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fangirlswilltakeovertheworld · 3 years

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She-Ra High School Theatre Kid AU Headcanons

I made this because I am a theatre kid, and me and my sister were talking about Double Trouble being a theatre kid, so this happened. We basically came up with this entire au while we walked our dog.

Also I know none of this stuff would ever happen in real life, but it’s fanfiction, let me have this

LETS GOOOOOOOOOOOO

Angella as the director

Shadow Weaver as the assistant director

Horde Prime is the principal who is very not supportive of the arts

Hordak is the head of tech

Castaspella runs costumes

Huntara is the choreographer

Actors:

Catra - Has been in love with theatre since she was a kid, wants to be an actress when she grows up. She’s only ever cast as the villain/antagonist because she’s so good at playing those roles, but she’s not complaining. Shadow Weaver hates her and constantly talks down to her whenever Angella’s not around. Really good singer.

Double Trouble - Also in love with theatre. Brings the drama. Really good at whatever role they receive. Always competes with Sea Hawk for the lead role regardless of gender.

Sea Hawk - Theatre kid is his entire personality and he lives for it. Competes with Double Trouble for the lead role regardless of gender. Loves roles that get to do fight choreography. Has a habit of setting at least one prop, set, or costume on fire every show. No one knows how, and honestly, neither does he.

Glimmer - Director kid vibes, we’ve all met one. You know what I’m talking about. Usually gets a big speaking role, but not the lead. Jealous of Catra bc Glimmer thinks the villains get better songs. Catra agrees and holds it over her head constantly. Has a habit of being an “actor director” sometimes, but never in a mean or condescending way, and most of the time Angella was going to give the same note. Most of the time.

Bow - Actor/Techie. Auditions for a role, but if he doesn’t get one, he’ll do tech. He doesn’t have a preference, he just likes being a part of the process and being with his friends. One of the only basses in the department.

Mermista - Actor/stage manager. Even when she has a role in the current show, Mermista is still the stage manager bc she’s the only one who can deal with and control everyone’s shit(aka Sea Hawk level shenanigans). Actually a really good actor when she puts effort into her roles, but it has to be for a show she actually likes.

Kyle - Usually ensemble, but sometimes he has small speaking roles. Famous for breaking or losing props.

Techies:

Entrapta - Sound/lights. Works with Hordak, they’re close friends. He’s dreading her graduation bc she’s the only who actually understands how to run the systems. She insists she’ll be back tho.

Scorpia - Build crew. Stronk. Nuff said. Started bc she wanted to support Catra, and kept doing it bc she thought the head costumer was cute.

Adora - Also build crew. Again, stronk. Paints occasionally because that was her first choice, but they lack muscle strength in build. Can only get away with painting if Lonnie is there that day. Joined to watch Catra and Catra only. Has only listed to the songs that Catra sings in her role. Has never listened to a full Broadway album. Glimmer is disappointed.

Lonnie - Build crew. Not that interested but comes to support her friends when she doesn’t have lacrosse practice. Never runs a show, but watches every night.

Rogelio - Paint crew. Adora lost an arm wrestling contest to him, and he got first choice. She’s forever salty for it but too nice to argue.

Perfuma - Head of costumes. Castaspella and her get along great, they practically have the same personality. Crushing on Scorpia.

Frosta - Costumes. Cousins with Mermista. Comes bc she heard about the chaos and drama that goes down. Will run shows if she doesn’t have hockey practice.

Swift Wind - Fly.

Now for the plot:

The show for the year: Wicked

Cast

Glinda - Double Trouble

Elphaba - Catra

Fiyero - Sea Hawk

Boq - Kyle

Nessa - Glimmer

Madame Morrible - Mermista

The Wizard - Bow

But then two tragedies occurred

Tragedy 1: Angella had to step down as director bc Micah was in the hospital or something idk

Tragedy 2: 2 days later, Sea Hawk breaks his leg pretty bad and he won’t be better in time for the show

Le gasp

So Shadow Weaver takes over as director

Some Shadow Weaver background info: She was a famous actress many years ago and thinks this high school production stuff is below her. She still has a lot of connections to the professional world that she uses from time to time. She wants Adora to follow in her footsteps as a famous actor despite Adora being an incredibly bad actor. She hates that Adora does crew and not acting, but couldn’t do anything about it. Until now.

