Police Department deal with them. There's something endemically and irrevocably New York about people running around in strange costumes while often-flawed cops do their best to keep a tight hold on a city that never sleeps.  

Ten years after Gotham Central first appeared in comic stores, Gotham, the Fox TV series very loosely based on Brubaker and Rucka's stories, found an even better way to make their Gotham City feel like New York: they filmed there.

And while having the literal New York City skyline to draw inspiration from helped, there was another part of Manhattan specifically that helped give each of Gotham's residents that undeniable New York feel: Broadway.

"I worked on Broadway," says Gotham's current costume designer, John Glaser. "Josh, my assistant, worked on Broadway. ... The painters and the sketch artists have all worked on Broadway. We actually approached each episode like a little Broadway show."

And what advanced techniques were brought from the Great White Way to the Dark Knight?

"Paint and tape," says Glaser. "I hate to say it, but paint and tape make things look the way that they should."

As it turns out, that's a very Broadway approach to costuming. Glaser learned from the best, having assisted under the late, great Patricia Zipprodt, who was the original costume designer for iconic Broadway shows like Fiddler on the Roof, Cabaret, Pippin, and the second longest running show in Broadway history, Chicago.

"Everything was painted, painted, painted, painted. I was a costume painter, so that's instilled in me," says Glaser. "The painting part, some people wouldn't do. Once we actually started to paint things in the first season that we were there and went, 'Oh, this stuff looks much better with the lighting, the dark scenery and the shafts of light.' We always made everything light at the top and dark at the bottom, ombré it down."

There are lots of little fun facts to be learned about the basic costumes and how they echo back to Batman comics, too. It's the little things. "On men's suits, we only used black buttons, no matter what suit it is," he explains. "Black buttons because in the comics all the buttons are black."

For Gotham's fifth and final season, there were creative alterations made to the costumes overall that informed the style of the show, each with specific purpose. "Because they are at war, we got rid of all jewelry," explains Glaser. "It's being melted down to make bullets. Without any jewelry, it kind of changes the look of the show. There are no earrings, there are no necklaces. We didn't want a lot of extraneous costume stuff, just what was really interesting in front of you."

Probably what most separates Gotham from Arrowverse shows or the Marvel Cinematic Universe is how the wardrobe team treats the supervillain costumes and suits. Those, too, get the Broadway treatment. Not at first, though. First, suits for characters like Firefly and Mister Freeze are crafted in Los Angeles. "It's like buying a car," according to Glaser. "They know the body's measured, they make an extra layer of the body for them to give them the right shape, they have the right fabrics, they have the right sculptors, the right fabricators."

But Glaser wasn't a fan of the exactness of these initial designs. "What I didn't like about that was that it looked like a movie costume. We actually took Firefly's costume and Mr. Freeze's costume, after they first wore them, and we started to paint them and age them, just because they didn't look like they were from Gotham. They looked like they were from a different world. We took them back, kept painting them and aging them, putting things on them and making them look more like they were from the city of Gotham."

Sometimes the newness of a costume could even be a problem, especially in Gotham's final season, where everyone is living even more rough than usual. "On Ivy's costume," Glaser uses as an example, "the top of it is flesh and it goes into fabric around her breast and we couldn't figure out how to make that transition without it looking like a skating costume."

So how do you solve that problem beyond paint and tape? "We took it to Izquierdo Studios and I was explaining to Martin Izquierdo what the problem was. He said, 'Alright, just go away for an hour.' We went away for an hour, and then when we came back he had cut, hacked, aged, and torn it, and it looked perfect. It was a dress that melted into her body — so it went from flesh, to fabric, back to skin and flesh, so you couldn't pinpoint whether it was a dress, whether it was her skin, or whether it was vines growing on her. It was vague, misty, and painted with lots of sparkle, so you could never pinpoint what it was. That was a very successful costume."

Beyond the desire to make Gotham feel like New York through the lens of a Broadway show, there was one other consistent challenge: working within the confines of the DC Universe. All live-action TV series that exist within the worlds of DC Comics have to accept that they are second banana in the DC hierarchy. The creators of Arrow had to scrub their Suicide Squad plotline when the film of the same name starring Margot Robbie and Will Smith was greenlit, for example. And so, too, Gotham had to contend with these challenges from a stylistic standpoint.

