#God i have so many feelings about Shakespeare adaptations and how to do them right | Explore Tumblr Posts and Blogs

incorrect-ikevamp-quotes · 3 years

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Hi! I love everything that you write and heh I am a fan! 😄 tbh this is my first time requesting something on Tumblr! If you don't mind and if I am not being a bother...can you write about how the guys would react If MC suddenly starts making meme references? I don't know how I got the idea but I am REALLY curious. And love you! :D

Hiya! Tyvm for the kind words, and apologies that this took a while! I hope you have the chance to enjoy it regardless ❤️❤️❤️ Love you too, sweet pea! I promise to get to the next request you’ve sent ASAP~

Aight but this would be hilarious because the range of the reactions is just ungodly. I will be putting this under a cut after Napoleon so I don’t clog up everyone’s dash, but all the suitors are included below otherwise!

Comte is the one that recognizes a few, but didn’t really stay in modern times long enough to be as well-versed as a Gen Z kid might. Regardless he finds the wittiness and absolute chaotic fuckery to be delightful, and will 100% support the harmless nonsense. It never fails to get a laugh out of him

Mozart that first day be like: “Buzz off MC I hate you” MC, because she likes swinging bats at wasps’ nests: “Well that’s not very cash money of you” Mozart: ?????????? Comte, giggling in the bg like the secret fae he is This one’s just because I’m petty, but after the events of Comte rt I just imagine them encountering Vlad again and MC’s just “I lived bitch.” while Comte is flipping him off behind her lkjahgkjhdsg

Comte @ Leo when he finds the latter under his desk: Had it not been for the laws of this land, I would have slaughtered you. MC: wheezing from the hallway as she’s about to give him his letters

MC: So how was your day, honey? Comte: Good, good--briefly had to go beastmode upon the punk that pilfered my lint roller MC, biting her lip to keep from laughing: So does Leo still have his kneecaps? Comte: for now.

Comte, @ literally anyone upsetting the MC: I won’t hesitate, bitch

Comte: Be careful with my emotional baggage, it’s designer

MC: What if I was evil and ran towards you at very fast speeds Comte: My arms are strong, I would catch and hug you

Leo and Dazai are the ones that don’t have a single reference point but are filled with so much dumbass chaos energy that they just. Understand immediately???? Nobody knows how or why, but they just catch on so fast--adapt the language in a matter of weeks. Never underestimate the power of combined boredom, depression, and humor

I swear to god I just see MC taking them their Blanc/Rouge and being like “here you go sir, one enslaved moisture” and they just go fucking hog wild from day one. MC starts impersonating Theo when he leaves the room around Dazai, like fake deep voice “you all only hate me because you do not like me and I am mean to you. grow up.” Or like the MC meets a baby on her travels with Leo around town and she holds them and says v seriously and sagely “So you are Baby? I have heard tales of your exploits.” and Leo about loses his shit right there. They both think MC is the funniest person alive--they’ve never been more eager to throw a ring at someone in their entire life.

Also a bonus for my beloved Dazai: MC, facing even the slightest inconvenience (like dropping her fork) in the most dramtic voice possible: Life is not daijoubu. Dazai: wheezing

MC, after watching Theo turn down a woman at the bar in the meanest way possible: bro quit letting the darkness consume you u r scaring the hoes Dazai, literally rolling around on the ground, half-drunk and dying:

MC, walking alongside Dazai and stopping to stare at her reflection in the River Seine. Dazai’s expecting some sad or twisted shit, since people often feel comfortable talking about those things around him, but instead she just: “Oh, it’s you. The source of all my problems.” And he about falls into the river from shock HAHAHA

At this point don’t be surprised if his next book is about an absolute madlad woman similar to MC

Napoleon finds it to be a delightful quirk more than anything? He doesn’t really understand it, but he finds it funny when they change their voice for effect or speak in exaggerated tones. If it’s just comprehensible enough for an outsider to understand--or Sebas gives him context--chances are it’ll send him into a laughing fit

For this one I just imagine MC singing that Ratatouille meme song obnoxiously bad while cooking, and Napoleon and Comte are just so wildly amused by it bc it makes zero sense and it’s only vaguely French at this point

MC @ Napoleon while they’re cooking brunch: Can I offer you a nice egg in these trying times?

MC, conflicted because she’s tired and wanted to sleep in but also got to see Napo’s cute sleeping face for a few hours: For my next stunt, I’ll wake up at 5AM on the day I can sleep in. Sebas: Early to bed and early to rise makes a person healthy, wealthy, and wise MC: early to bed and early to rise makes me a massive bitch Napoleon: laughing in agreement

Isaac is the type to be bewildered and concerned at first (especially when he hears the more nihilistic ones hoOOOoooOO BOY) but eventually begins to understand it’s some bizarre attempt at humor (that hurts Zack baby). While some part of him laments that it reminds him of Dazai and he’s secretly jealous of how she and Dazai bond over it, he will sometimes join in the chaos when the mood strikes him and he’s feeling mischievous

Isaac: How are you feeling? MC: Oh, I’m not Isaac: seconds from dialing 911 Isaac: Are you okay? MC: Oh yeah dw I just suffer from that syndrome where your neutral expression makes you look like you’re an angry serial killer Isaac: say sike rn

Isaac, tutoring MC and correcting something: MC, muttering while redoing it: The risk I took was calculated, but man am I bad at math. Isaac: unable to help a laugh

One time MC was avoiding Isaac for fear of hurting his feelings and he just confronts her like: Isaac: back by unpopular demand, me! What’s wrong, MC pls MC was so hecking proud of him

Isaac, telling MC about a recent discovery he learned at uni from another professor: bones typically heal stronger after they’ve been broken--so long as they’re set properly, of course MC, looking him dead in the eyes: So what you’re saying is that I should break every bone in my body until I become superhumanly powerful? Isaac: please do not, no

Mozart and Jeanne are just. Totally lost. Why are you talking like that??? Why are you making “crab hands”???? They don’t understand. Maybe never will. They reach a point where they just kind of laugh and shake their heads, endeared by the oddity after they’re used to it and have determined it isn’t a threat/insult.

MC: It’s a cold and it’s a brooooken, Waluigi. Waaaaluigiiiii...waaaahluigi..... Mozart: surprised, then starts snickering and playing along on the piano

Arthur, asking MC very personal questions out loud because he is an idiot sometimes: Soooo MC, are you a top or a bottom? MC: I’m a threat. (If he asks a second time, the response will be “Wouldn’t you like to know, weatherboy.”) Jeanne, fighting a smile:

MC, about to punch an asshole: Your free trial of being alive has ended Jeanne, seconds from laughing for the first time in 100 years:

Also, because I genuinely can’t help myself. You know that knight meme like “Parry this you fucking casual.” I cannot stress enough that it is literally the personification of Jeanne’s entire character. I’m not even joking.

Arthur and Shakespeare are utterly fascinated by the rapid evolution of wordplay and the sheer hilarity. They will ask all about these so-called “memes” and ask for examples of them if MC can show them (either somehow accessing her phone or drawing them). MC draws Arthur the knife cat meme and he about a s c e n d s at the hilarity of it all, points and yells THEO IS HOLDING THE KNIFE. He is correct. They will be delighted and follow along eagerly, and--god forbid--will make their own based on late 19th century struggles.

Is this where Shakespeare got the idea for “What, you egg? stabs him” and “You are a saucy boy.”? I’m too scared to ask. Don’t even get me started on “The Fool jingled miserably across the floor.” That one is just too on the nose...

I can’t even imagine what would happen to Shakespeare if MC like translated vines and memes into Ye Olde English around him. Imagine she’s at one of those noble balls and hears rumors of these two guys living together and they’re so obviously gay and he says “And those gents w’re roommates.” And in the most false surprised tone ever MC just replies “oh mine own god, those gents w’re roommates.” Imagine having a wife that’s just as hilarious as you are and hits you with all the force of a bag of wet mice every time you speak in retaliation, he’s going into palpitations.

Every time Arthur does smth stupid MC just: “I Pretend I Do Not See It.”

Vincent is tickled pink by MC’s penchant for finding joy and/or amusement in nearly everything they do, and he smiles gently when he sees them muttering and laughing to themselves. He wants to be able to join them in what they love, but he has a harder time following along and understanding the darker humor sometimes. Mostly gets confused??? Please give him the easier ones to mimic and laugh when he tries--or just include him in your jokes MC. He’s babie your honor...

But he also. Will not. Stand any kind of self-deprecation or borderline verbal self-harm. He’s usually very easygoing and calm, but for whatever reason that stuff makes him go deathly quiet and upset.

MC, after something goes horribly wrong, hugging Vincent: Oh Vince, we really in it now Vincent: giggling a little despite his worries, relaxing

MC: Theo stop simping for Vincent that’s my job

MC, when Theo leaves the room and she gets Vincent all to herself: The evil is defeated.

MC: And this is where I would put my will to live...if I h a d one! Vincent: ;-; MC: oh shit, oh fuck, I was only kidding Vincent wait (MC was subsequently lectured and loved on for many hours)

Theo is conflicted because on the one hand, he loves to see you smiling and having fun. On the other, you’re clowning as hard as Dazai and Arthur and he can only handle so many monkeys in his circus. Most of the time he will roll his eyes and be the straight man of this comedy, but you might find him cracking a smile--or accidentally letting a chuckle slip past his lips now and again.

MC, after meeting Theo: I’m a nice person, but I’m about to start throwing rocks at people.

Theo, those first days: Oh? You’re approaching me? Instead of running away, you’re coming right to me? MC: I can’t beat the shit out of you without getting closer.

Theo: Every time I ask MC to explain “vibe check” to me she hits me with some kind of improvised weapon

MC, after the “incident” (you know the one): This year, I lost my dear lover Theo Theo, in the distance: QUIT TELLING EVERYONE I’M DEAD! MC: ;-; sometimes I can still hear his voice...

Sebastian is last because oh boy. OH BOYYYYY I LOVE HIM. Okay so the way I see this happening with Sebastian is just. So wild. Because at first he’s t r y i n g so hard to be the proper butler man. He does not meme. But then he starts to drift closer to what Niles from The Nanny was, where he’ll quip and joke in private or when the situation is just beyond the amount of absurdity he can handle without making a snarky comment. Everyone in the house can’t fathom how Sebas and MC got so close so fast, but there are points where they’re just “Are they even speaking English anymore???” It’s 11 times funnier than normal because Sebas almost never smiles or laughs when memeing, the deadpan quality of his playing along sends MC every time

Has ABSOLUTELY said “HEY. PANINI HEAD. ARE YOU EVEN LISTENING TO ME???” jokingly when MC made a mistake in the kitchen. They laugh about it for y e a r s

MC: I can’t date someone who keeps a lamb as a pet, that’s so weird Sebas, brushing Lotte in front of MC: MC: MC: Okay, I will make an exception because she looks very polite

MC and Sebas, fully aware of the fame some of the men will reach in modern times: We will watch your career with great interest. (I s2g that’s like half of Sebas’ rt right there I’m crying)

Sebas rt with Lotte be like that 500 dollar Mareep meme: “sometimes a family can be just a boy, his gf, and their 500 dollar two foot tall Lotte”

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niqhtlord01 · 3 years

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Destiny II Banter Part 3 Thought it fitting to continue the series with this weeks season cutscene reveal :3 Ikora: Have you heard!? Drifter: That Shaxx Shack was temporarily banned for all the riots? Drifter: Yeah, darn shame; been craving a Shaxx ka baba something bad lately. Ikora: NO! Ikora: That crow is Uldren! Drifter: Oh that; yeah I knew that weeks ago. Ikora: YOU WHAT?!? Drifter: Old eight legs wasn’t exactly hiding him behind a curtain when he had him running his errands on the shore. ------------------------------------------------------------------------------------------------------------------------------------------

Saint: So who is this “Uldren”? Shaxx: He is a skilled warrior of the reef and brother to the awoken queen. Shaxx: Some time ago he was the most hated man among the guardians for killing Cayde-6. Saint: Many I have spoken to still despise him for this and spit at the mention of his name. Shaxx: Well tell them to stop the next time you see them. Shaxx: It makes the floors disgustingly sticky. ----------------------------------------------------------------------------------------------------------------------------------------

Holiday: Was wondering when the beans would finally be spilled. Osiris: You do not seem surprised at this revelation. Holiday: It wasn’t exactly the best disguise to begin with honey. Osiris: Nonsense! Osiris: I picked it out myself and I thought it was perfect! Holiday: Kinda proving my point, aint’cha? ----------------------------------------------------------------------------------------------------------------------------------------

Crow: You are taking my identity much better than I thought you would. Zavala: Had you stood before me two years ago I would have thrown you from the walls myself and watched you plummet the entire way down. Crow: What changed? Zavala: *Looking up at the traveler* Zavala: I guess I did… --------------------------------------------------------------------------------------------------------------------------------------

Shaxx: It is a surprise to speak to you without the mask on. Shaxx: I had just gotten used to it. Crow: I won’t miss it. Crow: It kept nudging in all the wrong places and I had to worry if every time I tilted the thing would fall off. Crow: Honestly I don’t see how someone could spend their whole life behind a mask. *Suddenly realizes who he is talking to* Crow: I …ugh….didn’t mean… Shaxx: Why are you looking at me like that? Crow: Well with your helmet- Shaxx: Helmet!? Shaxx: *laughs* Shaxx: *Puts arm on Crow’s shoulder and points to his helmet* Shaxx: You have much to learn little bird! Shaxx: This IS my face. ------------------------------------------------------------------------------------------------------------------------------------------

Ikora: How can you be handling this so lightly!? Drifter: Would you prefer I flipped over a few tables and grumbled more? Ikora: He killed Cayde! Ikora: And yet you sound as if you want to drink with him!!! Drifter: Doesn’t that guardian code thing of yours say what happened in a previous life doesn’t matter? Ikora: Don’t you dare lecture me on being a guardian! Drifter: I would find that rather hard to when you flip flop on which rules count and which ones you can break when you feel like it. -----------------------------------------------------------------------------------------------------------------------------------------

Saint: You say this, Uldren, has a sister yes? Shaxx: That is correct. Saint: Is she single? Shaxx: What? Saint: I am asking if she has betrothed or not. Shaxx: Why would that possibly interest you? Saint: You get lonely when trapped in a holographic forest for a few centuries. Shaxx: I’m afraid she has eyes on another. Saint: Who? Shaxx: Me! Saint: *Laughs* Saint: What makes you think that? Shaxx: There was a time when she kidnapped me to read her Shakespeare. Saint: So this queen kidnaps you and you think it love? Shaxx: What else could it be? Saint: Your naivety is both amusing and deeply concerning my friend. ------------------------------------------------------------------------------------------------------------------------------------------

Osiris: How have you been faring? Saint: It is as if I had not been gone at all. Osiris: I find your adaptivity somewhat fascinating. Saint: The city may be different, but what goes on outside is more or less the same. Saint: Fallen gathering under tattered banners, cabal waring for power and glory, the songs of the hive deafening the night, and the darkness creeping in ever closer. Osiris: When you put it like that it does sound as if nothing has changed at all. Saint: We have changed my friend. Saint: And because of that, we can change anything. ------------------------------------------------------------------------------------------------------------------------------------------

Crow: *Wandering the shore* *Whispering from behind*: Is it truly you? Crow: *Spins around and draws gun* Crow: Who’s there? Crow: Show yourself! *Figure steps from the shadows* Figure: It is you….my eyes do not deceive me…… Crow: Have we met before? Figure: We have…. Fanatic: father…… ------------------------------------------------------------------------------------------------------------------------------------------

Ikora: I am going to Zavala and I will have that murder banished from the city by days end! Drifter: And what about Shaxx? Ikora: Shaxx? Drifter: Ever notice he never takes off his helmet, like he’s hiding from his past if he never has to look himself in the mirror? Drifter: He’s a warlord of the fall; you don’t think he has a closet of skeletons from those days? Ikora: That’s nonsense. Drifter: Then what about Osiris? Ikora: Osiris? What about him? Drifter: Last I recall he was banished by the consensus never to return, yet he walks freely in and out of the city. Ikora: That is not related at all! Drifter: He’s breaking the rules and you turn a blind eye because he’s useful. Ikora: He didn’t murder our friends! Drifter: In case you haven’t been paying attention lately we’re in a whole sea of madness right now. Drifter: Outside these walls half our planets suddenly vanished out of thin air! Drifter: Fallen tampering with darkness in the name of some revenge fetish! Drifter: Hive monsters calling out to their worn god things, and Cabal ripping each other to shreds for glory of another war! Drifter: Now is not the time to be picky about who stands beside you. Drifter: Now is the time to ride out the storm and stay alive. Drifter: And believe me sister, we’re going to need all the help we can get.