Now that she’s director and they’re down a Fiyero, she basically forces Adora to play Fiyero, despite the other capable actors who could’ve done it and Adora’s own protests. Think something like: “why can’t bow do it? I’ll be the wizard if there really aren’t enough actors!” “Oh no, bow is the only one who can hit the wizards notes bla bla bla”

Adora doesn’t want to do it, but she also doesn’t want the department to not be able to do the show. Plus she would get to hang out with Catra a lot which would be cool

I’m guessing you can already tell where the conflict is coming from, but we had some very clear ideas of stuff that happened, like

Adora was behind bc she wasn’t going to play the role originally, she’s never acted before, and she can’t dance. So she has a lot of one on one practices with Huntara, the choreographer. Before getting the role, the only practices Adora would watch if she didn’t have crew were the dance practices. She went purely to watch Catra, but Catra thinks that she has a crush on Huntara.

Tension and miscommunication, y’know?

Bow and Glimmer are both very supportive but also nervous bc they know that Adora is extremely bad at acting

Sea Hawk has never seen Adora try to act before, so he doesn’t see what the issue is. Once he’s well enough to go to school again, he comes to every rehearsal even tho he can’t be in the show. And then he sees. And then he’s like, oh no.

But he tries to be supportive and pump Adora up.

Adora is feeling a lot of pressure bc of her new role and doesn’t want to screw things up for everyone.

Catra is a little pissed off that she’s been paired up with someone who can’t act for her senior show, so she’s a little snippy at first, and Adora is tense, and it’s a mess

But Shadow Weaver doesn’t care, and ends up blaming every problem they have during an acting scene with Adora and Catra on Catra, even though she’s the best actor in the department. Because ✨favoritism✨

And you know, they do the whole hot-cold, she hates me, she’s cute, I love her but she doesn’t like me, bla bla bla throughout the course of the show

A week before opening night, Shadow Weaver makes things worse by mentioning that she invited her friend who’s a talent scout to watch the show. Shadow Weaver wants the scout to help get Adora into the acting business.

Catra wants to use this opportunity to get her name out there, so she needs her performance to be perfect

Which is hard to do when her love interest couldn’t act her way out of a paper bag

It’s two days before the show and they still haven’t practiced the kiss scene. Every time they brought it up before, like “should we practice the kiss? I mean, only if you want we don’t have to”, they both got the impression that the other didn’t want to kiss them

(Useless lesbians)

So it’s 2 days before the show, and Shadow Weaver is like, you gotta practice the kiss

So they kiss, and Catra is like, whoa she’s a really good kisser, so she’s quiet after the kiss

And of course, Adora takes that silence as “she hated the kiss and she hates me” as you do

So their practices the next two days are even worse than they were before

Finally, it’s opening night. The scout is coming and they’re out of time. Shadow Weaver ends up shoving Catra and Adora into a closet. She does her whole “you don’t want to let me, your friends, or the audience down do you? Whatever’s distracting you needs to go” to Adora, and then she turns to Catra and is like “fix what you’ve done, I know you sabotaged her you useless child. You’re going to be the reason this show goes horribly” and then she leaves

AND CATRA AND ADORA ACTUALLY TALK I KNOW IM SHOCKED TOO

Adora’s like, sorry I’ve been so weird the past two days, I just realized I really like you after we kissed, but I know you don’t feel that way about me, sorry if that makes it weird

And Catra’s like, Adora you idiot I love you

And they kiss

And Bow finds them still kissing in the closet 20 minutes before the show opens and rushes them to Castaspella to get their make up fixed

It ends up being Adora’s best performance because every time they’re about to go on for a scene together, Catra tells her to forget about the audience and just focus on her

The scout ended up liking Catra and Double Trouble a lot to Shadow Weaver’s disappointment

Facts that aren’t important to the main plot, but definitely happened

One time, before Sea Hawk broke his leg, Catra was trying out her harness for the defying gravity and other flying scenes, and Swift Wind, who does fly, accidentally dropped her and she landed on Adora

No Good Deed was the best moment in the show, and the amount of emotion Catra was able to put into her performance during that song was a little frightening but also made a lot of people tear up

The second best scene in the show was surprisingly As Long as you’re Mine, because Adora was actually able to forget about the audience and just focus on her love for Catra

The show last year was Mean Girls. Catra was Regina. Glimmer was Gretchen(you can’t argue that she doesn’t give off, “I don’t think my father, the inventor of toaster stroodle, would be very pleased to hear about this” vibes). Mermista was surprisingly amazing as Karen, and played her deadpan perfectly. No one knows how she did it. Sea Hawk was Cady, Double Trouble was Janice, and Bow was Damien. They reference their experiences during this show during Wicked, but the only thing Adora remembers about that production is how hot Catra was during World Burn.