"There's a thing that Josh and I used to say," admits Glaser. "'If you can't tell what it is, then it's great.' If you can't know where it came from or if you can't pinpoint it, then there was never a problem."

Probably the most infamous struggle Gotham faced in the Batman canon relates to the Joker, in that Gotham simply could not have a character named "the Joker." That is why the twins, Jeremiah and Jerome, were created. And, even then, there was some conflict. "We sent a sketch and he [Jeremiah] had some purple in his suit," Glaser explains. "Warner Bros. said, 'No, you can't use purple.' The producers from Gotham talked with them and they let it pass. I think that was an area or a time when they started to loosen up a little bit, with us. We never got too close to the iconic look of anybody. We always danced around it."

One character from whom there was, surprisingly, no pushback at all was Harley Quinn. "The diamond shapes are painted on so that they kind of fade in and out, kind of ghost-like," reveals Glaser of the initial Harley design. "Every time that we saw her it would get a little more refined. When it started out it was like a dull red and a dull blue. By the time we finished, this is on different clothing, but, still, again, painting, it had become red and white, but because of what she does, we made it look like red blood and white."

You may also have heard that Gotham's final season involves a time jump allowing its audience to see something they've wanted since day one: Batman. And while it's too early yet to reveal everything about the first time we see actor David Mazouz in full Bat-regalia, Glaser did reveal one aspect to the costume that was mandated: "They insisted that the Batman logo be on the belt."

There's so much that goes into costuming a show, there could be a whole series just on the topic. Glaser talked with SYFY WIRE about so much: the muscle suits under the character's clothes, the way each character was built up to be taller and longer, and small details — like the custom made ties for all the men's suits, and how they changed from season to season. Even the background actors got their own story. "For every episode, we would pick a color," says Glaser. "Let's say there's a party scene, we would pick a color and we would pick a vague period and focus on that."

Most of these skills are ones that Glaser and his team learned, not from television, but from their time assisting with, designing, dressing, teching down, and rigging costumes on Broadway, all which helped make the Gotham City of Fox's Gotham the most quintessentially New York incarnation of the DC Universe yet.

#Jeremiah Valeska #Cameron Monaghan #Ecco #Francesca Root-Dodson #Bruce Wayne #David Mazouz

[news-mashable-yahoopartner-blog]

How SparkNotes' social media accounts mastered the art of meme-ing literature

Most millennials know SparkNotes as the ultimate no-nonsense study buddy, but today’s students not only receive help with schoolwork from the website, they get high-quality entertainment, too.

SparkNotes remains a crucial tool for text comprehension — full of study guides and supplemental resources on english literature, philosophy, poetry, and more. But over the past two years it’s also become a source of some of the internet’s most quick-witted, thought-provoking, and ambitious memes.

SparkNotes' Twitter and Instagram accounts have carved a unique niche for themselves online by posting literary memes that find perfect parallels  between classic works like Macbeth, The Great Gatsby, Lord of the Flies, and Frankenstein, and present-day pop culture favorites like The Office, Parks and Rec, and more.

It may come as a surprise to those who once frequented the site for the sole purpose of better understanding Shakespeare plays before a final exam or catching up on assigned chapters of The Catcher in the Rye before the bell rang, but SparkNotes is cool now, and absolutely killing the social media game.

SEE ALSO: The magic of Book Fairies

As someone who spends the majority of her workday on the internet and splits her leisure time almost exclusively between reading books and re-watching episodes of The Office, I fell in love with the account's near-perfect meme execution after mere minutes of scrolling through posts. 

In a world with so many bad brand tweets and tone-deaf memes, I felt compelled to seek out the well-read meme masters behind SparkNotes' social media to learn how it is they manage to make each and every post so good.

How SparkNotes' social media became LIT ✨📚

Chelsea Aaron, a 31-year-old senior editor for SparkNotes, is a huge part of the success. She started managing the site's Instagram in September 2017, and her meme approach has helped the account grow from 5,000 to 134,000 followers.

"When I first started managing the account, I tried a bunch of different things," Aaron explained in an email. "I ran illustrations and original content from our blog, and I also borrowed memes from our Twitter ... The memes seemed to get the most likes, so I started making and posting those on a regular basis, and now I try to do four to five per week."