#destiny 2 #destiny #Bungie #banter #funny #uldren sov #drifter #ikora rey #Zavala #fanatic #Saint-14 #lord shaxx #Crow #amanda holliday #osiris

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myownprivatcidaho · 3 years

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okay sia ive followed you for a while and you finally broke me. WHAT is my own private idaho about. tell me everything.

love,

sac @theseaance

oh Ho HO @theseaance I'm GLAD YOU ASKED !!!!!

Before i get into it, here is the google drive link (via this post from @standbyphoenix) to the full film if you ever want to watch :D

So to begin, My Own Private Idaho is not quite... About anything. At least not objectively. It's very, VERY abstract and subjective. That being said, there is an overarching theme which, from my understanding, is common in all of Gus Van Sant's films: a search for home.

(worth noting because jesus god this can make a difference in the initial effect this film has on you: Gus Van Sant, in his teen years, would repetitively paint an image of a deteriorated red house falling from the sky. He's stated it symbolizes leaving a home to which one can never return. Throughout the film there is brief imagery of houses relatively similar in appearance, your interpretation of what this imagery means in relation to the characters is up to you).

So the protagonist is Mike Waters, played by River Phoenix (many consider this the greatest performance of his career. At this time, he'd just turned 20). Mike is a narcoleptic homeless hustler. He has little to no memory of his mother and really just... Drifts. The whole film consists of a drifting, rootless feeling (and GVS is AMAZING with character-audience shared feelings through camerawork alone).

-Note: Mike’s narcolepsy leads to, in moments of distress, him convulsing and falling into a sleeping state.

Mike's best friend is Scott Favor, played by Keanu Reeves - Scott and Mike are very strong foils to each other in terms of storylines and characteristics. Scott is the rebellious son of Portland's mayor, and has a very broken relationship with his father. He hangs around the homeless community of Portland and also works as a hustler (in spite of having enough money to go without eat the rich). Once Scott turns 21, he will inherit his father's fortune, and there is an implied understanding between him and his homeless friends that he will use his fortune to help them out from their current lives. It's extremely worth noting: this takes place in 1991, amidst the AIDS crisis. However, Scott secretly plans to do away with all of his current life once he turns 21, stating that "it'll impress [his mother and father] more when such a fuck up like me turns good than if I had been a good son all along. All my bad behavior, I will throw away to pay a debt. I will change when everybody expects it the least."

Van Sant created Scott's storyline as a "modern-day" (1991 lol) adaptation of Shakespeare's Henry IV. This play depicts a young Prince Hal who turns away from the life he lived in his younger years as means of reconciliation with his father, the king. Take that as you will. Also it means this film has shakespearian dialogue. Like. Dropped right in the middle of the script is Keanu Reeves doing full out soliloquies (including the aforementioned quote above).

Maybe the most important contrast between Mike and Scott in terms of the overarching theme of a search for a home: Scott has a home, however broken, to which he can always return. Mike has none.

SO, as a basic plot rundown, Mike and Scott set out in search of Mike's mother. It is during this time that, while sitting by a fireside, Mike confesses his love for Scott.

M: I'd like to talk with you. I mean I'd really like to talk with you... I don't feel like I can be close to you

S: how close, I mean

M: I don't know, whatever...

S: ... what?

M: what do I mean to you?

S: what do you mean to me? Mike, you're my best friend.

M: I know, man... I know I'm your friend. And it's good to be.. good friends. That's a good thing.

S (still confused): so?

M: so I just -- that's okay. We can be friends.

(a brief moment passes)

S: I only have sex with a guy for money

M: yeah, I know.

S: and two guys can't love each other.

M: yeah. Well - I don't know, I mean.. for me... I could love someone even if I, you know... Wasn't paid for it. [leaving the last line out in case you haven’t seen anything from this scene]

Note: this scene was voluntarily hand-written and added in by River, and became, initially not to his knowledge, the first scene in cinematic history in which a man confesses his love to another man.

However, Scott doesn't feel the same way (obviously, as many audiences agree, not true).

The pair's journey eventually takes them to Rome, Italy, where Scott falls in love with a girl. The two then travel as a couple back to America, leaving Mike on his own once again.

- this is about 3/4 of the way in, so I'm not going to spoil any endings.

Essentially, although Mike is the protagonist and generally the focal point of the audience, this story depicts two lost boys:

Mike's story depicts a person constantly looking for belonging, safety, comfort, and love, and how the lack of this can tear somebody apart.

Scott's story depicts a person not receiving the love they deserve, and demonstrates the lengths to which a person will go in order to gain redemption from a person that they love, no matter how much this person might have wronged them.

The very ending is extremely (and purposefully) ambiguous. Some have been very shaken up by their interpretation, some have been left feeling very hopeful. Personally, when I first watched it, I was shaken up beyond words for 3 days. But after coming to understand it more (mainly through interviews and further contemplation), I've come to understand how, no matter how seemingly hopeless the state of the characters, it does symbolize a hopeful story: any person in search of a home, whether suffering this loneliness in a state of solitude or silence, will, in the end, be brought home.

#THANKS FOR SENDING :DDDDDDDDDD #god i CANNOT avoid waxing poetic when it comes to a hyperfixation #LMK IF YOU HAVE ANYNMORE QUESTIONS #yeah. theres a LOT of emotion to this film and its VERY abstract #honestly everytime i watch it it seems.. ig centered (?) on something different each time #ALSO since gvs was a painter try to note the use of colors hes a GENIUS #a lot of my thoughts are subjective interpretations and i dont want to spoil your first watch by imposing my subjective stuff on it #BUT IF/WHEN YOU WATCH LMK YOUR THOUGHTS TYSM AGAIN FOR SENDING !!!!!!!!!!!#theseaance #mutuals #answered #my own private idaho #sia posts #txt

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littlewomenpodcast · 3 years

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Why Friedrich is Poor (Little Women Explained)

When Friedrich tells Jo that the sensational stories can corrupt person´s mind, Jo agrees with him because these sensational stories have been already corrupting her mind. Louisa did the same as Jo, she wrote sensational stories and then she had a moment of clarity. We could compare this to a person who is working for a company. Payment is small, they get not appreciation and they are asked to produce content that goes against their own values. Friedrich helps Jo to see all that and by doing that she gets her self worth back. Her writing also improves because after this Friedrich gives Jo a set of Shakespeare´s novels and Jo begins to search her own literal style. The Amazing thing is that Jo does exactly the same to Friedrich. Fritz is described to be very friendly, extroverted person but the narrator also mentions that he feels quite isolated. He is not in a place in his life where he would like to be. He is in a job that doesn´t give him professional satisfaction. The narrator (Louisa) mentions that he dreams about falling in love and starting a family. He loves his nephews but he is also painfully aware that it would be difficult to find a person who would accept the boys to their life as well. Louisa also points out that Friedrich has experienced discrimination for being German and that makes it difficult for him to find a job. The best adaptation that shows this is Little Women musical. It even has a line where Friedrich tells Jo that ever since he started to fall for her his students told him that he is much happier and smiles all the time. In the novel it is the night before Jo is leaving. Fritz gets his moment of clarity ”Oh my god. I´m so in love with this woman. What should I do”. The reason why Jo goes back home is not because they argue like in the films. It´s because Beth gets ill and Friedrich lost a sister. He knows what that is like. Jo does the same to Friedrich what he has done for her. She inspires him to take life by the balls. He starts to look for another job so he could provide both Jo and his nephews and when Jo accepts his proposal and they begin to turn Plumfield into a school Jo returns him his previous status as a professor and he simultaneously supports her career as a writer.

This is how Jo addressed her family about her plans: “Now, my dear people," continued Jo earnestly, "just understand that this isn't a new idea of mine, but a long cherished plan. Before my Fritz came, I used to think how, when I'd made my fortune, and no-one needed me at home, I'd hire a big house, and pick up some poor, forlorn little lads who hadn't any mothers, and take care of them, and make life jolly for them before it was too late. I see so many going to ruin for want of help at the right minute, I love so to do anything for them, I seem to feel their wants, and sympathize with their troubles, and oh, I should so like to be a mother to them! …I told my plan to Fritz once, and he said it was just what he would like, and agreed to try it when we got rich. Bless his dear heart, he's been doing it all his life – helping poor boys, I mean, not getting rich, that he'll never be. Money doesn't stay in his pocket long enough to lay up any. But now, thanks to my good old aunt, who loved me better than I ever deserved, I'm rich, at least I feel so, and we can live at Plumfield perfectly well, if we have a flourishing school. It's just the place for boys, the house is big, and the furniture strong and plain. There's plenty of room for dozens inside, and splendid grounds outside. They could help in the garden and orchard. Such work is healthy, isn't it, sir? Then Fritz could train and teach in his own way, and Father will help him. I can feed and nurse and pet and scold them, and Mother will be my stand-by. I've always longed for lots of boys, and never had enough, now I can fill the house full and revel in the little dears to my heart's content. Think what luxury – Plumfield my own, and a wilderness of boys to enjoy it with me."’ Philosopher Waldo Emerson was Louisa’s friend and neighbor; I will read you a quote from his book Self-Reliance: ‘What I must do is all that concerns me, not what the people think. This rule, equally arduous in actual and in intellectual life, may serve for the whole distinction between greatness and meanness. It is the harder, because you will always find those who think they know what is your duty better than you know it. It is easy in the world to live after the world's opinion; it is easy in solitude to live after our own; but the great man is he who in the midst of the crowd keeps with perfect sweetness the independence of solitude.’ What Waldo is saying there is that trusting your own instincts is always the best path to take, and it is also the more difficult one, because there are always people who try to convince you to go against what you know is right

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#little women #louisa may alcott #ralph waldo emerson #jo and friedrich #jo march #friedrich bhaer #books

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gloriousmonsters · 3 years

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Jin Guangyao?

How I feel about this character:

honestly I just adore him, both from a narrative/writing standpoint--like, what an amazing foil for wwx, what a nuanced and sympathetic but still genuinely kinda terrifying antagonist conveyed in (the book especially) such a comparatively small space--and a ‘he’s my son and i just want good things for him forever’ standpoint. i love that he has (imo) like 0 affective empathy but is extremely affectionate and kind to people he likes--I have a huge fondness for characters, especially villains, who don’t ‘love’ in a conventional way but are still very warm to their people. i love that he’s the character who works hardest and rises highest in the narrative, and it’s observed in the novel that he has a classic rags-to-riches story (that turns REALLY dark when you start kicking over rocks :D) i love that he canonically has villainous friends!! this is just turning into a list of things i love but that’s just how i feel about him, okay, it’s pure love all the way down

All the people I ship romantically with this character: as always when i’m talking about it, take ‘romance’ with a grain of salt and a wiggly hand gesture (especially since i see jgy as being... possibly on the aro spectrum? still going back and forth and mostly it’s a shrug emoji but. that’s a thing). anyway. first and foremost in my heart is su minshan, because (a) him + jgy have/have potentional for a lot of tropes I like in shipping, (b) my love for a thing is always increased if very few other people like it. i Will keep talking about suyao until i die or leave the fandom and that is a threat

lan xichen’s a gimme; I don’t talk much about xiyao because (a) so many other people talk about it I don’t feel the need to as much (b) when i do have thoughts i feel shy about expressing them lol. BUT i do love them, a great deal; they’re Such a good good crunchy pairing, and on the softer side I have a huge weakness for pairings that work to create comfort and support for each other in a difficult world

nmj’s weird because like. i think they Had a relationship but i don’t ship it. if that makes sense.

My non-romantic OTP for this character: I debated whether to put xue yang in the shipping section but putting him here felt more Right. rest assured i think they have had sex, though. platonic + fwb xueyao is the stuff of the gods and there needs to be more of it. i know their relationship had its rocky patches, but i will forever claim the villainous friends extra as the purest canon. they’re two people who have, frankly, SO many reasons not to be friendly, but they become genuine friends anyway! and have traumatized blue-and-orange-morality villain solidarity! god i love them

My unpopular opinion about this character: i’m currently Really feeling how like. whatever corner of the fandom you’re in can make wildly different things feel like an unpopular opinion, when in another corner it’s a given? so I’m never quite sure what qualifies as unpopular. but uh, i’ll just wildly toss out a few i feel like at least some people might not agree with, just for fun

i. there is practically nothing he’d ‘rather die than’ because he values his life very highly, but life in any kind of captivity is one of the only things that could drive him to that point. ii. he has a lot of issues around sex/being sexual (especially in a way that isn’t just fulfilling his partner’s desires. iii. there are exceptions (xue yang) but primarily his Type is (a) nice (to him) (b) either self-controlled or repressed/shy in a way that manifests similarly (c) a little bit dumb one way or another, like if he cannot lovingly think ‘idiot’ about someone he is not interested.