Ironically (or unironically, idk), Glimmer once said “I don’t think my mother, the director of the show, will be very pleased to hear about this” to an actor who was found sabotaging Catra’s mic for the show before Mean Girls. Catra thought Shadow Weaver put her up to it but there was no proof.

Princess Prom but making it Dancing Through Life

Or is it Dancing Through Life but make it Princess Prom

If someone wants to write this, please do, just send me the link so I can read it! I would write it myself but I’m lazy lol.

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creativeashproductions · 3 years

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Magician Behind the Music // Owen Joyner

sagSummary: Being in a studio recording songs is an intimidating experience for anyone regardless of age. Wanting the best in the business for his soundtrack Kenny Ortega brings his cast to the best in the business. Heading the production is no ever than Y/N with a certain sparkle when it comes to the tall blonde.

Warning: Swearing, insecurity, oblivious!reader and fluff

Words: 2.1k

A/N: I know nothing about producing songs so I ended up winging it. About time I make a fic for Owen

TO BE TAGGED SEND AN INBOX PLEASE!

Masterlist

The studio had the sound of music as a group of people walk down the hall of the building that housed world-renowned recording studio. The office chair was leaning back as a figure sat listening to the nearly finished album. Forest green Sanuk slip-on shoes on the feet of the individual the door opening wasn’t heard.

“Girls you wanna hear the finished product?” You questioned from your seat behind the large control panel. The four girls on the video chat excited responded enthusiastic band members.

Not needing anymore push the song replaced the one that had been playing as background noise. Sliding the volume up the music, you had both produced and featured played through the speakers. As the pre-chorus and the chorus came, you couldn’t help but start singing.

I find peace in every story you told

I think of you, I’ll never be alone

It’s true, true, true

You know I do, do, do

Oh, I need you more than words can say

Oh, you save me in ways that I can’t explain

Always been there for me, now I’ll do the same

Oh, I need you more than words can say

All five that poured themselves on the song couldn’t help but bop along with the catchy words and beat. By far, one of your most favourite songs you ever co-wrote, feature and produce. You and little Mix had been desiring to co-work on something for years now.

“That pre-chorus and chorus are the favourites of my career!” You excitedly announced glancing up the glass separating the booth from the control room. Your face found a handful of young adults and Kenny in the reflection.

“It’s gonna be a bop to sing!” Perrie agreed with her hair in messy space buns sitting at her computer desk in comfy clothes.

Jesy, Leigh-Anne and Jade wore similar loungewear in the safety of their homes after travelling out of LA back to England. An entire week spent solely on writing music and recording with a few sleepover nostalgic of the teen years.

“I gotta go. My next clients are here.” You told the excited British girl group before your cursor ended the video chat.

Pushing off with your toe on the floor, you faced the group seated taking in the awed expressions from the song. Part of you is annoyed at the blatant disregard of professionalism and the potential of the song being leaked.

“Charlie, Owen, Jeremy, and Madison this is my friend Y/N. She’s a musician, songwriter and a producer.” Kenny spoke, waving towards your seat position at the forefront of the control panel.

Your eyes gleamed brighter with the teal blue cable knit sweater paired with a pair of fitted blue jeans. The pros of being a producer in a recording studio meant the work attire was relaxed compared to desk jobs. It appeared this group was similar.

“Hello.” You spoke standing up to be closer to the group, “I believe you have a soundtrack needed? I’m Y/N Y/L/N. I’d like to ask that the song you overheard not be spoken about again.”

“I’m Charlie.” The brunette with a white hat put on backwards immediately shook your hand. Even with the hat, you could tell his hair was a gorgeous brown that contrasted his pretty eyes hazel green eyes.

“Hi Charlie.” You smiled at the male before stepping around him to the other three people in the room. The only other girl in the room was most definitely the lead of whatever show Kenny was currently doing.

“You’re Madison.” You spoke, taking in her youthful appearance and the quiet wisdom flowing within her eyes, the colour of dark coffee grounds. Her hair was down in her natural texture, resting on the shoulders of her muted olive green shirt.

“Jeremy.” Came from the shorter boy with startling rich dark brown almost black hair and eyes you couldn’t discern between blue or green. His cheeks a permanent pink flush but an infectious grin, “How are you?”