Image: screengrab / Instagram

Aaron discovered the account's recipe for success by not only making memes about some of SparkNotes' most popular, highly searched guides — which include Shakespeare's plays, The Great Gatsby, and Pride and Prejudice — but by mashing them together with a few modern television shows that she's personally passionate about, such as The Office, Parks and Rec, Arrested Development, and John Mulaney's comedy specials. She's also known for hilariously retelling entire works (SparkNotes style, so, abridged versions) using the account's Highlight feature.

Image: screengrab / instagram

The brilliantly sharp, comical posts seem effortless, but Aaron explained the process takes some serious concentration. Essentially, she stares at a large collection of collected screenshots "in a state of panic" until an idea strikes. "It's wildly inefficient and incredibly stressful, but I haven't figured out another way to do it," she admitted.

Luckily, Aaron always has the SparkNotes Twitter account to turn to for inspiration, which is managed by Courtney Gorter, a 26-year-old consulting writer for SparkNotes who Aaron calls "a comedic genius."

Gorter has been managing the Twitter account for about a year and a half now, and joined the SparkNotes team because she utilized its resources growing up and wanted to help "make classic literature feel accessible" to others.

"I wanted this stuff to seem slightly more fun (or, at the very least, less intimidating) to the average stressed-out student who's just trying to read fifty pages by tomorrow and also has a quiz on Friday," she said. The memes definitely help her achieve that goal.

Scrolling through the SparkNotes Instagram account, you notice it generally uses a recurring but reliably satisfying meme format. Most of the posts consist of a white block filled with introductory text and a screenshot from a television show, like so.

View this post on Instagram

A post shared by SparkNotes Official (@sparknotes_) on Apr 16, 2019 at 10:25am PDT

Gorter, on the other hand, ensures the Twitter account showcases a far more widespread representation of the internet. She posts everything from out-of-context screenshots, GIFs, and videos, to altered headlines from The Onion and trending meme formats of the moment, like "in this house" memes, "nobody vs me" memes, and more. The account is full of variety and gloriously unpredictable.

Hades: Orpheus I’ll let you bring your wife back from the Underworld, but if you turn and look behind you she’ll be lost to you forever. Orpheus: pic.twitter.com/FWD9P2nO0m

— SparkNotes (@SparkNotes) April 16, 2019

Normal heart rate: /\⠀ ⠀ ⠀ ⠀ /\ _ / \ __/\__ / \ _ \/⠀ ⠀ ⠀ ⠀ \/ The old man you just killed, whose heart lies hidden beneath the floorboards yet continues to beat: ⠀/\⠀ /\⠀ /\ _/ \ /\_/ \ /\_/ \ /\_ ⠀ \/⠀⠀ \/⠀⠀ \/

— SparkNotes (@SparkNotes) April 12, 2019

Gorter, who describes herself as "constantly on the internet" feels a lot of her ideas are the result of "cultural osmosis ... our collective tendency to consume references and jokes without realizing it just by being on the internet a lot."

"Sometimes I’ll be reading a book, and I’ll remember a joke I saw earlier that fits. Sometimes a new meme format will crop up over the weekend, and I’ll think, 'That could work for Macbeth,'" she said.

Though the two accounts are clearly distinct from one another, they both give off the same hip English teacher energy and running them has become a truly collaborative effort. "I constantly send her [Gorter] emails asking stuff like, 'Can I still say 'big mood' or is that over?' and 'What's the deal with this whole 'wired vs tired' thing?'" Aaron said.

Together, the two women spend their days discussing iconic works of literature, making pop culture references, and keeping up with the latest memes. (A dream job.) Their separate styles fuse together to make each other's posts the best they can be.

The meme approach works wonders

One might not initially think that Boo Radley and John Mulaney have much in common, or that Michael Scott could effortlessly embody Romeo, Julius Caesar, and Holden Caulfield if you simply alter your perspective. I certainly did not. 

But Aaron and Gorter's work will convince you. Once you start merging the worlds of classic literature and modern television series, you won't want to stop.

The SparkNotes instagram is my favorite thing pic.twitter.com/FCc6sXjJly

— Jessie Martin (@jessie_martin97) March 29, 2019

Fun fact, the official Sparknotes Instagram account is probably the best one: pic.twitter.com/sIR6tsw7ZP

— Tommy (@tommy_jacobs92) February 28, 2019

When describing why the posts work so well, Aaron explained that Hamlet, Mr. Darcy, and Gatsby — three of her favorite characters to meme — have super relatable personalities, which makes the process so simple.