One thing I wish would happen / had happened with this character in canon: honestly while I love a good fix it his death was SO good and dramatic and gay and he got like 3 separate shakespeare villain speeches, i’m not even mad about it. primarily I just wish we’d gotten to see more of his ‘behind the scenes’ life, like give me an extra villainous friends style story or adapt that to film. orr in terms of changing canon events, I wish his mom could have lived long enough he could have taken care of her for even a little while before she died, because his relationship w his mom kills me whenever i think about it

#sugarbabywenkexing #excellent username btw #also: the first line of this post is getting cut off for some reason #and when i try to fix it it either does nothing #or makes the whole first paragraph disappear! so just take 'how i feel about this character' as read #jin guangyao

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hello-robin-goodfellow · 3 years

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SHAKESPEARE AND THE PRETTY SPEECHES OF A KING

@ardenrosegarden @amalthea9 @lioness--hart @princesssarisa @hmmm-what-am-i-doing @suits-of-woe @malvoliowithin @noshitshakespeare

I was once watching Brows Held High review of Laurence Olivier’s Henry V (1944), where the reviewer, Kyle Kalgreen, analized how it faired in the context of British World War II Propaganda Machine, as a Shakespeare film adaptation and in comparison to the Kenneth Branagh 1989 Film Adaptation.

There is a moment he pauses to analyze the most popular speech of the play, wich is the Saint Crispin’s Day Speech:

What’s he that wishes so?

My cousin Westmoreland?

No, my fair cousin.

If we are marked to die, we are enough

To do our country loss; and if to live,

The fewer men, the greater share of honor.

God’s will, I pray thee wish not one man more.

By Jove, I am not covetous for gold

Nor care I who doth feed upon my cost;

It yearns me not if men my garments wear;

Such outward things dwell not in my desires.

But if it be a sin to covet honor,

I am the most offending soul alive.

No, faith, my coz, wish not a man from England.

God’s peace, I would not lose so great an honor

As one man more, methinks, would share from me,

For the best hope I have.

Oh, do not wish one more!

Rather proclaim it,

Westmoreland, through my host,

That he which hath no stomach to this fight,

Let him depart.

His passport shall be made,

And crowns for convoy put into his purse.

We would not die in that man’s company

That fears his fellowship to die with us.

This day is called the feast of Crispian.

He that outlives this day and comes safe home,

Will stand o' tiptoe when the day is named

And rouse him at the name of Crispian.

He that shall see this day, and live old age,

Will yearly on the vigil feast his neighbors

And say, “Tomorrow is Saint Crispian.”

Then will he strip his sleeve and show his scars,

And say, “These wounds I had on Crispin’s day.”

Old men forget; yet all shall be forgot

But he’ll remember with advantages

What feats he did that day.

Then shall our names,

Familiar in his mouth as household words,

Harry the King, Bedford and Exeter,Warwick and Talbot,

Salisbury and Gloucester,

Be in their flowing cups freshly remembered.

This story shall the good man teach his son,

And Crispin Crispian shall ne'er go by,

From this day to the ending of the world,

But we in it shall be rememberèd—

We few, we happy few, we band of brothers;

For he today that sheds his blood with me

Shall be my brother; be he ne'er so vile,

This day shall gentle his condition;

And gentlemen in England now abed

Shall think themselves accursed they were not here,

And hold their manhoods cheap whiles any speaks

That fought with us upon Saint Crispin’s day.

(William Shakespeare. Henry V: Act IV, Scene III)

Beautifull. Powerfull. Lie.

Because, as Kyle Kalgreen apoints, while the Laurence Olivier had to cut it to make Henry V more simpathetic, the original Shakespeare text and the Kenneth Branagh Film Adaptation have this scene following the Saint Crispin’s day speech, where the young king reads a list of the english man who died in battle:

Edward the duke of York, the earl of Suffolk,

Sir Richard Ketly, Davy Gam, esquire;

None else of name, and of all other men

But five and twenty. O God, thy arm was here,

And not to us but to thy arm alone

Ascribe we all! When, without stratagem,

But in plain shock and even play of battle,

Was ever known so great and little loss

On one part and on th' other?

Take it, God,For it is none but thine.

(William Shakespeare, Henry V: Act IV, Scene VIII)

The death nobleman are named, while the death common soldier is just ‘None else of name’. The death nobleman is ‘so great loss’. The death common soldier is ‘so little loss’. Contrary to what King Henry V promissed, not everybody who died fighting on his name in France will be considered his brother, remembered and mourned by him.

And them later, we watch the consequences of the reign of his son in the Henry VI trilogy of plays, and in Henry VI Part III, our new protagonist gives this beautifull speech about the blessing of a commoner’s life while sitting over a molehill:

This battle fares like to the morning’s war,

When dying clouds contend with growing light,

What time the shepherd, blowing of his nails,

Can neither call it perfect day nor night.

Now sways it this way, like a mighty sea

Forced by the tide to combat with the wind;

Now sways it that way, like the selfsame sea

Forced to retire by fury of the wind:

Sometime the flood prevails, and then the wind;

Now one the better, then another best;

Both tugging to be victors, breast to breast,

Yet neither conqueror nor conquered:

So is the equal of this fell war.

Here on this molehill will I sit me down.

To whom God will, there be the victory!

For Margaret my queen, and Clifford too,

Have chid me from the battle; swearing both

They prosper best of all when I am thence.

Would I were dead! if God’s good will were so;

For what is in this world but grief and woe?

O God! methinks it were a happy life,

To be no better than a homely swain;

To sit upon a hill, as I do now,

To carve out dials quaintly, point by point,

Thereby to see the minutes how they run,

How many make the hour full complete;

How many hours bring about the day;

How many days will finish up the year;

How many years a mortal man may live.

When this is known, then to divide the times:

So many hours must I tend my flock;

So many hours must I take my rest;

So many hours must I contemplate;

So many hours must I sport myself;

So many days my ewes have been with young;

So many weeks ere the poor fools will ean:

So many years ere I shall shear the fleece:

So minutes, hours, days, months, and years,

Pass’d over to the end they were created,

Would bring white hairs unto a quiet grave.

Ah, what a life were this! how sweet! how lovely!

Gives not the hawthorn-bush a sweeter shade

To shepherds looking on their silly sheep,

Than doth a rich embroider’d canopy

To kings that fear their subjects’ treachery?

O, yes, it doth; a thousand-fold it doth.

And to conclude, the shepherd’s homely curds,

His cold thin drink out of his leather bottle.

His wonted sleep under a fresh tree’s shade,

All which secure and sweetly he enjoys,

Is far beyond a prince’s delicates,

His viands sparkling in a golden cup,

His body couched in a curious bed,

When care, mistrust, and treason waits on him.

(William Shakespeare. Henry VI Part III: Act II, Scene V)

Also a beautifull and powerfull speech, if a bit revealing of a romanticized view of the poverty that Henry VI never lived. And also a lie, or, at least, a half truth for Henry VI himself.

By contrast to the Molehill Speech, here is the dialogue exchange between him and two keepers, in the next act:

Second Keeper

Say, what art thou that talk'st of kings and queens?

Henry VI

More than I seem, and less than I was born to: A man at least, for less I should not be; And men may talk of kings, and why not I?

Second Keeper

Ay, but thou talk'st as if thou wert a king.

Henry VI

Why, so I am, in mind; and that's enough.

Second Keeper

But, if thou be a king, where is thy crown?

Henry VI

My crown is in my heart, not on my head; Not decked with diamonds and Indian stones, Nor to be seen: my crown is called content: A crown it is that seldom kings enjoy.

Second Keeper

Well, if you be a king crown'd with content, Your crown content and you must be contented To go along with us; for as we think, You are the king King Edward hath deposed; And we his subjects sworn in all allegiance Will apprehend you as his enemy.

Henry VI

But did you never swear, and break an oath?

Second Keeper

No, never such an oath; nor will not now.

Henry VI

Where did you dwell when I was King of England?

Second Keeper

Here in this country, where we now remain.

Henry VI

I was anointed king at nine months old; My father and my grandfather were kings, And you were sworn true subjects unto me: And tell me, then, have you not broke your oaths?

First Keeper.

No; For we were subjects but while you were king.

Henry VI

Why, am I dead? do I not breathe a man Ah, simple men, you know not what you swear! Look, as I blow this feather from my face, And as the air blows it to me again, Obeying with my wind when I do blow, And yielding to another when it blows, Commanded always by the greater gust; Such is the lightness of you common men.

(William Shakespeare. Henry VI Part III: Act III, Scene I)

We can perceive here a condescending tone that King Henry VI has when he talks with two members of the people. He is surprised to see that they don’t believe in a divine right that gives him a “natural kingly aura”. They don’t see him as a superior, wise and benevolent saviour, but only as a man who once weared a crown, but now, without the crown, they don’t have any obligation to obey him.

And Henry VI can’t accept that.

Later, he is rescued by Clifford, Warwick and Clarence from imprisoment under King Edward IV’s rule. And when those three man offer him back the crown and title of king, he don’t refuse it to live the simple commoner life he described as more beautifull in the Molehill Speech. He accepts it. Even if he intends to let the actual work of ruling to Warwick, Clarence and Queen Margaret, he still wants the sense of superiority, the privileges and the confortable life offered by the title of king that he grew accustomed to since he was nine months old.

By justaposing those speeches and scenes, Shakespeare pulls us of the rug in our view of those two characters, who want the people to believe they are good, heroic and chivalrous kings, anointed by God himself, when in reality what anoints them is their money and their armies.

Intentionally or not, with those plays, Shakespeare was at the same being a precursor and subvertor of the Relatable Royal Trope, showing that those people with the title of kings are like us... but not really.

They feel sadness, fear, anger, love, envy and jealousie like us, but they are more rich, powerfull and privileged then us.And they don’t really want to renounce that power, because it will take away their sense of being superior to us.

To paraphrase Kyle Kalgreen:

Beware pretty speeches

(Kyle Kalgreen. Brows Held High: This Day is Called the Feast of Crispian, a review of Laurence Olivier’s Henry V. October 26th, 2018)

Specially if they come from a person that wears the crown of a king.

#history plays #theater #literature #tragedies #shakespeare #william shakespeare #will shakespeare #henry v #henry vi #the wars of the roses #bardolatry #brows held high #kyle kalgreen #cinema #laurence olivier

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tsuzuruchipalace · 3 years

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A3! Mixed Troupe Fan Play: Hamlet

As a self-proclaimed lit nerd, I would love it if we had more than one adaption of a Shakespeare play. Because Hamlet was my favorite required reading from high school (also because I genuinely like this play), I decided to make a fan cast for Hamlet. It’s considered Shakespeare’s greatest work and my personal favorite of his library, and I think Mankai would do an awesome job adapting it.

Since I don’t have the time or creativity to twist Hamlet in a dramatic way, my casting is based off the original story and script. I had a lot of fun deciding who should be casted as who.

However, I did have trouble deciding which role would be the second lead. I settled on Horatio because I felt like my casting for Hamlet and Horatio would create an interesting dynamic and event story.

Casting:

Juza as Hamlet

Chikage as Horatio

Sakyo as Claudius

Citron as Gertrude

Tenma as Polonius

Yuki as Ophelia

Tsumugi as Laertes

Azuma as Ghost

Taichi as Rosencrantz

Hisoka as Guildenstern

Misumi as Gravedigger

Masumi as Fortinbras

Plot:

Mankai Company decides to adapt another play by Shakespeare; this time, it’s the great tragedy of the Prince of Denmark, Hamlet. With a larger cast than per usual, the entire company is active in helping make this show a rousing success. Ambitions run high, and tension runs higher. Our leads, Juza and Chikage, have trouble working together as they figure out the nuances of their characters and each other.

may update this if i feel inspired to

discussion about my thought process with the casting and story under the cut

Disclaimer: I have not reread Hamlet in a while, so some of my interpretations of the play’s characters may be off/not align with yours.

-- My bias may be showing when I cast Juza as Hamlet, but I think it could be a great complex character for him to play. There’s a lot of great experience and exploration of acting with Hamlet’s character that I think Juza would benefit from. Also, I just like seeing Juza as the protagonist.

-- Horatio was hard for me to cast, as I juggled between many actors to decide. I think this was the last role I cast. I eventually settled on Chikage, which may be an unexpected choice. I think the character work behind the scenes could make this casting interesting. The dynamic between Hamlet and Horatio is very close and trusting, so putting the most secretive person and the most honest-to-his-feelings person together would create great character building moments.

I casted these two w/o thinking about the relationship between them. So when I needed to come up with a story, I had to analyze them individually to imagine how they would interact, since they don’t often do in canon.

When I began to think about Juza and Chikage and their relationship as characters, I began to see them as opposites. Although not perfect foils, they offer great tension with the differences of their personalities. Chikage is very closed off emotionally while Juza is very honest with himself and his feelings. Chikage’s goal originally revolved around revenge, an outward punishing of others. Juza’s goal revolves around redemption, an inward cleansing of himself. Chikage purposely fucks around with people and Juza may be too earnest to see past it sometimes. I think they would have trouble communicating, which is a really compelling relationship dynamic to have.

But they both trust deeply within their circle and have a hard time accepting themselves. I think this comparison could lend well into helping them flesh out and understand the dynamic of their characters, individually and together. I would go into that, but this is already getting lengthy so I’ll stop for now.

Honestly, in canon, I have no idea if Tsuzuru and/or the Director would ever put these two as leads together or in these roles, but I had a fun time with it, so that’s all the validation I need.

-- Sakyo and Citron were really easy. Sakyo does have a shitty step-dad kinda vibe to him sometimes. And Citron is usually typecast as royalty, but this time let’s make him a passive queen instead of an asshole king. Spice things up a bit.

-- I see Polonius as an incompetent fuck, so having Tenma play up the comedy with his character by showing how pathetic he is would be funny in a sad, deadbeat way. Tenma wants to play more diverse roles, and I think this could be a new and fun one for him to try.

-- I usually don’t want to automatically cast Yuki as the female role because I feel like that’s an easy out and limits the other actors’ potential and roles. BUT in this case, I think Yuki would make a great Ophelia. Often, Yuki plays strong female roles that have a narrative of having to beat the unfair conditions they are in because of their gender, even if usually nothing is ever resolved from that narrative but I digress. However, Ophelia has a much more tragic and less uplifting narrative, which is different for Yuki. But I believe he can pull it off while still making Ophelia a solid and real character. Also, it’d be funny to see Tenma play Yuki’s dad.