“My collaborators for a song liked it, and I’m not going to explain what you’ll be doing in the booth.” You replied gesturing to the enclosed space with the microphone and a stand of instruments.

Brushing off any other details you finally came to the only nameless individual in the room with the only blonde head of hair.

“Owen.” The blonde spoke softly with his eyes nearly begging to leave your expression with the anxiety building. This was so new for Owen, and unlike anything, he had ever experienced before in his life.

“Take a seat.” You motioned towards the long couch against the wall opposite the recording booth. It was a plus that extended couch perfect for a short nap after a near all-nighter. Your studio was the only one with such a good sofa.

“I’ve worked with Kenny on his Descendants series with the cast along with strictly only musicians. I say this with respect with Kenny, but if you don’t respect me or my process, I won’t hesitate to end this. It’s in the contract.” You sternly told the young individuals, “That being said. Your voice is an instrument that needs to be cared for. You need to be careful with it.”

The vocal coach dove into a more detailed list of the items not to be ingested by actors. The same thing happened with every new client you met after the horror film of a massacre a few years previous. As they went over, you looked over the schedule.

The binder was thick with the different songs in the series with jot notes in the margins. Kenny sat in the other chair, looking at them.

“So, Jeremy is the only one with experience?” You questioned glancing up at your elder with a look of curiosity. Kenny nodded with a fond smile, “Okay so let’s get his vocals for the first song recorded. That way, the others have a first-hand look at how it happens.”

Jeremy was quick to rid himself of his jacket to slide into the booth with the headphones resting on only one ear. In two hours, you had guided Madison and Charlie through their parts of this session. Your mouth opened to invite Owen into the booth but his demeanour concerned you.

“Kenny, how about we take a break for lunch?” You subtly guided Kenny to look at Owen before he quickly agreed.

Charlie was practically skipping out of the recording studio with his hands nudging Jeremy on his way out. Madison, led by her father, left right after leaving Owen to just about exit the room.

“Hey Owen?” You spoke, bringing the tensed young man’s attention, “Can you give me a moment?”

His head of thick blonde hair hesitantly nodded as Kenny followed the other cast members out of the room. Gently nudging the door closed you guided him to sit on the couch with you stationed in the office chair.

“First time recording is a bitch of pressure. I completely understand because I’ve guided people and been guided in the booth.” You began leaning forward to meet his eyes, “I know as someone with anxiety it’s intimidating. Let me know. Whatever you tell me will stay between us.”

Owen was quiet, “I’ve done other projects. I’ve never had the opportunity to have a role as a drummer. I guess this is overwhelming.”

“How about you hop into the room, and we mess around with a song?” You questioned, “I can show you how I produce if you’d like.”

“I’d like that.” Owen’s lips curved just a fraction into a ghost of a smile with the tension in his shoulders melting.

For the next two hours, you spent time in the booth explaining the equipment’s role in the recording. After he gave a short lyric, you invited him to sit by the soundboard with you to walk him through it. All the while, you shared the pizza you had ordered for both of you.

“I started in the business as background vocals for a few bands before I delved into my own career as a musician. I believe I was about seventeen when I got to be part of people getting the songs ready for fans. I fell in love and find it more fun behind the soundboard.” You informed the blonde listening to a recent song you had finished.

“This is insanely cool. I think I’m ready to record my parts.” Owen admitted playing with his fingers. In response, you typed out a quick message to Kenny, bringing the other people back after a long break.

As much as you would have loved creating the soundtrack, it wasn’t possible with your other commitments. Leaving the work in Alana’s capable hands, you had been packing for your visit to the UK for performing the song with Little Mix. Owen, having the day off, had found himself in your apartment as he had for the last few weeks.

“Do you really have to go?” Owen whined, staring at with his head tilted back on the couch. Lips pursed in a pout and blue eyes shining sadly.

“As much as I would adore falling for that look, we both know I have to.” You admitted dropping packing to snuggle into his side, “What’s up with you lately?”

“What do you mean?” He questioned, rolling his head on the back of the couch you look at you. From the position, he couldn’t see your face, but that didn’t stop him from staring.

“It’s hard to describe, but you get flustered when certain songs come on. You’ve been ditching the cast to spend time with me.” You listed off, staring off into the distance, “You got Charlie to drive in the opposite direction of your work to pick me up.”