"They're dramatic, and awkward, and obsessive, which makes them identical to about 97% of the people on The Office," she said. "I've learned that you can use Michael Scott as a stand-in for pretty much any classic lit character, and it isn't even hard. (That's what she said)."

What wow the @SparkNotes Twitter is extremely good???? It all appears to be this good!!! https://t.co/PyEqTdQ3Ly

— Rachel Kelly 🥛 (@wholemilk) May 2, 2019

Why is @SparkNotes's Twitter so good it has no right to be this good https://t.co/eFBQpLMpe3

— Kelsey [Version 2019.05] (@flusteredkels) May 2, 2019

Gorter thinks the accounts are so appealing because they create a deep sense of community — an online space that isn't so isolating, rather a place where where bibliophiles, television enthusiasts, and meme lovers can all come together and geek the hell out. There's really something for everyone.

"When Steve Rogers said, 'I understood that reference,' I felt that deeply. I think people enjoy being in on a joke, especially when the source material (classic literature, for instance) isn’t particularly hilarious," Gorter said. "There’s a delicious juxtaposition there. I know that I personally get a secret little thrill when I understand something as contextually layered as a really niche meme, and a slight sense of frustration when I don’t."

Engaging followers and changing with the times

SparkNotes as a whole has come a long way since it was launched as TheSpark.com by a group of Harvard students in 1999.

What started out as a budding web-based dating service quickly transformed into a trusted library of online study materials, and over the years, as the publishing industry, technology, and the internet evolved, so did SparkNotes. 

Like the social media accounts, SparkNotes'  SparkLife blog — full of quizzes, artwork, rankings, advice, and trendy posts like "How To Break Up With Someone, According To Shakespeare" and "Snapchats From Every Literary Movement" —  perfectly encapsulates the site's commitment to catering to its audience.

Whoever runs the Sparknotes twitter and Instagram pages deserves a raise

— louise🌻 (@_Fallxn_) February 21, 2019

SparkNotes does a remarkable job of shifting with the times to stay relevant and interesting in the eyes of its readers — and the quest to balance fun and education really seems to be paying off. Recently, the Instagram account tested out a post that called upon students and teachers to request custom-made memes by reaching out via email with the title of a book or subject they want meme'd, along with a message for the intended recipient.

"The response was amazing!" Aaron said. "We got almost 250 emails, and it's so great to see the genuine affection and admiration that teachers have for their students, and vice versa." 

Thanks to the social media accounts, SparkNotes is not only helping students learn, but helping entire classrooms bond with their teachers. (And hopefully teaching educators who follow a thing or two about good memes.)

Print isn't dead, it's just getting some help from the internet

Aaron and Gorter are having a blast running the accounts, but ultimately, they hope their lighthearted posts will inspire people to pick up a book and read.

"I hope what our followers take away from this is that classic literature doesn’t have to be totally dry," Gorter said. "If our memes encourage our followers to engage with classic literature and be excited about reading, that's so rewarding," Aaron added.

The present-day approach to selling classic literature is undeniably unconventional, and the crossovers are absurdly ambitious, but they work so damn well. What's great about the memes is they're created in a way that doesn't diminish the literature plots, because in reality, one would have to have such a comprehensive understanding of the text to make such good jokes.

The memes are actually pretty high-brow when you think about it, sure to delight intellectuals with great taste in pop culture. I have no idea how the legendary writers would feel about their greatest works getting the meme treatment, but people online are definitely loving it.

It's refreshing to see a brand account succeed at such a genuinely funny level, but perhaps even nicer to see it thriving off of wholesome content that doesn't drag other accounts or get its laughs at the expense of tearing others down, as we've seen accounts do in the past.

SparkNotes social media accounts are genuinely just nice corners of the internet dedicated to making people laugh and hopefully igniting a love of literature.