-- The idea to cast Tsumugi as Laertes came to me like the first man to hear the voice of god. I love seeing Tsumugi in a variety of roles, and I think A3! does a great job giving him diverse roles. Laertes would be another great addition to his repertoire, and Tsumugi would pull if off amazingly. I can literally envision it. To me, Laertes shines in the later acts and has a really compelling character. Also, I would love to see Juza and Tsumugi spare.

-- Azuma was another easy casting. I feel bad typecasting the actors because I feel like that’s lazy and makes their role an afterthought, but Azuma really has that ghostly vibe that... well, duh. It works. I don’t remember if the original ghost of King Hamlet exuded vengeance, but that would be an interesting twist for Azuma’s character. Vengeful and angry, but still ghostly and wistful. I don’t think we’ve seen Azuma play a role like that yet? Then again, I’ve only read the plays in the worldwide server.

-- The rest of the characters are more arbitrary and just because I wanted to fill out the cast. Taichi as Rosencrantz is an, okay well yeah duh. But I’d wanted to see Hisoka have a more playful role than usual, like Guildenstern. Misumi would make a cool Gravedigger. That scene was always unnerving to me, and I think he could pull off the tone just right. And Masumi as Fortinbras is mostly because I like Masumi in his Julius costume and I could see him showing up in that outfit at the end of the play. Royalty Masumi is fun.

Anddddddddd that’s the thought process behind my casting!

If you’ve made it this far, that’s so much for reading through my rambling! I really like doing these fancasts and I hope at least one other person does lol.

#i'm actually really proud of this post #i put a lot of thought and effort into this #a3!#a3! act! addict! actors!#A3! Actor Training Game #mankai company #mod tsuzu writes

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yenslilac · 4 years

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Daenerys Targaryen and Ophelia: An Essay

I wrote this a while back, just after Season 8 ended. After a few edits, I decided to share it with you! Disclaimer: I wrote this fueled with rage at 11 at night for two weeks straight. Don’t judge.

Part 1: The Heroine Goes Absolutely Bats**t Crazy

Ophelia. Known throughout time as That Crazy Chick Who Drowned Herself. What a legacy. And Daenerys: She Who Toasted A City Like Marshmallows And Then Was Offed By Her Nephew/Lover. The sad thing is, these are my heroes. What a life. But the ‘Insane Heroine’ trope is prevalent in many forms of media – Dark Phoenix is another example. At first glance, Daenerys and Ophelia have very little in common; Daenerys is a powerful and assertive leader, and Ophelia is a background love interest. The one thing that unites them – they go crazy because of rejected love. While their descent into madness is slightly different; Ophelia is pitiful, Daenerys aggressive, both end up dying indirectly or directly as a result of their lover. Lovely. Let’s talk first about Ophelia – She is rebuffed Hamlet, the original pathetic sad boy, and at the death of her father, goes insane. After several performances of her insanity, she makes her way to a river where she falls (or throws?) herself into the water and drowns. This is witnessed by Gertrude, who then goes on to tell her brother Laertes of her death. It’s a pretty monologue, describing the flowers and plants growing along the riverbank, and how pretty and peaceful she looked as she sank under water and DIED. Remember this. Then my girl Daenerys Stormborn of House Targaryen, First of Her Name, Queen of the Andals and the First Men etc. etc. Oh boy. Ohhhhhh boy. What can I say except **************** ***** ** **********. Thank you for your time. But she like Ophelia, was scorned by her Boyfriend Who Felt It Was Just A Little Weird That She Was His Aunt. But like, your paternal grandparents and the rest of your great-whatever grandparents were siblings, and your maternal grandparents were cousins so… But I digress. Wait no, this is what it’s all about. I’m back! I un-digress! So, she goes ‘insane’ cause she can’t get laid (don’t we all?) and roasts a whole lot of people and becomes… Hitler for some reason… So, Boyfriend Who Felt It Was Just A Little Weird That She Was His Aunt And Really Wishes He Can Just Catch A Break For Once Is It Really Too Much Too Ask is egged on by Murder Sister™ and Smarty Pants McGee to kill her. Just like my friends! He makes out with her and stabs her (best of both worlds!) and she dies. Very prettily. Remember this. You know. YOU KNOW I’m going to rant about this.

Part 2: Heroic Man Kills The Crazy Lady Like The Feral Dog She Is (But Feels Sad About It)

Trope as old as time… why is this still fine… surely there’s a better plot deviiiiiice. “Duty is the death of love…” Shut up. Shut up. No, it isn’t. There is a thing called multitasking. You should try it. But let’s recap. Woman goes crazy because of lover/hero of the story rebuffing her because he’s got issues of his own that he doesn’t care to share with her, and close friend/family member is killed. This is when the paths of the Hero diverge. Hamlet does not actually kill Ophelia himself, but his careless actions towards her eventually drive her to suicide. Jon, on the other hand, does kill Daenerys, (no, I’m not mad. I’m just disappointed) by a knife to the heart while snogging her. (I’d like to take the opportunity to say that this was ridiculous and yes, I will die mad about it.) What else is similar? Hamlet holds Ophelia’s (or in some adaptations tries to) dead body in his arms as she is about to be buried and Jon holds Daenerys as she dies. They cry and wish it didn’t have to be this way, but really guys, this is Your Fault.

The problem with this trope in particular (and I’m talking about a lot of other examples here, like Dark Phoenix and Wolverine) is that it renders the killer sympathetic. They didn’t want to do this, but it was for the good of humanity, it was a mercy, blah blah blah. Really? Did someone make you kill her? No, a sense of moral justice does not count. Hamlet abuses and humiliates Ophelia then claims he loved her so much that ‘forty thousand brothers could not…” Creepy. I have to say, creepy. And Jon Snow. “Was it right? It doesn’t feel right…” I’m glad you came to that conclusion. I really am. But I knew this from the moment you stuffed that butter knife into her spleen, so honestly you don’t have any business feeling sorry for yourself. If there’s one lesson that Game of Thrones and Shakespeare has taught me, it is:

(not an artist, don’t judge)

Part 3: Someone Died And The Director Said, “Cool But Like… Make It Fashion.”

Do you remember what I told you to remember? Did you? Cause I’m about to RANT.

Throughout time (like 500 years) men have been painting Ophelia’s drowning – the probable suicide of a tormented young woman – and made sure she looked hot while doing it. True, the description of her death is pretty and all, but depictions of her floating just below the surface, a dramatic and lovely pose and flowers strewn around her glamorise her death – something many other people have taken note on – and give her death something of a peaceful, serene departing note, rather than the death of a woman so deranged she did not appear to understand the gravity of her situation as she sank under water. Daenerys suffers a similar case of SDPS (Sexy Dead Person Syndrome). Let’s go through it step by step, shall we? While in an embrace with someone she loves and trusts, she is stabbed in the heart area (I guess?), and she dies. The End. My respect for white men flew off with Drogon. But I haven’t complained properly yet! Compared to other characters, like Myrcella, Joffrey and Catelyn Stark to name a few, her death was very clean. In these other examples, blood runs down their faces or spurts out of their neck in suitably graphic fashion but Daenerys’ case, two thin lines of blood trickle from her nose and mouth. Pretty, pretty. We get a brief shot of a pool of blood on the snow as Drogon picks her up, but blink and you’ll miss it. She looks shocked and confused as she dies, yet the next shot of her face shows her eyes are closed and an almost peaceful expression on her face. Not only this but we don’t actually get any proper Last Words, when she knows she is about to die. She makes no sound at all. She dies prettily and quietly. We also don’t see the knife at all until she is dead, removing any very graphic nature from the scene. A lot of the camera shots are of Jon’s face. This scene is not about Daenerys Targaryen’s death; This is about Jon Snow’s inner turmoil as he selflessly sacrifices the woman he loves to save the rest of the world. Hold up one second I gotta……

I mean, come on. Daenerys is barely mentioned after her death. She, a woman who freed hundreds, no, thousands of slaves and worked hard to reach her goals (albeit a little dragonfire-y) yet she dies without a whisper and is forgotten almost immediately. She becomes less of a central character and more of a catalyst for other men’s rise to power (see Bran the Broken). Wait, what about Sansa, you cry? Well, at this point, she was so out of character I’m striking her from the narrative. Bye bitch 😊 The same goes for most of the other women in the last season. They become plot devices with a little agency and that’s about it. Missandei? Unnecessarily killed to create the “Mad Queen”. Cersei? A compelling villain reduced to a ‘crying girl who wants to be comforted’. Arya? Kills the Night King and then, I dunno. Sansa? Suspicious of Daenerys because of reasons, betrays her brother/cousin because she doesn’t want Daenerys on the throne, then just ‘forgets’ about this whole thing to become Queen in the North. Brienne? Honourable knight left sobbing after her one (k)night stand left her. Another thing that many of these women have in common (the ones who survived to the final episode anyway) is that none of them have romantic endgames despite this being set up. Arya and Gendry have been close friends in Season 2 and 3, then <3 and everyone (i.e. me) thought that you know, they get together and stuff, because that’s what the writers seemed to be setting up. But nope. Arya’s all like ‘I wanna kill the queen’ (which she never does) and throws all that out the window. (But Gendry was totally on that ship at the end). Brienne and Jaime seemed to finally stop eye fricking and then got straight to the actual fricking but nooooo. “I lOvE CeRseI! WE’re bOTh tERrIble PeOple!” And of course, the crowning glory:

And the woman who actually does come out on top is Sansa, a largely unemotional, suspicious woman whose brother is now the king and made her a queen because she’s his sister. Riiiight. That’s totally not nepotism or anything.

The End: But Boy, Am I Just Beginning

To conclude, the ending of Daenerys Targaryen was largely misogynistic as it painted a brutal and dishonourable murder as an act of mercy and gave the killer (sorry man, I feel like I’m throwing you under the bus here, but it must be said) a sympathetic angle as a heartbroken martyr sacrificing for the greater good. I had high expectations, I really did, but you just took it anD THREW IT IN THE DIRT. Good god. But it’s fine, I have fanfiction anyway.

Thank you for reading this, if you stuck around this far!

#daenerys targaryen #daenerys defense squad #daenerys death tw #ophelia #shakespeare #anti d and d #anti got

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thenightling · 5 years

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LGBT+ Neil Gaiman characters

All right. Let’s begin. This is a long list so I’m bound to accidentally leave a few out. Feel free to correct me if you think of one or two I may have forgotten to list.

April Spink and Miriam Forcible from Coraline (couple.)

Angela (Lesbian).

The character Neil Gaiman created for Spawn is Angela. Angela is now owned by Marvel. Angela is a lesbian in a loving relationship with a transwoman named Sera.

Salim and The Jinn from American Gods (Couple).

This relationship got nominated for a GLAAD award.

Sam Black Crow in American Gods (Bisexual)

Snow White (Lesbian) Snow White (Yes, the fairy tale character) is the lesbian protagonist of The Sleeper and the Spindle, which is a sort of crossover fanfiction of Snow White and Sleeping Beauty that Neil Gaiman wrote as a short story.

Captain Shakespeare in the film adaptation of Neil Gaiman’s Stardust (Gender nonconforming.)

His sexual preference is ambiguous but he loves feminine, soft, and pink things including womens clothing, hairdressing, and theatre. He also leads a band of cutthroat pirates who follow him loyally so there is that.

Loki (Loki)

There’s Loki in Neil’s book on Norse Mythology. Loki also appears in American Gods and The Sandman.

There’s also quite a few LGBT+ characters in Neil Gaiman’s Sandman, which include (but are not necessarily limited to):

Paul and Alexander Burgess (male couple).

It should be noted that Alexander and Paul were clearly in an open relationship (Polyamorous?) in the 1960s (With Alexander Burgess likely being panasexual) and they are now exclusive to each other by the end of Sandman: The Wake.

Judy (lesbian).

Judy was, unfortunately, phyiscally violent with Donna and it cost her the relationship. Judy died along with several other character at a diner when John Dee (Doctor Destiny) got a hold of Morpheus’ dream stone.

Donna AKA Foxglove (lesbian).

Donna is Judy’s ex-girlfriend but she ultimately found happiness with Hazel.

Hazel (lesbian).

Hazel had a one night stand with a man that resulted in pregnancy. She did not really enjoy it and now she and Donna (Foxglove) raise the baby together after having overcome many relationship issues. The baby was named after Wanda (the transwoman character). Since the baby was a boy they named him with Wanda’s deadname to remember her (Personally I think Wanda should have just been his middle name. Wanda hated the name Alvin). It should be noted that Donna and Hazel’s love story (which starts in Sandman: A Game of you) got a spin-off comic called Death: The Time of your Life and that comic won a GLAAD award for representation in the mid-90s.

Cluracan (Bisexual. Possibly panasexual by modern standards.),

Wanda (Transwoman).

Desire (Genderfluid and panasexual). Desire is the living embodiment of desires, good and bad desires. One moment they might want your death, the next they’re helping save the universe. Desire can be male, female, both, or neither at will.

The Corinthian (gay),

John Constantine (Bisexual.) Though not originally created by Neil Gaiman he was written by Neil Gaiman in a few stories. Including his appearance in Sandman.

Lucifer Morningstar. (Complicated.) Lucifer Morningstar (like all of Neil Gaiman’s angels) is depicted as having no true biological gender in both The Sandman comics and in Lucifer’s own solo comics. Lucifer presents as male and uses male pronouns. He self-identifies as male but many other angels don’t really consider themselves as male or female despite how they present themselves.

In the TV adaptation of Lucifer he is portrayed as having male and female lovers. It should also be noted that in the comics Lucifer was physically modeled after biseuxal rock star, David Bowie.

Mazikeen (Female identifying. Bisexual) Mazikeen is a female-identifying demon portrayed as bisexual in both the TV show Lucifer and in Lucifer’s spin-off comics. In Neil Gaiman’s The Sandman she was Lucifer’s lover.

Eve (Bisexual)

Eve appeared in Neil Gaiman’s Sandman and in Lucifer as well as American Gods. In the Lucifer TV series she is portrayed as bisexual.

Note: Eve can change her age and appearance at will. Sometimes she’s young, sometimes she’s old. Sometimes she’s middle aged. And though she’s often appeared as white (such as in Sandman), she is black in the newer Sandman Universe comics, and in Good Omens.

Various angels. (Diverse)

This one is a little complex. Many of Neil Gaiman depictions of Angels do not actually identify as male or female though many of them present as male.