“What kind of songs?” Owen inquired with one arched eyebrow high. You shifted to stare up at the soft look in his pretty blue eyes.

“It was some duet from that tv series about the High School Musical films…” Your sentence trailed off as everything clicked, “You have feelings for me.”

“Thought it was blatantly obvious. I danced with you in the rain at midnight while I sang to you. I think that’s the most obvious action.” Owen chuckled brushing a strand of hair behind your ear as he took in the startled expression

Owen had walked you home after a late recording session with the cast talking each other’s ear off with different subjects. His hand had slid into yours as he tugged you into the ice cream shop on the way; a scoop each. His eyes glued to every move you made with passion behind every single word.

“-they came to me about a song. It’s a surprise for Kenny, I suppose.” Your one holding the ice cream cone nearly went flying with the motion you made. Your other clasped in Owen’s without even realizing it.

“So, it’s the last song you’ll be helping us on, right?” Owen asked halting to toss the napkin from his cone in the closest bin. You followed suit while intertwining your fingers back together.

“The girls want to do a short little radio tour to promote the single. It would be a month most likely to brainstorm new ideas for songs. We’ve all agreed to collaborate in the future.” You informed the nineteen-year-old. He was a year and a half younger than you.

“When-”

Your sudden squeal cut him off as the sky opened up to a sudden pouring of rain on the two of you. Had you not been so focused on the conversation you would have seen the cloudy sky and the light drizzle of rain.

“Whoa!” Owen laughed, tugging you into his arms in a complete act of spontaneity. His voice softly singing one of your favourite songs.

As he twirled you around in the rain, he serenaded you with Edwin McCain’s song ‘I’ll Be’ unapologetically sharing a piece of himself. It seemed the universe took pity on the male by allowing him to dance smoothly with his friend.

“This is my favourite song.” You giggled as he dipped you with one of your legs in the air. The joy in your features melting the actor’s heart.

“You’ve been playing it every day for the last week.” Owen beamed, leaning his forehead on yours as he trailed off the end of the song, “I’ve memorized every lyric in it.”

With rainwater dripping down your nose the words settled in your mind cementing something you had been only slightly aware of. Playing that song often meant one thing: you had deep feelings for someone.

The someone being Owen Joyner.

“I’m kind of stupid.” You snorted turning to wrap your arms around his neck, “I’ve got no doubts I fell in love with you in that dance.”

Owen’s grin preceded a toe-curling kiss that was the first of many that would happen.

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#owen joyner imagines #owen joyner x reader #owen patrick joyner #julie and the phantoms imagines #jatp fanfic #owen joyner #jatp #julie and the phantoms #caitsy and ash productions

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daydreamreality · 3 years

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Thinking about actor availability, and how that affects my perception of Jess and how strongly I feel about shipping Literati.

Really thought this would only be a few paragraphs going over the points where Jess could have disappeared never to be seen again, but it turned into a freaking essay so LONG POST warning if you decide to click ahead.

If the last we saw of Jess was hanging up the phone in the season 3 finale: "Well, it was fun ride while it lasted. That's about how I thought this would end." Still have a lot empathy for this kid and wish him well, but you screwed with Rory's heart like I knew would happen. Was that intentional? No. But he was so immature, out of control with his emotions, zero communication skills, not trusting in others...the list of reasons why he wasn't ready for a serious relationship, even if the feelings were serious, goes on. There was no way Rory wasn't going to end up as collateral damage in his personal breakdown that I could feel was going to happen. And this is the thought I had as a teenager with no dating experience watching this show for the first time. Did I want to date him? Hell no! I could see that trainwreck from a mile away. Rory was naïve to put her heart in his trust but that's part of her good qualities - she's sees the best in people and champions for them. I could go on a tangent about why exactly Jess was such an important character to me when I first watched the show (and probably why he stuck around unconsciously until I decided on a whim to rewatch GG in lockdown) but...I don't know, maybe some other time.

In the context of the entire show, I would look back at the relationship as my favorite one to watch of Rory's in the series (The build-up! The connection! Their deep belief in and respect for each other! The angst!) and Jess being a really fun character to root for (and yell at) but endgame? It was a short lived but important relationship. It’s fun to think about what ifs and how circumstances could have changed to make it work, but we can move on.