WATCH: Steve Carell to reunite with 'The Office' creator for Netflix's 'Space Force'

#_uuid:9b22ebd8-ea58-31ce-9978-8521a7e4e858 #_category:yct:001000002 #_author:Nicole Gallucci #_lmsid:a0Vd000000DTrEpEAL #_revsp:news.mashable

[nygmobblepot-slut]

4x15 Nygmobblepot Thoughts

Mkay I’m just writing this bc I have to get my emotions out somehow, tonight’s ep was V MUCH! Plus I have no one to yell about it with :( So these are my thoughts from start to finish as I rewatch the episode… (Spoiler Alert)

-Opener Scene w/Ed and Martin

Holy fuuuuck dude, I’m still so shook about it. I feel like even at that point Ed actually going to safe him is such a show of trust and loyalty. Like he did not have to do that after Oswald ‘uncaged’ him….. and yet!!! HE DID!! (Plus I’m just so hype on the fact that Ed and Martin are even interacting, like!!! They went out for ice cream?? What did they talk about, how do they interact with each other, do they like each other?? These are two very important people to Oswald obviously so I NEED them to vibe well!!)

-The Escape Clip

I just absolutely love that Ed was running around like wild and popping off random shots. I loved it!!!!! Plus he was perfectly timed, I’m more than impressed. 

-Walking to Lee’s 

First of all, I absolutely love that they’re talking again?? Like I can’t express that enough because I literally thought that they’d hate each other forever, as I have no trust in the writers. But anyways! Just seeing them banter and talk and develop plans again was like a breath of fresh freakin air my dude. Also, Ed is being so sly and charismatic again and I can feel the confidence radiating out of him. I love it. 

-Talking to Lee

I’m so pleased with how manipilative Ed was with Lee! The way he faked being the old him was a trip. (Now don’t get me wrong I’ve loved Lee so much from the get go and am hella glad they all teamed up but that play was good on Ed’s part).Then he just pulls up his tie and calls Oswald in and bam he’s back. I love it. 

Also, Oswald giving him his hat back made me so happy for some reason like I just can’t get enough of them being in the same room without pointing guns at each other, let alone holding each others belongings and working together. 

AND THE PLAN!!! I screamed when I heard Ed say it and lmao Oswald’s reaction was wow. It was brilliant of course, but I was also lowkey terrified that he was just gonna freeze Oswald and hand him over for some twisted revenge. LUCKILY NOT I FEEL BLESSED.

Lastly the Grundy talk was amazing, Oswald’s confusion made me smile. BUT THAT LOOK THAT LEE AND ED SHARED TERRIFIED THE ACTUAL FUCK OUT OF ME. I’m honestly terrified that Ed is going to decide that he actually likes Lee still because she can be bad too. I MEAN WHAT HAVE THE WRITERS GIVEN US THIS FAR. I’m hopeful that won’t happen but still there’s a part of me that just can’t help but think…

-Grundy Tunnels

Not a big surprise, but I was yellin the whole time. I love Ed so much and I feel like his character development is finally back!! I’m ecstatic to see him mess around with ‘dumb Grundy’ in his cocky way. The look on his face though when he realized Butch’s mind was back, I’m dead. And his signature “oh dear” ahhh. I was worried when he got his shit knocked out but I know the man can handle himself. Jeez, I love Ed. 

-Oswald & Lee in her place

It hurt hearing the suspicion in Oswald’s voice, though it was warranted. But I could tell that he was genuinely worried for Ed, not just ‘the deal gone wrong’ or a betrayal. He sounds so vulnerable and impatient. But Lee though, she’s such a bad ass now my god I love it. 

-Jim, Harvey, & Oswald show down

I love seeing Oswald so brave when it comes to them, obviously he doesn’t have time for their shit at the moment but he’s also not fuckin scared of em either. And shit when he realize Mr. Penn was eyes for Sofia he looked so pissed dude. I was about as shook as he was. 

Okay and what the fuck is up with Jim being the renegade cop and Harvey being the good guy? I mean talk about a role reversal holy man. The freaking parallels this episode (more like this entire season) murdered me. But really, Harvey, be cool brother. 

Also, bless Lee.

-The Shootout with Victor and company

Can I just say I love all of these characters so much? The way they interact is so unique and awesome and I dig the fick out of it. Victor is always so much fun, though I’m still salty he betrayed Oswald. 

Also, bless Lee again. She literally stole their car. Iconic. 