Anatomically they are without gender unless they will it to be otherwise. Many of them have taken male and female Earthly lovers. You can see Lucifer depicted without physical gender in Neil Gaiman’s The Sandman, and other angels depicted similarly in the Lucifer solo comics that spin-off from Sandman.

Pollution from Good Omens (Non-Binary)

Aziraphale and Crowley in Good Omens (Couple. Demi panromantic celestial?)

Neil Gaiman does not personally view Aziraphale and Crowley in Good Omens as gay because they only present as male but aren’t truly male or female by nature. He has also said he does not view a male and female presenting angel couple as straight either for the same reason. He has said “I never said they are not queer.” just that he wouldn’t use the word gay for them.

I know that’s not all of them but there you go. A list of LGBT+ characters created by Neil Gaiman.

And before I get a stupid hate-DM about how Wanda is “transmisogynist” because you read a Mary Sue article by someone who doesn’t understand context, understand this. There was no Trans representation when Wanda was created. She can’t follow a stereotype. The stereotype didn’t exist yet. She had not medically transitioned and ask yourself if you find her problematic just because she isn’t the conventional idea of feminine in her bone structure and height (Something even cis women have to struggle with). Yes, Wanda died but it was to show the cishet readers of 1992 that her soul was always that of a woman. There are still people today (even some Trans people) who don’t think you really count unless you fully medically transition. Wanda was scared of surgery but that shouldn’t matter. She was always a woman and that was the point Neil was trying to make.

Yes, Wanda’s family was transphobic. They were supposed to be seen as transphobic. Also Thessaly AKA Larissa and George are NOT supposed to be seen as good people. They are supposed to be seen as Transphobic. Thessaly is a pretty horrible person in The Sandman comics. She’s selfish and kind of homicidal. She represents the cold, self-absorbed immortal Morpheus used to be like. And before you try to argue “Just because Transphobia is real doesn’t mean Neil has to depict it!” (and yes, I’ve been given that argument while defending Neil Gaiman) ... Before you argue that, I want you to know something.

A Transman friend of mine was deeply moved by Wanda’s story because he went through similar. His parents still deadname him and misgender him on birthday and holiday cards and gifts. They never disowned him but they want to pressure him to “realize” he’s a woman. When he saw that Wanda went through similar, especially at her own funeral, he no longer felt so alone. Wanda may well have saved his life. So yes, I will defend that “problematic” character who died nobility and who was used in the early 90s to teach cishet readers that Transwoman (medically transitioned or not) are still women. Also, Neil is NOT accountable for how the story was drawn. He’s not the illustrator. So stop using the artwork to claim he’s homophobic. A comic book writer essentially writes a script and then it is up to the illustrator to draw it as best they can. By the way, the illustrator of Sandman: A Game of You (Where Wanda came from) was Colleen Doran, who was nominated for a Gaytastic Spectrum award in 2001.

Stop looking for reasons to hate one of the only men who has been trying to give the LGBT+ community representation since the 1980s.

#Neil Gaiman #LGBT+ characters #Gay characters #Gay representation #The Sandman #Lucifer Morningstar #Good Omens #American Gods

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incorrect-ikevamp-quotes · 3 years

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why does jean warn up to mc so quickly? ikevamp makes it clear that jean is a pretty reserved person and doesn't open up or let people in easily but he seems to let mc in quite quickly and it confuses me quite a bit.

Oh boy, where to begin with this one.

Well, I have a lot of Feelings^TM about this, but I'll try to be concise. Essentially, I think Jeanne doesn't recover in the other routes--or the general storyline--largely because he's just a lot to unpack narratively speaking. And without some pretty direct intervention, he has a hard time healing. MC’s direct intervention was meaningful because it was focused, consistent, and adapted to Jeanne’s specific needs. She also doesn’t make light of his experiences which is key; she fully understands that she can’t fathom what he’s been through. There is a very weighty respect and acknowledgement, a seriousness with which she treats his wounds that’s important.

It’s easy to make this a “why is MC nOt LiKe ThE oThEr GiRlS” but honestly that’s just not the sense I get when I look at all the information available to us.

That being said, I also just feel like every person's recovery from traumatic events doesn't really look the same? I mean Leonardo’s cptsd isn’t going to operate the same way Jeanne’s wartime/Inquisition cptsd is going to operate. Some people require very individualized healing, others will often require a large scale group effort to lift them up.

Typically people don't ever just get over what happened to them and never worry about it again, either. It's usually a process of coping; the hope is that with time you find healthy ways to deal with grief and move forward. Therapists aren't magicians, they just help people process painful experiences/thoughts. It's honestly up to individuals to find meaningful ways to implement these tactics.

Tl; dr: My contention is that Jeanne doesn’t open up or choose to stay alive because MC magically heals him, rather his recovery is a convergence of many people’s efforts and hopes that he stays alive. Gilles (he insists that Jeanne must live, asks him to promise), MC (affirms and bolsters that promise), Comte (makes a second life and recovery possible)--and in no small measure Mozart and Napoleon--all make an active effort to buoy him. As people often say, it takes a village to raise a child.

While Jeanne seems to respond most powerfully to MC’s attempts, it feels more like a product of chemistry/compatibility than it does a random cop out. There is no insinuation that only romantic love can heal; after all, MC gets close to him without any romantic intentions at first. They’re just good friends? It’s more that their feelings simply moved in a different direction after a point, which doesn’t necessarily happen all the time. Jeanne is also incredibly moved by Mozart’s love for him as a friend, Comte’s love for him as a father, and even Gilles’ love as a comrade to an extent. If anything, without their input Jeanne’s capacity for romantic love would be questionable at best.

Now, because I can never for the life of me stop analyzing, I have a more large scale outline of my thoughts below. Spoilers for Jeanne’s route:

If we look at Jeanne's life history, he has pretty specific trauma. Most of the harm he endured was a direct result of human rights violations after the war itself. He didn't enjoy fighting and killing people, but he's also very much a man that sees the reality of his position: it's either kill or be killed. His entire goal was to defeat the enemy as efficiently as possible in the hopes of ending conflict, and with his enormous resolve turns the tide. He had no innate interest in inflicting harm, or lack of control when engaging. He isn't pathological about it, and doesn’t dehumanize the other side. He was more "this was an act of necessity, but those are still human beings." So as far as I can tell he has a very strong moral compass and sense of duty, he doesn't show much delusion/confusion in that regard. (Also evident in his conversations with the young orphan boy.) Furthermore, he has been shown to have a sense of humor--cracking jokes with Gilles and boosting morale for his fellow soldiers.

His childhood abandonment is significant (he left his home because he was "not an adequate farmhand and they had no ability to feed all their children") but I don't know if I would consider it a huge trauma point for him. It seems as though he deemed it an act of necessity--not spite. It was simply the way of things, and he couldn't help his wiry constitution. You'd be surprised how common that was once upon a time, tbh... While it's certainly not right or fair, it does appear that in his perception it was the choice he made and he moved on after he became a soldier. Just focusing on what he could do, rather than everything he lacked. For people in his position, they often feel it is useless to linger on what should have been. There’s no time to linger or doubt, life hangs in the balance.

That leaves us with his time under the Inquisition, just before he was slated to be burned alive. I think this is the keystone trauma point for him, because there are a lot of moving parts to his powerlessness here. The first part is that his entire life's mission--ending the war so that people would no longer have to die and/or starve as a result of senseless violence--was just sabotaged. All those years of doing things he never wanted to do (wartime violence) and being forced to leave his family to ensure they didn't all starve, all of it treated like some kind of joke. Like he didn't sacrifice years of his life and sanity to protect a people who were happy to call him a monster and watch him burn alive. The second part is the overt gaslighting and rewriting of Jeanne's personal history (and overall French public perception) for the sake of the King's political agenda. To call him a treasonous danger to the country when he was once lauded a hero. The third portion is the actual physical helplessness of being arrested, starved, and continuously maimed for no reason beyond pure malice. While it's never right to do that to any human being, this was done to a man who prided himself on his stalwart moral code. To abuse and torture him for something egregious that he would never do (at the risk of death) is just another slap in the face to everything he is and believes in.

I just feel like the context clarifies why that period of time would be the tipping point. His entire moral code and life’s work is being called into question and swept aside, as well as his agency? He believes very powerfully in a sense of right vs wrong, what's fair and what isn't fair. Somebody else deciding that for him--and deciding in a way that is openly unfair/incorrect--further makes him lose himself and his sense of reality. A person in that situation begins to doubt if they are good or bad. His belief in god all the more pressing; if he was a good person, why would fate bring him so much suffering? Honorable soldier or not, his blade has drawn so much blood...

People often reference his stilted social skills (and I am of the belief that he is on the autistic spectrum) as a reason why he is so "people-adverse" but tbh? I don't agree. His memories before the onset of this trauma reveal that he was actually a very warm person, and that people were more than willing to fight under his banner. He had friends, and he had comrades--his country loved him. He was the picture of well-meaning civic duty. Just because he doesn’t integrate smoothly into larger social groups or adapt well to socially shifting circumstances, doesn’t mean he just hates people lmao. When people give him the space to exist within his comfort zone and don’t take advantage of him, he thrives. Compounded by that, we also have his actions in the present to further prove what is true and what isn't.

While he is stern with the orphan boy (I'm sorry I can't remember his name, damn it) there is no malice or cruelty in what he has to say. He doesn't punish the kid or do anything out of line. It may not be fair in terms of the adult level of discretion he asks of him, but the kid also didn't have a lot of options realistically speaking lmao. Same thing with MC, she and the orphan boy are nearly identical in how Jeanne treats them. He's a little rough, but the route reveals that his intentions are just a reflection of what he's been through. He truly believes that if a person isn't strong, they won't survive--because his entire life was a series of trying to be strong/reliable because nobody else would. There was nobody to protect him, and nobody to care for him went things went south. It was him and his sword against the world, and even his exceptional skill as a fighter did not protect him from the Inquisition's arbitrary torture. He has lived in a world where good acts can become absolutely meaningless, where following rules and helping people still gets you slaughtered. That's going to take a considerable toll on his mental health: where do you find the will to go on when the next second of your life could mean the devastation of everything that matters to you?

Spoilers: you don't. Or if you do, every minute of the day is a fight to stay alive. That is the point at which we meet Jeanne. Caught in the hellish whirlpool of wanting more, wanting better--but being terrified of the cost. The cost of hoping, only for his entire world to go up in flames again. It's not a small thing, in my view.

If you have any doubts as to whether or not that is the case, I direct you to literally every singular instance in which Jeanne's emotional sensibility goes visibly dark/south. When do these instances happen? When it rains, for one. And when Shakespeare deliberately starts pressing on his sensitivities: about the soldiers he was forced to kill, about the nation that spurned him, how he's truly "wicked" at heart and doesn't deserve to be happy--seconds before flames erupt for the festival. Does that really sound coincidental? I mean lmao. The rain is a painful reminder, but MC transforms that memory into something a little lighter with her bet. He has nothing to lose in her game, all she does is ask for time with him or offers him something if she loses. There's a playfulness there, a restoration of agency and ease that's invaluable to his recovery.

As for Shakespeare's deliberate retraumatization...I can't even begin to explain how damaging that event was. Shakespeare is undermining Jeanne's agency in that he--not unlike the corrupt monarch of Jeanne's era--is twisting Jeanne's beliefs to work against him. He knows full well that Jeanne doesn't feel like he deserves somebody so bright and understanding (we need to remember it's not really a luxury he's had much in life, especially after the war ended). He knows Jeanne has a tendency to impose that strict moral code on himself even more than he does on others. To reaffirm his every worst fear and lurking terror only throws Jeanne into a vicious downspiral. Jeanne doesn't reject MC out of disgust or hate. He rejects her because he literally cannot handle the concept of trying to be happy again, or of burdening her with his constant struggle to move on while he’s in the middle of a bad episode. He knows he won’t be able to stop reliving the past, that every second of his life and breath will be colored by his gruesome memories. He's trying as hard as he can to keep the intrusive thoughts quiet, to move on. But I'm not going to lie to any of you, that is incredibly difficult to do alone.

The next obvious question is, well why can't the other men help him? This isn't to say that they can't--we see how much solace Jeanne finds in Napoleon and Mozart. Even Isaac is gentle with the veteran. But there are limits to how much they can do. Napoleon is struggling with his own wartime trauma, and it's not identical to Jeanne's. Plus there’s a distinct difference in their sensibilities? Napoleon is the type to habitually seek comfort in helping others when he can't help himself, he's not as in tune with answering his own personal feelings and regulating them. (I mean just look at his new ES: he knows what he wants, but it takes a nudge from Isaac for him to go through with it.) He’s very communally reliant in ways Jeanne isn’t; Jeanne is a very private person, and typically prefers one on one from what I can tell.

Mozart is the definition of repression, and if you look at their interactions it's usually Jeanne that's smoothing over Mozart's rough edges. Mozart says as much himself: that he feels like a rotten friend because he knew Jeanne was struggling with a lot of intense trauma, but he didn't know how to unravel it without hurting him in the process. Mozart calls it personal cowardice, but honestly I just feel like they both had too much going on to be able to help each other effectively. (And Jeanne expresses this sentiment too? This idea that he's not angry with Mozart? He knows they're both carrying a lot, he's just touched Mozart cares about him in return.)

Okay, briefly unrelated, but like. Am I the only one that wheezes uncontrollably when Mozart is like "?????? Idk what it is about MC...I don't want her to be scared of me..." in his own main story in the baths. And Jeanne. IS TRYING SO HARD. NOT TO SPILL THE BEANS ABOUT HIM O B V I O U S L Y BEING IN LOVE. THE HILARITY I CAN'T DO THIS. Jeanne was like "yeah....yeah that's rough buddy.......[screams internally, give your boy time Jeanne he's fragile]"

Honestly? That's the thing about Jeanne too--he has incredible self-awareness and hyperarousal-related (I mean the PTSD kind, get your head out of the gutter) awareness to the people around him. He's very, very conscious of the fact that he is surrounded by geniuses when he can't even write his own name. Just because he has the fortitude not to lash out with his insecurities, doesn't mean he never feels stupid or inferior. And it doesn't help when there are people in the mansion who call him--a fucking war veteran from 500 YEARS AGO--nAiVe. He's not naive lmao. He just doesn't know how the world works so many years later, and it's a ridiculously steep learning curve? Leonardo and Comte are nearly 500 years old, but they lived throughout every hour of that time in a linear fashion. It is a big deal to be moved from 1430 to 1890 in the span of a second asynchronously, and then be expected to function without a hitch??? Given the circumstances he adapts well.

That atmosphere--this constant impatience with what he doesn’t understand, his inability to be caught up to speed quickly--is going to hinder his recovery lmao. He feels like a burden most of the time, and agency and freedom are crucial.