The ill-fated spin-off: I have no idea what this show would have been about except focusing on Jess and Jimmy and I’m not about to theorize. I still like Jess at this point so it would probably make me like him more since we’re getting a deeper dive into his character, but in regard to shipping him with Rory, this opinion would not change unless he all of sudden showed some great maturity. But I doubt this show would have even gotten a whole season so that probably wouldn’t happen. And then he’s living in California…this is too much, moving on.

If the last we see of Jess is in season 4: About the same feeling as above. Life, as expected, has not been treating Jess well. At all. His jadedness and hostility is at an all-time high when he shows up to get his car. Do I see the reasons informing his behavior and have empathy (once again, for a KID)? Yes, but he's also being a jerk. "The years don't seem to have hardened you." Well this year sure has!

I love the "I love you" scene but too little too late, buddy. That's probably why I love it, it's all a bit hopeless. Just keep shoveling the angst at me. I do like fics where this scene is reimagined with Rory running after him to give him a piece of her mind or Jess finding some other words to say (I really feel like he had more to say there but got overwhelmed), and coming to a tentative reconciliation: exchanging numbers, "don't fall off the face of the earth," but getting back together? No. You hurt her and you're feeling the consequences. Rory is not obligated or responsible to reciprocate those feelings, nor is she in a place to do that right now.

But season 4 does cement that Luke and Jess's relationship is one of my favorites in the entire show. There's probably a whole other post in me regarding that so I'll keep it brief. Because of his respect for Luke, Jess makes tentative steps towards maturing in interpersonal relationships. He shows some vulnerability and honesty with a veil of sarcasm and awkwardness because, well, it's JESS.

But then of course this all goes to hell when applied to Rory. Sometimes I like to think how this dorm scene would have gone down if Rory stepped back for a second and went, "Hold on. You're not making any sense, chill out," and they could have talked a bit and had a similar reconciliation like I said above because I really think that’s all he was going for - to talk to her, apologize, and make an attempt at reciprocation like he did with Luke. But getting back together here? Canonically, he hasn't made enough progress. He set aside his personal feelings to be in his mother's wedding and used the knowledge from the self-help book to apologize to Luke, but I don't think the book's message has sunk in all the way yet and he’s still got a massive chip on his shoulder preventing him from making a good life for himself. Getting rejected by Rory here is an important moment and I really like it. It's fun to think about the AU if Rory had said yes (hello road trip!), but it's very in-character for her to not be able to handle Jess's crisis and just shouting "NO, make it stop." This is one of my proudest of Rory moments: Protect your heart girl, he ain't ready. The seeds have been planted that Jess will continue to grow and I wish him well on his journey. Endgame material? Nah. Goodbye forever, take care my friend...

Even though this scene doesn't feel like closure at all, I really thought this was the end of Jess Mariano. So imagine my surprise when -

SEASON 6: HE'S BACK. Coming out of the shadows, [literally] it's Jess Marianoooo *air horns* *confetti* *jazz hands* *Jess rolls his eyes at the fanfare*

Alright, that's out of my system. But for real that's what my mind did at this point. For context, the way I watched this show for the first time was getting the DVDs from the library while a couple of seasons were still on the air; when a new season was available to borrow, I would rewatch all the seasons up to the current point so my memories and favorite parts of the show are seasons 1-4. Because I was not bingeing the show all the way through, seeing Jess here seemingly so different didn’t feel out of place. A shock, yes! A happy surprise. But nothing about him seemed OOC. A year had gone by, we’d seen some signs of maturity in him, and getting rejected by Rory was a big kick in the ass for him to start making bigger changes in his life. I really cannot emphasize how satisfying and sensical his positive character development felt to me.

The slight maturity we see in season 4 in its full potential. Jess is still Jess: guarded, self-deprecating, and a bit prickly but he shows a sense of calm and feeling more comfortable in his skin. This is really satisfying to see as someone who always "knew" there was a kind and capable heart underneath the exterior just like Rory did, and that tough guy, must protect myself at all costs posturing has melted away. But that side of him isn't gone, it's not like the writing did a complete 180 on his character. I love this. He's just...more at peace with himself but he's not a different person, and he's found something to direct his focus and intellect on. He's made his peace with Luke, and now he has something of worth to show Rory to try to mend that hurt as well.

Yes, it would have been nice to see how and why he decided to write a book and work in publishing but this course of events is not out of left field, nor is Jess enough of a main character at this point for scenes like this to be necessary to the show unless they were tied to Luke and showing another side of him. Jess has shown in the past that he has a good work ethic if he feels it is worth it. The problem wasn't him being lazy, just poor decision making and focusing on RIGHT NOW, "I need to get out of Stars Hollow and live my life," and not considering the consequences of his actions. Which as an immature kid whose life had told him he can only depend on himself...not out of the ordinary. The dude’s life passion is literature and has probably read every book he can get his hands on, it’s not crazy that he had his own story in him.