-Other Victor’s Freezer Scene

First of all, DAMN Victor. Next, I’ll always adore Oswald and Lee interacting. It’s the best, yes kids bicker like children. I love Oswald trying to sweet talk his way out of the Victor problem. He’s such a man of words (at least when he needs them). Lastly, damn Victor, way to freeze the bird without even checking, I’m cackling. That pose was damn near the same as Ed’s though let’s be real. I was highkey scared he’d come out all different too though. 

-Bloody Loyal Ed & Frozen Oswald

Let me start by saying, I was terrified that they were going to mess up his beautiful teeth oh my. But aside from that I’m so proud of Ed for enduring that much pain to keep Oswald safe!!! I didn’t see it coming but I’ll accept it wholeheartedly. ALSO THE PARALLELS OH MY MY. I’m going to keep bringing it up because they blew me away. Neither of them would give the other up, no matter how much pain was inflicted! Tell me they’re not at least besties and I’ll call you a liar. No but really, it’s a huge step forward considering that Ed literally wanted to kill him like at least 3 episodes ago. 

Ed’s reaction to Oswald’s use of his plan was great. I knew he’d get a kick out of it. I didn’t want him to be mad that he was getting tortured for nothing though, cause that was also plausible. Luckily again, that wasn’t the case. 

My heart though when Sofia told her men to shoot Ed at the docks, literally stopped. I knew he wouldn’t die but I was still worried. 

-Ice Breaking Scene

Where do I even start? I was relieved it actually worked, and that he actually was intact mentally. It was rough seeing him realize that yet another of his staff was on Sofia’s side back in the day. I believe that was really impactful when it came to Oswald trusting Ed again. In all honesty, Ed was the only one who hadn’t truly betrayed Oswald (at least not without proper cause, as debatable as that may be). I think it was a really good way to highlight the fact that Ed’s the only one. 

Then he sees Ed’s hat and flips his entire lid on that torture man. When he finds out Ed was loyal after everything the look on his face was amazing. Of course he changes his plans for revenge around to go save him. LOYALTY I’M

-The Dock Scene (Pt. 24235454)

Ed’s so sassy, even when he’s about to get straight up murdered man. Oswald’s aim is on fuckin point, bless up. The emotions, I can’t. 

I FEEL SO BLESS BY THIS SCENE MAN THE MUSIC, THE LOOKS, THE LITTLE ACTIONS. I honestly can’t put into words how this makes me feel. 

They trust each other, they put the guns away, they’re perfect. I’ll say it again, tell me they’re not besties and I’ll call you a liar. 

Things evened out so beautifully here. I genuinely hope they let everything go for the betterment of their relationship and I hope they never ever see that pier again. 

-Final thoughts

WHAT AN EPISODE DUDE! I just don’t want the writers to ruin what they’ve just blessed us with. I’d be pleased with them just being friends again man. Of course I believe there’s more to it but even if there isn’t I couldn’t handle them being enemies again. It kills me too much. 

Don’t fuck this up, don’t fuck this up. I swear if there’s a third Kringle I will actual set myself on fire. Don’t fuck this up.

#nygmobblepot #Gotham #gotham 4x15 #penguin #riddler #edward nygma #oswald cobblepot #cory michael smith #robin lord taylor #i'm hella shook after this episode #can i get an amen #spoilers

[nightmareonfilmstreet]

The Monster Behind The Mask: Remembering FRIDAY THE 13TH PART III

Friday the 13th Part III was released theatrically in the United States on Friday, August 13, 1982. 36 years ago tonight. Does that make you feel as old as Pamela Vorhees’ grey sweater? If the answer is a resounding ‘No, you fool – I was born in the 80’s, I had to wait at least a decade until I watched Jason mutilating camp counselors’, then welcome to this special look back on one of the more divisive Friday the 13th films. Grab your machetes, pull down your ice-hockey masks and don your wacky green/red 3-D spectacles, because we’re heading to Higgins Haven for some stabby-stabby fun with Jason Voorhees.

By the time Friday the 13th Part 2 (1981) came around in theaters, audiences had become swamped with low-quality slasher titles. Slasher film fatigue had set in hard, and although Jason’s second outing grossed over $21.7 million in the United States on a budget of $1.25 million, fans were disappointed with a rehashing of the original story, and it failed to pull in the original’s box office success. The fact that they gave no explanation to the ridiculous ending of Part II showed that the people in charge didn’t really put much value in the continuity or story progression. One thing everyone could agree on though: Jason needed to be scarier. He needed to be a real boogeyman. And to get there, there were going to need a gimmick to get that cold hard cash-vein open again. They needed…3D.