Another thing that occurs to me about the mansion's arrangement is that there is a power dynamic, just as any space with people in it has some level of hierarchy (unless you live with miraculously chill people). Jeanne is acutely aware that Comte is the most powerful being in that space, and he is not only hatefully angry at him--but likely afraid too. We have to remember that the biggest betrayal he witnessed in his life was at the hands of a monarch; it was the aristocracy that turned on him and erased the truth. Comte is openly a child that resulted from both that era and that type of lineage, I don't really blame Jeanne for being wary. He intimately knows how willing rich people are to throw normal folks under the bus to suit their ambitions/whims. Comte, while not deliberately threatening, also seems to be painfully aware of this impression he gives off. His "chad persona" as I've mentioned allows him to navigate his life in secret by necessity, but it’s actively damaging to his son. He can't reveal the truth because of Vlad's betrayal, and he's openly unsettled by what it could mean to be honest. Will they wonder about Vlad and find themselves ensnared under his mind control as Charles and Shakespeare are? Will Comte himself be subjected to the mortifying ordeal of being known only to lose them?? That's a risk he isn't willing to take--and that leaves him in a double bind.

What is it that they say, the truth will set you free? This is where MC and Comte come into enormous play when it comes to Jeanne's recovery. One thing to keep in mind is that most of the people in the mansion have their own traumas they're trying to carry, and I feel like a lot of them are unsure how to approach Jeanne. Or if they do, he's very guarded. It takes a lot of consistent effort to get through to him. What does MC do when Jeanne unleashes his harsh worldview on her? She's understandably frightened, but Jeanne isn't malicious (so she chases him around). In fact, he openly avoids and runs away from her--well aware that what he's done is wrong. If anything, he did it on purpose, bringing us right back to Shakespeare's verbal undoing; why does Jeanne attack her in the first place?

LMAO. He attacks her because she essentially says "oh thanks for helping me!" "I am not nice. Watch yourself." "But you seem like a nice guy to me?" "REEEEEE" Does the pattern become a little clearer? When people think kindly of him, his instinct is to shatter that illusion with an impulsive reprehensible act. When people think poorly of him or lash out, what does he do? When that orphan boy starts yelling and screaming, Jeanne is nothing but calm. He explains the situation, and offers the kid a choice, perfectly happy to be the bearer of bad news. This operates on many levels I’m sure, but I have a feeling it has something to do with him being hailed a saint and a war hero only to be tortured and branded a monstrosity (and he probably thinks being a vampire is doubly monstrous). He’s more comfortable being hated because he feels it’s what he deserves in a lot of ways.

Jeanne has a lot of internalized self-hatred because of what he's done, and because of how much harm was inflicted on him outside of his control (he's Catholic and he was tortured, come on this writes itself). If I'm honest, I think that's actually the greater part of why he hates Comte lmao. Comte refuses the very concept of being cruel no matter how much Jeanne lashes out. Sure he lectures him and scolds him, but he never actively limits what's important to him or controls or harms him. Comte fully realizes the tragedy of how Jeanne's life was used by a nation in dire straits, and knows he needs time and acceptance to heal. No matter how dismal or unhappy, Comte doesn't stop--he fully believes Jeanne should have time in his life where he can really live for himself for once. But therein lies the issue, Jeanne doesn't know how to live for himself.

Which brings me to how MC and Comte "heal" Jeanne. I feel like they give him the space he needs to recover, and that's what results in his gentled temperament and happiness. Remember that so much of his main story is MC endlessly chasing after Jeanne. No amounts of his hissing or running or threatening stops her. Even if his refusals are empty of real dislike, they're enough to deter most people. Not MC. She's able to see through to the depths of who he is, and doesn't just use him for her own ends? She actively seeks to teach him (to read and write) to help him settle better in this era, she actively tries to ease his distaste for rain with a well-meaning bet, and she never gives up on him. (Actions mean so much more to him than words in general too, tbh...). Love is more easily defined by work and effort than it is by attraction.

When he has his episode at the festival, sure she's rattled; but that's because she truly believed that he didn't want to be around her anymore. When she notices he really doesn’t want to be followed, she stops like any normal person would. It’s only when she reads his notebook and sees the truth for herself (that he’s given up despite having the same feelings for her) that her determination is rekindled. She doesn't approach him fearfully, doesn't treat him like he's made of glass either. She just wants him as he is--accepts and loves him as he is. Scarred, bloody, exhausted, abrasive, terrified. She doesn't define him by how easy he is to love. That is a huge issue with traumatized people lmao. Because of their maturity, people always just assume they don't need help, or they rely on them to an extent that isn't sustainable. The second they reveal need or that they struggle, people walk away or victim blame them because it’s easier than taking them seriously.

While MC's attempts may be a little more obvious (cherishing his lily field, wearing the hair pin he gave her, careful about his gruesome injury, really listens when he talks about the horrors of his life and accepts that he experienced a level of agony/terror she can never understand, tries to express her feelings no matter his evasion) I think it's also important to consider Comte's large scale effort. I don't say this to undermine MC, I say it because Jeanne's life was defined by a complete lack of security. He left his parents to make their lives easier, he lived in a war that meant life or death any second, and his country's leader branded him a traitor which lead to his endless torture and public execution. Jeanne does not know a life in which safety is the norm. Point blank. He does not understanding going outside and not expecting the worst anymore.

Comte not only understands that level of despair, but treats it with dignity and respect. He fully accepts being hated if it means Jeanne can use that hatred to live on and find a way to heal. And most importantly, when Jeanne begins to move forward with MC and Mozart's help, Comte never once holds it against Jeanne when the truth is revealed. He's not angry, this isn't about reprisal or reparations or revenge. It's just love.

Jeanne doesn't really have a concept of this? His entire life was mostly transactional, defined by strength and efficiency. Nobody gives a damn about your feelings. You either hurl yourself at the problem or die. Nobody is going to help you or carry you or save you. While he may have had a little more support while he was in the military from his fellow soldiers, that support system was ripped away from him during the Inquisition.

One very common sentiment regarding elongated imprisonment and torture is that survival occurs in pairs. It is an undeniable fact that people need others to survive. It is the nature of who we are. Individualism has never proven to be successful, or if it is, its dividends are astronomically minimal when compared to people working together.

What does it mean to be the most reliable, steady person in the room? Usually it just means you don't know how to ask for help when you are no longer capable of maintaining that stance. Napoleon is guilty of it. Leonardo, Comte, and Jeanne all are too. It's part of why MC and Comte's capacity to see what he needs and provide as much as they can is such a big deal. That sort of consistent support (without a constant necessity to beg for help) allows Jeanne to be able to re-integrate into his new reality and find joy. Even if his nightmares and memories never go away, they are now being actively overrun by positive experiences. That's the thing about recovery, really--it tends to be more about drowning out the negative as much as possible and coming to terms with it, than it is about forgetting or never feeling it again. It’s about softening the sharp edges of pain like sea glass.

So is MC magical and randomly got Jeanne to open up? Nah, I don't think so. I think it was a series of persistence and real acceptance of who he is that made him warm up. People really seem to underestimate how deeply affecting understanding is, but that's how damage is undone. Jeanne can't really linger on the idea of his own monstrousness, his unworthiness, a lifetime of misery, when the person in front of him actively listens and cares about him. Makes him laugh and smile and lose himself in warmth for the first time.

If I'm honest, I feel like people also just...underestimate the level of traumatic resurgence that's perpetuated and inflicted by society’s standards in general lmao. This rhetorical structure in which good and bad exist in moral extremes, this idea that people should be able to recover and never experience relapses or periods of sensitivity. The refusal to radically listen to people and their problems, and make active attempts--not matter how small--to mend/ease those hurt feelings. Granted there will always be people in the world who do not want to improve, but I feel like most people want to. It's hopelessness, silence, and stigmatization that remain the true enemies of traumatized/mentally ill people everywhere. And among that population are always war veterans...

#ikevamp #ikemen vampire #ikevamp jean #ikevamp jeanne #ikevamp meta #ikevamp saint germain #ikevamp comte #sorry i have a lot of feelings about this topic kjahsflkjhsjkghfd #but yes!#i think mc being able to help him was more about her sensibility and the mental fortitude/space to be able to care about him as he needed #i don't think it's necessarily that she's SpEcIaL #trauma is a sensitive subject--especially considering he's a war veteran #but i also think it's simple and complex at the same time #simple in the sense that people really do just need consistent support and love to be able to care for themselves again #complex in the sense that support can come in so many permutations and some of them are very delicate and multi-faceted #and thus must be handled with extreme caution in some regards #anywho not that i'm any kind of expert this is just what i understand and see #also in case it wasn't clear i love him and cry every day (look away comte it's my whoring hours)#though i hope this helps??? i went off harder than anticipated lakjhglkj #thank you for the ask!!! <3333 #asks #rambles #not incorrect quotes

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mtvswatches · 4 years

Text

10 Things I Hate About You

Obligatory soundtrack

1) The late 90s/early 00s were filled with contemporary adaptations of Shakespeare’s plays - Julia Stiles starred in three of those, coincidentally - but, in my opinion, none has been more iconic than 10 Things I Hate About You. It’s been over 20 years since the movie was released, and it’s certainly become a teen/rom-com classic. It’s definitely a feel-good movie, and even though it obviously had great source material to work with, it did so in such a unique and fun way. And it was kind of woke for its time, too.

Disclaimer: I am a bit afraid this whole review will turn into me taking screenshots of the movie and just writing “iconic.” You’ve been fairly warned.

Anyway, let’s get into it!

3) I really love how they managed the “show, don’t tell” technique with Kat’s introduction. Her first scene really shows who she is – a jaded, kind of rebellious teenager, who marches to the beat of her own drum. Or to the beat of Joan Jett’s drum…

She’s shown as the opposite of the other girls, but it doesn’t feel like a criticism of the other girls' more cheerful, sunny disposition. We very quickly learn what she is like, but we have yet to find out why.

4) The next characters we meet are Cameron and the school’s guidance counselor. Cameron is the new student and the guidance counselor is just…

I love her. And Allison Janney proves how talented an actress she is by making the token counselor character both memorable and unique.

5) We also meet Patrick Verona, the resident Bad Boy who had “exposed himself” in the cafeteria. Oh, Heath Ledger, you are truly missed!

6) Michael Eckman shows Cameron around and he basically delivers the token “school cliques scene”, and since I’m not American, I’ve always wondered if this is a real thing in schools? Like, are there really so many cliques that are so visually different from one another? Each group dressing in a particular style and hanging out at a specific spot? Anyhow, the cliques here are the beautiful people (or rather, the assholes), the coffee kids (?), the white Rastas (or white stoners), the cowboys (?), and the yuppies.

7) Michael’s tour gets cut short when Cameron spots Bianca, and he’s instantly infatuated with her. I’ve always found it hard to root for Cameron at first because I’m not really a fan of insta-love, and he ends up doing A LOT of shady things for a girl who he doesn’t know AT ALL. But more on that later. In fact, the movie kind of makes a point of how ridiculous it is for Cameron to be in instant-love with Bianca by having her deliver this little lecture on love:

BIANCA: Yeah, but see, there's a difference between like and love. Because I like my Skechers, but I love my Prada backpack.

CHASTITY: But I love my Skechers.

BIANCA: That's because you don't have a Prada backpack.

Bianca clearly grows a lot over the course of the movie, but it’s clear that Cameron was in love with her appearance and not her brains or personality, which makes his quest to sweep her off her feet misguided at best.

8) And then Michael presents the main plot point…

The question then is, how is Cameron going to get the girl? It’s his quest to get a date with Bianca that creates a domino effect that brings all the characters together.

9) See what I mean? ICONIC!

And can I say that I just love Kat? Not only is she smart, but also, she didn’t take any bullshit from anyone, especially not males. She was a feminist before being a feminist was cool. And she does grow a lot.

10) Okay, two things, A) I love Mr. Morgan, and B) foreshadowing? Sort of?

11) Iconic.

12) Michael seems to have a lot of preconceptions about Bianca – and most of them were kind of accurate, at least at the start of the film. She was kind of vapid and shallow and self-absorbed. For someone who believes that Bianca is not only completely out of Cameron’s league but also not worthy, he does get very involved in trying to get Bianca to date Cameron.

13) This is one of my favorite lines in the movie, probably because it sounds a lot like Buffyspeak…

14) This is so random…

And the movie does have a lot of these little moments of slapstick comedy that almost seem to belong to a different type of movie, but for some reason, they work?

15) And this reminds me of the Veronica Mars of yore, the one I used to love…

16) We meet Cat and Bianca’s dad, and he is very overbearing at first, but he truly grows on you once you understand where all his rules are coming from. And of course, he establishes The Rule, which sets off the movie’s shenanigans – Bianca cannot date unless Kate does.

17) Bianca does prove a lot of Michael’s preconceptions right during her interaction with Cameron, who asks her out on a date, and even though he has been tutoring her she can’t remember his name and after he reminds her of it, she calls him “Curtis.” Bianca very clearly sees in Cameron the solution to her dating problem, and she very obviously manipulates him when it’s clear she’s not interested in dating him. She’ll get him to do the dirty work, and then let Joey rip the rewards. On the one hand, this is wrong. On the other hand, Cameron sort of had it coming? He was only interested in Bianca because of her looks, and he was about to manipulate Kat with total disregard for her feelings, so...

18) So Michael and Cameron set out to find a match for scary Kat. And what do you know…?

They figure the only way to convince Patrick to date Kat is by paying him, except they don’t have any money. So they turn to Joey, who gladly agrees to invest if it means this will get her Bianca.

19) Patrick and Joey strike a deal, and let me tell you, this deal never made any sense to me? Like, after some bargaining Joey agrees to pay Patrick 50 dollars? And I might be daft but how would Patrick be making a profit here? If he took her out, he’d be spending most of that on the date, making the whole thing pointless if he’s not making a profit? And Joey was supposed to be loaded, so why not offer more than that, to begin with?

20) I really love how Patrick assumed all he’d need to do was say hello and Kat would be at his feet, and she gloriously turned him down and put him in his place. He tries again the next day and he gets turns down, again. And I can’t blame her, he was acting like an entitled douchebag and assuming she’d want to jump his bones only because he was hot and asking her to go out, like that’s all it’d take.