  A New Dimension In Terror

      The titles jumped out at you like Superman’s cosmic intro, only….cheaper looking. Not to mention a bombastic funky 70’s inspired theme that I totally dug, man. What you have to remember is that in 1982 although 3D film-making was still in its infancy (Jaws 3D anyone?) by 2010, it had become almost commonplace for any film released to be retrofitted for a new dimension of sight and sound. Friday the 13th Part III, however, paved the way for future 3D films. You may have a strong fondness for everything three dimensional, but for all the people that love donning plastic visors on their head the other bemoan the comically irritating ploy to cough up more money at the box office. I wear glasses and absolutely hate 3D films becuase it feels like I’m wearing glasses on top of glasses…which I am!

Unless you have your own pair of flimsy pre-revolutionary 3D glasses, (which I doubt you have) you’re going to see a lot of shots of people waggling sticks at the camera, having yo-yo’s thrown at them. You’ll also be treated to an overly long lingering shot of a crazy old man sticking an eyeball uncomfortably close to the screen. Steve Miner (who also directed Part II) returned to the director’s post to helm Friday the 13th: Part III and this new dimension of terror that continues straight after the events of Part 2.

  .

The Higgins Haven Massacre

    Just like its predecessor, the film opens with an extraordinarily long recap of the previous film. We see final girl Ginny (Amy Steel) running away from ‘Baghead Jason,’ trapped in the makeshift cabin Jason has been holed up in with his mother’s severed head lovingly affixed to a small alter. Ginny tricks Jason into thinking she’s his mother, by donning her sweater and generally berating the child-like minded serial killer. Before she can use her machete on him however, Jason sees his mummified mumma’s head and avoids her killing blow. Paul (John Furey) appears and begins wrestling with Jason. While Jason is distracted, Ginny hacks him in slow-motion with his own machete. They assume he’s dead, but we see Jason slowly moving off the screen. Cue: Opening Credits.

Originally, Friday the 13th Part III was supposed to focus on lone survivor Ginny Field, (Sorry, Paul) who checks herself into a mental institution after her traumatic escapade with the pillow-wearing, dungaree killer. The film would have been similar in that vein to the popular Halloween II (1981), with Jason tracking down Ginny in the hospital, but that idea was abandoned when actress Amy Steel declined to reprise her role. Perhaps she didn’t want to be typecast as the scream queen for this particular franchise, but by 1986 she was again up on screen evading a knife-wielding killer in the slasher parody April’s Fool Day (1986). There was also speculation that producers were worried fans would reject a Friday the 13th which didn’t follow the established formula.

    I would love to find a script with this narrative, because the franchise may have steered in a different direction (or it could have died a horrible death right there and then). Every good franchise needs a protagonist the audience can root for. Alien (1979) had Ripley, A Nightmare on Elm Street (1984) had Nancy and Halloween (1978) had Laurie. You could argue that Friday the 13th had Tommy Jarvis, but he didn’t appear until the fourth installment. Looks like Steel missed the boat on this one if the powers that be really wanted her as the series’ Final Girl. With 12 films, a whole bunch of novels, video games, and the short-lived television series under their belt though. it looks like they went the right way.

Our new group of young victims are as follows: New Final Girl Chris (Dana Kimmell), ‘Spanish Phoebe Cates’ Vera (Catherine Parks), hot and steamy couple Debbie (Tracie Savage) and Andy (Jeffrey Rogers), hippie potheads Chili (Rachel Howard) and Chuck (David Katims), and franchise favourite, the lovable self-deprecating prankster Shelly Finkelstein (Larry Zerner).

      The group arrives at Higgins Haven, a cottage (with a barn!) a mere stones-throw away from Packanack cabin, where the previous slaughter took place. The Scooby Doo/Cheech and Chong gang meet up with country farm boy Rick (Paul Kratka). It’s quickly established that he and Chris had a romantic tryst during their last summer at the lakeside cottage, and Rick instantly tries to get back to where things left off by feeling her up. Not cool, man. Not. Cool.