21) And Joey gets a little bit of what’s coming to him…

22) This leads to Kat getting into an argument with her dad, making a lot of valid points…

WALTER: Is this about Sarah Lawrence? Are you punishing me because I want you to stay close to home? KAT: Aren't you punishing me because Mom left? WALTER: You think you could leave her out of this? KAT: Fine. Then stop making my decisions for me. WALTER: I'm your father. That's my right. KAT: So what I want doesn't matter. WALTER: You're 18. You don't know what you want. And you won't know what you want till you're 45, and even if you get it, you'll be too old to use it. KAT: I want to go to an east coast school! I want you to trust me to make my own choices... and I want you to stop trying to control my life just because you can't control yours!

I can see both sides of this argument, though. He wasn’t punishing her because her mom left, I think he was just afraid they’ll get hurt again and that’s why he was so overprotective. And Kat had just crashed her car on purpose, so I really don’t understand how she managed to turn the whole thing against her father?

23) Patrick renegotiates the terms of his agreement with Joey, demanding a 100 bucks per date. He can’t have had getting something for Kat as his goal at this point, but I think he was just trying to screw Joey over as much as possible, which kudos to him.

24) Michael and Cameron approach Patrick and inform him that they’re actually the masterminds behind this date-Kat plan, and they agree to help him woo her. And I get that Kat was not the most agreeable person to begin with, but it’s still very disheartening to see that literally no one considered her feelings in this whole thing? Like, all of them were so proud they were playing Joey, but she was the one getting played the worst? And Bianca even allows Cameron to go inside Kat’s room and go through all her private things? Everyone was an asshole in this movie, is all I’m saying.

25)

26) And then…

Probably in spite of herself, he managed to get through her shell a little bit.

27) Bianca finally begs her sister to go to the party so that she can go, and what do you know? Kat does have a heart after all, and she agrees to show.

28) Which leads to…

29) Kat seems very happy to see Patrick at her door, although she quickly puts the bitch rest-face back on and pretends his keeping his word and coming to get her did not affect her at all…

30) So, now that she got to the party and gets to hang out with Joey, Bianca demands her sister do not address her in public, and I’m like, wtf?! Kat then begs her to listen, and again, Bianca shrugs her off and tells her to go off and “enjoy her adolescence”, which pisses Kat off and probably hurts her, too. So she decides to enjoy her adolescence the way everyone seems to do, getting trashed and embarrassing themselves.

31) Further evidence that Bianca was, indeed, an asshole… Cameron is the reason she got to go out at all – after he pulled off this elaborate plan to get her sister a date – and she manipulated him by feigning to be interested in him, and now…

But karma is a bitch because Joey might be the most popular boy in school – god knows why! – but he’s as dull as dishwater, and she quickly finds herself regretting her decision to brush Cameron off in favor of Joey.

32) Meanwhile, Kat is truly enjoying her adolescence…

And thank god Patrick was there to catch her because if he hadn’t, I don’t think anyone would’ve helped her.

33) I really love Patrick’s pep talk to Cameron…

CAMERON: It's off, okay? The whole thing's off. PATRICK: What are you talking about? CAMERON: She never wanted me. She wanted Joey the whole time. PATRICK: Cameron, do you like the girl? CAMERON: Yeah. PATRICK: And is she worth all this trouble? CAMERON: I thought she was, but, you know, l... PATRICK: Well, she is or she isn't. See, first of all, Joey is not half the man you are. Secondly, don't let anyone ever make you feel like you don't deserve what you want.

34) And Patrick taking care of drunk Kat is the sweetest thing ever…

35) Of course, now that Bianca no longer wants to hang out with Joey and her friend leaves her high and dry, she asks Cameron for a ride home.

36) On the way home, Kat actually opens up to Patrick, a lot. She admits she’d love to play in a band, and that her father wants her to be someone she’s not – her sister. Patrick admits that he doesn’t really get what everyone sees in Bianca, and Kat delivers what’s probably the greatest compliment you could get from her…

She puts herself out there… and gets shut down. Of course, Patrick was probably feeling remorse about the way he’d gotten to know this girl and the way he’d been playing her because now that he’d gotten to know her a little bit better, he could see that behind that badass façade she was extremely vulnerable and sensitive. Kat feels rejected and humiliated, and who can blame her? He’d been relentlessly pursuing her, and now that she’d opened up to him and offered to kiss him, he’d turned her down…

Anyway, Patrick’s behavior, later on, makes no sense after the way he acted here, but more on that further below.

37) Cameron finally confronts Bianca about her manipulative behavior, and to her credit, she is honest and owns up to being selfish when he calls her on it. And I guess she finally sees he’s worth it…

38)

39) This exchange is so silly and hilarious?

Like, Cameron’s answer seems silly, but what type of answer was Patrick expecting? Where could she have possibly kissed him? On the knees?

40) Kat is clearly not yet over the rejection…

41) See what I mean about the jokes in this movie?

And they just look over and go on talking, as if she hadn’t just nailed her teacher on the ass with an arrow...

42) Joey goes to Patrick yet again and offers 200 dollars to get him to take Kat to the prom. Patrick tells him he’s sick of this game, and Joey ups the ante and offers him 300 dollars, which Patrick somewhat begrudgingly takes. I just would really like to know if it was at this point that he thought he’d used this dirty money to buy something for Kate. Otherwise, he was still being a jerk...

43) This scene just gives me butterflies, okay?

And as charming as he is, Kat is still not over the humiliation of putting herself out there and being rejected.

44) Cameron returns the favor and gives Patrick some very good advice, the reason for that glorious scene later on…

CAMERON: Look, you embarrassed the girl. Sacrifice yourself on the altar of dignity and even the score.

This gets Patrick thinking…

45) And I’m just going to add the video here because this whole scene is just rom-com perfection and bless Heath Ledger again, okay? And why didn’t we get more of him singing in everything he did? His voice just makes me feel things, okay?

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Seriously, how do you say no to that boy asking you to let him love you? You don’t say no, that’s how.

Same, Kat. Hard same.

46) Kat goes into detention and distracts the coach while Patrick attempts to escape out the window, and then…

And the teacher is looking directly at her tits? And while the distraction tactic worked, how was she not sent to the principal’s office? Patrick was sent to the principal’s office for “exposing himself” with a bratwurst while joking with the cafeteria lady, and Kat is literally exposing herself and she walks scot-free? Hmm.

47) Patrick and Kat have another heart to heart, and to be honest, it always melts this cold heart of mine…

PATRICK: So, what's your excuse? KAT: For? PATRICK: For acting the way we do? KAT: I don't like to do what people expect. Why should I live up to other people's expectations instead of my own? PATRICK: So, you disappoint 'em from the start and then you're covered, right? KAT: Something like that. PATRICK: Then you screwed up. KAT: How? PATRICK: You never disappointed me.

Same, Kat. SAME.

48) #SWOON

49) And this is the part that doesn’t make sense to me. They’ve just had this perfect date, and they’re growing closer, and they’ve kissed, and he clearly likes her. And the reason he didn’t kiss her after the party was that he was feeling guilty about the way he’d gotten her to go out with him and fall for him – through deception and manipulation. And now that they’re much closer and into each other, he tries very hard to get her to go to prom with him, pushing her in a way that makes her feel uncomfortable, and like, why? They’re clearly not the type of people who go to proms, so why not take Joey’s money and screw the deal? Why did he have to keep his promise? Why not be honest with Kat? Why not tell her, I like you a lot and this idiot is paying me to date you even though I’m honored to do that for free so why don’t we team up and scam him? I know the answer is “conflict”, but it’s always pissed me off.

50) Seriously, though, Cameron. Why?

51) In true teen-rom fashion, everyone needs to be paired up, right?

52) See what I mean about the jokes?

53) Loved the Dawson’s Creek reference…

Believe it or not, a lot of people thought DC was scandalous at the time. And DC was so naïve compared to its predecessors The OC or Gossip Girl…

54) Kat finally opens up to Bianca and explains why she has so many issues and why she doesn’t want to conform to high school’s social rules and expectations and stereotypical idea of “normalcy.” She’d had a less than stellar dating experience back when she was way too young and far too vulnerable with none other than Joey, who had slept with her and dumped her right after. Oh yeah, and it all happened right after her mom had left them. In an attempt to prevent the same thing from happening to her little sister, she had agreed to their dad’s rules, effectively preventing Bianca from experiencing anything on her own. It’s kind of a case of the pot calling the kettle black, considering she’d complained about the very same thing to her father.

55) Kat finally realizes she’s been unfair to her sister and decides to go to prom, to their father’s dismay. Kat even swallows her pride and actually apologizes to Patrick for questioning his motives to ask her to the prom, and he has the nerve to forgive her. Dude, you do have ulterior motives, and the girl you like is actually apologizing even though she’s done nothing wrong and you’re blatantly lying, and he doesn’t even bat an eyelash when he tells her “You’re forgiven.” I mean, I love Patrick, but still… not cool.

56) Bless Walter.

57) I guess they’re a thing, because why not?

58) And this is, among many other reasons, why I can’t hold anything against Patrick Veronica…

He got her favorite band to play in the prom.

59) Chastity is such a bitch for no reason? Like, she and Bianca were close friends, and then, all of a sudden, they aren’t? And she’s so mean to Bianca!

60) And leave it to Joey to ruin everything…

61) And I truly love that Bianca is the one to put him in his place…

62) See? He’s a good guy, he was just trying to protect his daughters the only way he knew how…

WALTER: Bianca did what? KAT: What's the matter, upset that I rubbed off on her? WALTER: No, impressed. Fathers don't like to admit it when their daughters are capable of running their own lives. It means we've become spectators. Bianca still lets me play a few innings. You've had me on the bench for years. And when you go to Sarah Lawrence I won't even be able to watch the game. KAT: When I go? WALTER: Oh, boy. Don't tell me you changed your mind. I already sent 'em a cheque

63) And I also have to include the video for this scene because it’s just… *chef’s kiss*… Julia Stiles absolutely nails this one, and it never fails to bring me to tears…

youtube

Same, Patrick. Same.

64) And while the fact that he doesn’t immediately run after her always has me screaming, he does make up for all of it…

KAT: A Fender Strat? Is it for me? PATRICK: Yeah, I thought you could use it, you know, when you start your band. Besides, I had some extra cash, you know. Some asshole paid me to take out this really great girl. KAT: Is that right? PATRICK: Yeah, but I screwed up. I, um... I fell for her. KAT: Really? PATRICK: It's not every day you find a girl who'll flash someone to get you out of detention. KAT: Oh, God. You can't just buy me a guitar every time you screw up, you know. PATRICK: Yeah, I know. But there's always drums and bass and maybe even one day a tambourine. KAT: And don't just think you can...

65) This movie is hardly a masterpiece, but it doesn’t intend to be either, and not every movie needs to be. It’s a feel-good movie, and it delivers on so many levels. It’s funny, it’s tropey, it’s cute, it’s romantic, it has a great soundtrack, and you just feel a whole lot better after watching it. It’s the 90s at its best, and that’s why it became a classic.

What I love the most, though, is Kat’s character development. We see this girl who is a badass and super smart, takes no bullshit, holds everyone accountable for their shitty behavior, and has a great wit. But she is not without flaws. She’s closed off because she has been hurt before, both by her mother and her first love. She holds everyone at bay because it’s easier that way. Throughout the movie, however, she shows empathy and a lot of vulnerability. And she soon finds out that she had been missing out on a lot of things by shielding her emotions. She’d missed out on having a good relationship with her sister and on finding love again. What is truly admiring about Kat, though, is that when she’s hurt the most and she has every reason to close herself off again, she does the exact opposite. She opens herself up not only in front of the guy she’s in love with but everyone. The shrew cries and bares her soul for the world to see. Regardless of the happy ending, I think that in itself s truly inspiring, don’t you?

66) Bonus: bloopers!

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67) Hope you enjoyed my recap, and, as usual, if you’ve got this far, thank you for reading! If you enjoy my recaps and my blog, please consider supporting it on ko-fi. Thanks!

#10 Things I Hate About You #Heath Ledger #Julia Stiles #Joseph Gordon Levitt #William Shakespeare #The Taming of the Shrew #mine #movie recap

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vanessakirbyfans · 4 years

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After breaking out in Netflix’s hit global series and stealing scenes in 'Mission:  Impossible' and 'Hobbs & Shaw,' the British actresses about to display her range with frontier romance 'The World to Come' and gut-wrenching drama 'Pieces of a Woman.'

Vanessa Kirby was two days away from shooting Mission: Impossible 7 in Venice — reprising her role as the glamorous gunrunner known as the White Widow — when Paramount halted production. It was late February, and Italy had just recorded Europe’s then-worst outbreak of the novel coronavirus, at the time not officially labeled a pandemic. Tom Cruise’s billion-dollar blockbuster franchise had become the first major Hollywood casualty.

Seven months on, and with the film industry appearing irreversibly changed, Kirby is preparing her return to Venice. But it’s not for Mission: Impossible (she starts shooting that later in September). With The World to Come and Pieces of a Woman, filmed almost back-to-back in late 2019 and early 2020, the British star, 32, has the rare honor of having two films compete against each other in the Biennale, the first A-list film festival to physically take place since cinemas — and much beyond — shut their doors.

Appearing alongside Katherine Waterston and Casey Affleck in The World to Come — a frontier romance set against the rugged and patriarchal terrain of the mid-19th century American Northeast — Kirby plays flame-haired Tallie, who sparks an intense and liberating affair with a farmer’s wife, played by Waterston.

But it’s Pieces of a Woman — also heading to Toronto — and her quietly powerful and gut-wrenching turn as Martha, a woman dealing with towering loss after a home birth that goes wrong (shot in one hugely impressive yet frequently hard-to-watch half-hour take), that marks yet another new chapter for the actress, who already has condensed what many would consider a lifetime’s worth of career milestones into just a few years. A critics’ favorite on the British stage; Emmy-nominated and BAFTA-winning for her global screen breakout as Princess Margaret in the opening seasons of Netflix’s smash hit The Crown; part of two of the biggest action franchises around (she also appeared in Fast & Furious spinoff Hobbs & Shaw last year); and, for her next act, independent cinema’s newest leading lady.

Even before the reviews come in, Pieces of a Woman — also starring Shia LaBeouf, Ellen Burstyn and Sarah Snook — has found a fan in Martin Scorsese, who recently came aboard as executive producer.

“I haven’t stopped smiling,” says Kirby, speaking from the south London home she shares with her sister Juliet (a theatrical agent) and two close friends. “It’s such a mind-blowing thing.”

The actress was originally shown the script in L.A. by filmmaking couple Sam and Ashley Levinson (Ashley is producing the film for Bron Studios). Within 24 hours, she'd jumped on a plane to London, then Budapest, to meet director Kornél Mundruczó. “You know when you’re supposed to do something. ... It felt so right,” she says. “I wanted to show up and tell Kornél face-to-face how much I loved it and how much it touched me.”