Chris explains that she wants to get to know him again but he responds that there are only so many ‘cold showers’ he could take. Wowzer. He essentially behaves like this for the entirety of the movie (bar one scene when Chris recounts a traumatic experience) but the weird thing is the filmmakers seem to want you to empathize with this guy – like he’s the hero of the movie. Film of the time, I guess?

      After some tomfoolery from Shelley (and without the slightest irony of axe-wielding maniac foreshadowing), we’re introduced to a group of bikers that marks the first time in the franchise we’re introduced to black actors. It’s just a shame that they turn out to be scumbags. All the while, Jason’s been hiding in the barn, looking menacing from an over the shoulder perspective. He dispatches of the bikers when they arrive at the cottage to take their revenge on Shelley and the gang, following an altercation at a shop in town. Don’t assume that Jason is here to protect anyone though. He quickly sets his sights on the college co-eds and, of course, things really ramp up when he dons the now iconic ice hockey mask for the first time.

People will argue what their favourite Friday the 13th movie is until the end of days. Did you like the characterization of the teenagers in Part 2 or 4? Did you simply enjoy the hack n’ slash nature of the original? Were you excited when Jason went to Hell? Some people just want to watch cheesy 80’s effects and have some popcorn while devouring grisly death sequences with their eyes. But something doesn’t sit right with the third outing. They could have gone a much deeper, darker route with Chris‘ that might have lead Mr. Vorohees‘ down a very sketchy road. I’m obviously talking about…

    The Final Girl

    Late in the film, we see Chris and Rick sharing some quality catch-up time together. Up until this point Chris has been hinting that something terrible happened to her but now she’s finally ready to share her story. Even after Amy Steel declined to return, it’s safe to assume that some fragments from earlier drafts were kept to highlight Ginny’s (now Chris’s) trauma from the previous movie.

Chris explains that, while on vacation, she came home late one night which caused her to have an argument with her folks. She fled her house and ran into the woods where she fell asleep under a tree. Some time later, she was awoken by the sound of footsteps. The footsteps belong to none other than Jason and he grabs at her legs as she struggles to get away. She goes on to explain that she woke up in her own bed the following morning, without any recollection of what transpired after she was captured.

    So what happened here? It’s unlikely that she would have survived an attack by Jason, so how did she escape? The series has been known for its nonsensical dream sequences and poorly crafted plot devices, but this is a pretty big moment for Jason. There are theories that she was raped by Jason and there are novels that further explain the story, but some people on the film claim this ambiguous resolution was always planned since actually outright calling it a rape would be too much for audiences to take at the time. Others say Dana Kimmell who played Chris, was a devout Mormon and forced the producer’s hand since she was uncomfortable with going so far as to call it a rape scene. However, at the start of the film, a reporter states that “Reports of cannibalism and sexual mutilations are still unconfirmed, at this hour.” It would seem that someone in the production wanted Jason to have a much darker streak than his previous appearances.

There are many articles and essays about The Final Girl in horror films, but this one scene could have changed the balance of how viewers perceived Jason Voorhees as a child-like killing machine with mommy issues, into something far more dangerous and disturbing.

    Friday the 13th Part III is a divisive film. The franchise needed a shot to the arm and ultimately it would be 3D effects supervisor Martin Jay Sadoff that inadvertently created a movie monster boogeyman. As it happens, Sadoff kept a bag full of hockey gear with him and the crew wanted a mask to avoid applying prosthetic make up on actor Richard Brooker all the time. This is the first film where we see Jason for an extended period of time, as opposed to keeping him in the shadows constantly. The plot is nonsensical, sure – the characters are paper thin and forgettable, the 3D effects are mostly a gimmick – but in the cannon of the series, it catapulted Jason to an iconic status. And for that, Part 3 will forever remain ingrained in fan’s minds.

How do you rank Friday The 13th Part III. Is it one of your favourites, or do you consider it one of the weaker additions to the franchise? Let us know in the comments below, over on Twitter, or in our Horror Group on Facebook!

You can also take a look behind the scenes of Friday the 13th Part 3D with host, Paul Kratka, in this insightful fan driven documentary featuring untold stories and interviews with several franchise favorites, never-before-seen location footage and set photography, as well as a touching look back on the life of Richard Brooker.

  The post The Monster Behind The Mask: Remembering FRIDAY THE 13TH PART III appeared first on Nightmare on Film Street - Horror Movie Podcast, News and Reviews.

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