Mundruczó, a Cannes regular who won the top prize in the 2014 Un Certain Regard sidebar for White God, also was taking something of a career leap, Pieces of a Woman marking his first English-language feature. But he found the right partner with whom to “take the big risk together,” likening Kirby to his favorite screen siren, Catherine Deneuve. “She’s someone who can express emotion for the unseen, and that’s very difficult,” he says. The World to Come director Mona Fastvold is equally praising of her star, describing her as an actor “who can truly disarm us” and their work together “one of most fulfilling creative partnerships I've had so far.”

Kirby, who cites Gena Rowlands as her cinematic idol (she has a photo from Rowlands’ 1980 drama Gloria in her room), says she had been “biding her time” waiting for such an opportunity: “I felt ready to lead a movie for a long time, but to actually do it was such a gift. Now that I’ve done it, it feels like a new stage for me.”

While there were few thespian genes in her family (her father is a top prostrate surgeon and her mother once edited Country Living), an 11-year-old Kirby caught the bug after watching a production of Chekhov’s The Cherry Orchard. “I suddenly realized the power of telling these stories is that they can make you feel differently about yourself when you leave,” she says. “And I think that’s always been a goal for me since.”

Countless school plays — including an all-girl Hamlet (Kirby as Gertrude) — would follow, continuing on into college, where spare periods and evenings would be spent relentlessly rehearsing and putting on shows with friends (including Alice Birch, who recently adapted Normal People for TV). Audience numbers didn’t matter – several struggled to make it through a four-hour Eugene O’Neill adaptation, while there were definite walkouts when a group of them took Shakespeare's Julius Caesar to Edinburgh (“Why would you take Julius Caesar to a comedy festival?” she laughs).

It was all for the discovery, experience and thrill, which is why — just a few years later — when Kirby received her first paycheck, having picked up an agent and signed on for her first three professional productions, it felt strange.

“I still have the vision in my mind of holding that white paper and being like, why are you paying me? Someone’s paying me for this? Because I’ve done it so much.”

Performances of As You Like It, Edward II and A Streetcar Named Desire and collaborations with directors like Benedict Andrews would quickly establish Kirby as one of the U.K.’s hottest stage talents in the early 2010s. But by this point, screen had already come calling. BBC drama The Hour — a small part as a troubled young aristocrat alongside a pre-Bond Ben Whishaw — was her TV debut in 2011, landing four years before being cast in her most famous role to date.

The Crown creator Peter Morgan recalls going “rogue” when he chose Kirby, overruling the other show execs’ preferred choice for Princess Margaret. She had turned up to the audition looking like what he describes as a “catastrophic mess”; fake tan smeared haphazardly on her shins and hands stained orange (she’d forgotten to wash them after applying the tan).

“But she had an electrifying presence. ... You realized you were in the company of a rare and special talent,” he says, adding that her chaotic appearance plus visible nerves evoked the essential vulnerability he was looking for. “It was very Annie Hall.”

Subsequent screen tests — and the public reaction — confirmed what Morgan first saw, that Kirby was a “high-impact booking,” much like the royal she was taking on. “There was no room in which you were not conscious that Princess Margaret was there.”

To craft her Margaret, in which Kirby laid the largely unknown foundations that would support the royal’s more brash and defiant public persona in later life, she absorbed everything she could, seeking out footage where the princess thought cameras had stopped rolling, plastering her walls in photos and even listening to her favorite music on repeat (including a version of “Scotland the Brave” played on the bagpipes, much to her housemates' dismay).

“It was so exciting to play someone that was so complicated and so conflicted, who was really struggling with a sense of who she was,” she says. “But I also had to chart this journey carefully, across 20 years of a person's life, and try to make it believable and also set her up for the rest of the seasons that were coming.”

Mission: Impossible came off the back of The Crown, sometime in the middle of season two. “I think Tom had watched it, because he watches everything,” says Kirby, who was surprised to be warmly welcomed into the “Mission Family” during her first meeting with Cruise and director Christopher McQuarrie. “On my way home I rang my agent going, ‘I think I got the job, I’m not sure.’”

Hobbs & Shaw arrived via another route, Kirby approached by creative duo David Leitch and Kelly McCormick after she led a 2018 summer run of August Strindberg’s Miss Julie at the National Theatre.

While different adrenaline-fuelled vehicles, Kirby used both blockbusters to creatively “subvert” the usual expectations for female characters in action films, particularly within the typically masculine Fast & Furious world. “I was like, I don’t want to have to be saved ever, I don’t want to have to wear anything compromising, I want her to have her own emotional journey.” Her efforts were rewarded when a journalist wrote that Hattie — Kirby’s fearless MI6 operative in Hobbs & Shaw — had been her son’s favorite character. “How cool is that?” (She found the writer’s email to thank her).

As Kirby waits to start on Mission: Impossible 7 (and also 8 — she says the White Widow will likely “float in and out” of upcoming storylines), and for audiences in Venice and Toronto to see her first lead role, this philosophy is set to continue into what could be yet another career progression.

Alongside a daily film club with her housemates (with titles ranging from a list she found of the Dardenne Brothers’ favourite films to the cult so-bad-it’s-good hit The Room), Kirby has also used the months of lockdown to consider her next creative step and dream: setting up her own production company.

“I feel so excited by the thought that there’s so many female stories that haven’t been told. And so many that have examined the psychology of a man in a particular situation, but not the woman,” she says. “I feel like there’s so much opportunity for that and that we do actually have a responsibility. Changing that space is very important to me.”

#Vanessa Kirby #Pieces of a Woman #The World to Come #The Crown #Interview #Articles

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ldybluerse · 5 years

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My Heart and Head Hurt.

So Very, Very Much

I am Asexual. I like cuddling, kissing, loving touches, I even love to make inappropriate sex jokes. Okay, I can make some pretty lewd sex jokes but that’s what happens when like 90% of your friends for the past ten years identify as pansexual. I just don’t feel sexual attraction and I am mostly repulsed by sex (ehhh it’s too much to explain).

At the first of the year, I moved to Texas from Michigan. Leaving behind all my friends, which with the internet isn’t terrible... but also my friends are shit at peopling on the Internet. Not angry or blame, they all have depression and anxiety. I get it. Just saying it’s hard to pretty much completely lose that connection with my friends. My friends are also the type where we would all pile into my bed and watch videos while cuddling with each other and my dogs. They spent so much time caring for me after my surgeries.

Being handicapped, and still learning how to live with it (it’s a relatively recent thing and takes relearning how to live life in a way that works for your limitations) I live with my parents. They are great but... they have their own mental health issues that really fucked me up as I grew up. It means that I don’t feel like I can open up or talk to them about anything because of what happened back then. I love them and I know they would do anything for me, but it’s just this thing I have. Heck, I have trouble opening up to my therapist for a long time. My therapist, who I also had to leave in Michigan. And Texas Medicaid? Kind of non-existent. Plus, I’m too old for my parents to be taking care of me, you know western standards and all, so I can’t have insurance through them.

Basically, I ran out of some of my medicine months ago, which means I live in near constant pain too. I can’t go see a therapist, because I can’t afford it. I haven’t run out of my depression medication yet, so there is that.

Since my accident (I will do another post on that later, because that will take a while), I haven’t been able to work. The accident was in December 2011, since 2013, I have had ten surgeries. I started back to school because it doesn’t seem like I’ll ever be up for any type of manual labor. But it also means I feel useless because physically I’m limited and mentally I am so fucked up I can’t do what I can handle doing. I graduated with my Bachelor (really proud of) but Texas has some different requirements that will add a lot of time towards getting my Masters, because Michigan didn’t have those requirements. This means I am going to enroll in an accredited online program, hopefully. Have to get accepted, fingers crossed.

To summarize, for ten months I have been isolated in a different state, dealing with body trying to adjust to different weather and medicine changes. Self isolation isn’t helping but the other problem is when I do reach out, there isn’t someone there...

Background info done, now to what’s troubling me:

My best friend and girlfriend is also Asexual. We’ve been together for almost eight years, but it’s always been long distance (we’re Ace, it doesn’t bug us too much) and I have gone to visit her. We started “talking” through Role Play and until recently, whenever there was lulls in life when a lot wasn’t happening, we could lean back on the Role Play to stay connected. There wasn’t a day when we didn’t talk to each other, even during the hospital visits we both went through, we stayed connected in some small way. And we talked about everything and anything. Our fandoms didn’t always match up, but it was fun listening and learning... I thought...

She was dealing with a lot of stuff, and for a few years was out of work, probably why she had so much time and energy for me. It was really bad for her for a while, where she even verbally attacked me on a few occasions. I know it wasn’t her but her mental illness, so I forgive her for it. But it was bad.

She was raised super Christian (DONT celebrate Halloween because it’s evil type Christian), and she has always been Christian even if she yelled at God a lot in her low days. Yeah, the good Christian girl is dating the Goth Pagan Celtic Witch... whatever you will call me. I’ve been Pagan for about 2/3rds of my life by now, so it’s not like she didn’t know she I was one. She’s never tried to shame or convert me.

My Bachelor is in Religious Studies, I know how good a religion can be for someone’s mental health if they are religious. I would talk to her about rekindling her faith. Finding a church she could at least go sit and listen to, so she could reconnect. She did! And it’s been amazing for her mental health. She has held a steady job for a while, actually is the poster child for the program that helped her move foreword and get her life back in order. I am so very proud of her and I do love her so much.

I just think... she’s outgrown me. The only fandom she talks about anymore is... Christianity. She doesn’t talk about LoZ anymore. She doesn’t talk about Tolkien. She doesn’t watch anime or cartoons anymore. She has no interest in Role Playing, as I said a big part of staying connected.

She talks about work, her cats, crocheting, and her religion. The thing is, I can’t fault her for any of it if it’s what’s best for her. She deserves happiness and stability. But...even when I’m back in school and when I get a job I don’t think I could leave the world of fantasy and fiction behind.

I grew up going to Ren Faires, my dad wearing tights. My first boyfriend I met at Ren Faire, while he was in tights. Labryinth and The Last Unicorn are still my favorite movies of all time! I collect Dragons of all sorts. I’ve watched the whole series of Fraggle Rock a few times, because it’s just wholesome and sweet.

My parents are Trekkies, my mom has had some of her fanfiction a published in old Starlog Zines. We watch fantasy, fiction, actions, cartoons... my mom has always loved the world of books, especially fantasy. She collects unicorns, so many unicorns. When I got into Anime, so did my mom. Kenshin is still her favorite, although to be fair she loved Ultron and Speed Racer when they first came to the states (she says Speed Racer was her first ever crush).

My brothers love the same thing, my oldest brother still fans for Jason David Frank. My other brother, well, he named his cat Pandea after WoW, we have his LotR sword collection, all his movie memorabilia...

We’re nerds and dorks and not afraid to be so.

Since the move the only thing making me happy has been my animals (Gods and Goddesses the fluffy bastards are clingers and just want to love you and be loved which is something I need) and fantasy. I’ve watched several animes I just want to gush about, but if you don’t have someone who is watching it too... you don’t want to ruin it. I want to just talk someone’s ear off about Steven Universe or Miraculous the Tales of Ladybug and Chat Noir. Hell, even Ducktales and Tangled. Do you know how AMAZING they have made Ducktales?! I watched the original series when I was younger but...! And all the inside jokes!!!!

The books! I probably read about thirty or forty in one month when I went on a book binge. They were all trashy romance novels, and admittedly the sex scenes were... meh... I’m Asexual, what do you expect?! Okay... some Aces like sex and stuff. It’s not that important to me. What is, is the connection two people have to each other. The love. And trashy romance novels aren’t the best at giving that... but it’s something.

Oh and the Webcomics. I have always, always loved Webcomics. I used to have the folders on my old computer organized down to the day of the week the comics updated because I so many, that I had to organize them just to get the right updates! Right now Lore Olympics. OMG Lore Olympics. Be still my heart! I am reading several on WEBTOON. I have a few I follow through DeviantArt; Erma is so frikken cute! Daughter of the Lilies, ahhhhhh so amazing and the artwork!!! Pincushion! Constructs will always have a place in my heart!

I just got into the Good Omens fandom, because I’m a Whovian and Tennant is defiantly one of my most favorite of Doctors. He was just so beautiful in it. And when I took my Shakespeare course my teacher had us watch Hamelt and ohhhhh Tennant. Ohhhh you really can’t tell if Hamlet has gone crazy or it’s an act (which he claims it is!!). Sir Patrick Stewart was also just... oh!!! I entered Good Omens because my Instagram was all Ineffable Husbands (I think because of my Doctor Who love). Finally, finally i watched it.

That was like three weeks ago I got into Good Omens and I still am completely in love. The tenderness, the loving looks. I have to read the book! And the script book! (Depression, yay!). I need to listen to the radio adaptation and revisit Queen (I was raised on rock’n’roll. And I mean, David Bowie has probably been the only Rock Star I ever went heart-eyes for... also kinda sad he wasn’t mentioned in Good Omens because he did work with Queen and let’s face it, Bowie was so gender-nonconforming!). I just want to ramble and babble on and on about the series with someone. About all the hidden bits and pieces and theories and things in my head!!!

But... I don’t have anyone. My girlfriend sort of shuts down when I talk about any of the fandoms I like. She will just skip those parts of the conversation and comment on the animal videos I send her or something else. She will talk about work or God. Again, I’m know Religion and people. If there is something I know best is you can’t dictate what someone else’s beliefs are. So while I know the Bible and Christian theory, when she talks about it and tells me stories I can only “nod” and “smile” because if a persons religion isn’t harming themselves or others, and it’s helping them, I don’t think it would be right to argue theory and philosophy with them over what is mostly fairytale stories in a book. I’m not saying their isn’t a Christian God, or many Gods, or things in the Bible didn’t happen, but not all of it is factual nor was it ever meant to be seen as strictly factual. I try to show I am at least paying attention to what she says.

At the same time, with the state I have been in, I probably haven’t given her what she needs when she is telling me about stuff.

Fantasy and fiction has been the only thing keeping me afloat. Religion and work has been helping her. I just can’t see a world without the magic of make-believe but that’s not where she is anymore.

So... I’ve been thinking for a bit now maybe we’re no longer what we need for each other in our lives. Not that we don’t love each other, and not that we can’t still be friends... but maybe it’s time we adventure out? We were what we needed from each other for years... maybe we just aren’t that anymore.

#asexual #relationship #introvert problems #relationship problems #i need a hug #need advice #help #need friends #am lonely #grsm #lgbtq #lgbtpeople #lgbtqa #asexual relationship

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