Here is where Literati becomes endgame material for me. Prior to the revival it was always my feeling that post-series they would reconnect while Rory was on the campaign or afterwards. It would be low drama (except for Lorelai criticism), slowly gaining trust in each other again, and eventually starting a committed relationship within a year or two of being friends with sexual tension (lol). They made their adolescent mistakes, hurt each other, but learned from it and started over on infinitely better footing.

The match just makes sense to me at this point for many reasons; I don't feel like I need to list them all out because you can go to any pro-Literati post and I'll probably agree with the majority of the points. The biggest issue they had was timing: “Right heart, wrong time.” I like especially how they even out each other's more extreme personality traits. For example, Rory learning from Jess to consider her own feelings instead of sacrificing herself for others, and Jess considering others before himself all the time. Or professionally, I can see Jess encouraging her to step away from her ultra-organized, “everything has to be just so” ways when it benefits her to seize an opportunity right now, don’t worry about the details, you got this. Maybe Jess has another book in him, but his self-deprecation and disorganization prevent him from getting it done but Rory helps him be more objective and focused. There’s this…synergistic energy I feel with the two of them: they’re great by themselves, but form something better together.

Judging from Rory's reactions towards him in this season, I don't think it's OOC for her to have romantic feelings for him again. She's extremely proud of his accomplishments and not unhappy to see him (not holding a grudge). They fall back into their comfortable dynamic even if it makes them both a bit nervous. Now some could argue that this means that Rory only wants to be friends with him but...when have Jess and Rory ever been just friends? If "Another Year in the Life" comes out (I've got serious doubts but would love to be proved wrong) and Rory rejects him or he's not even a part of it, fine! But I just don't see anything in canon that says explicitly she'll never feel romantic towards him again.

Now the kiss...there's a lot of ways to read that scene. Do I think Jess was in the right to assume "everything is fixed" as a go ahead? No. But that's part of why he is such an engaging character: he's impulsive and acts in accordance to his feelings, and yes, this gets himself and others in trouble.

Do I think Rory purposefully went to the open house to "use" Jess to get back at Logan? No. I think she genuinely wanted to support him, and Logan being out of town meant she wouldn't have to explain why it was important for her to go. I see the kiss paralleling the one in 2x22 but instead of Rory not being able to hold her feelings in any longer, Jess initiates. The way I see it is she was unaware she still had lingering feelings towards him (not out of nowhere, I mean their relationship has "unfinished business" written all over it) and that scared the crap out of her, just like at the end of season 2. So she runs away to the "safe space" that is being with Logan. Because she's in love with Logan, she has a sense of obligation towards him, and Rory has shown many times that she does not react well to change and highly emotional situations.

Is this scene a deal breaker for a future relationship between them? I don't think so. Jess says that he isn't sorry she came, which I take as "I'll never be sorry to see you no matter the context." Yes, this hurt him and made him pretty mad, but I don't think he's holding a grudge against her for this; even in the moment he's more concerned that someone cheated on her and her safety getting to her car. He sets a boundary that he doesn't deserve his feelings to be pushed around like this and Rory agrees. Not that I condone this sort of tit-for-tat hurting of each other (which I don't think Rory was going for in the first place) but it's almost like...that cycle is now broken. The whole scene is so open ended, it doesn't feel like a "good bye forever" to Jess.

"But Rory is so in love with Logan!" I don't know about you, but that "I'm in love with him despite all the bad he's done..." sounds so defeated and sad. It's almost like she's resigned herself to being in love with Logan. The first time I watched this, I thought this was foreshadowing that the relationship was on its last legs. To keep them together, Logan almost dies so Rory will bury her hurt out of guilt for holding a grudge against him. She is completely entitled to feeling hurt by Logan's actions, and I hate that she feels like she has to do this. But it happened, moving on.

"But Rory is a cheater!" When I think about Rory's characteristics, "cheater" doesn't make the list. She feels entitled to the men that she's loved and this isn’t super great behavior, but I don't view her as inherently unfaithful or okay with cheating. I give her leeway on the season 2 Jess kiss because she was a teenager with a lot of conflicting emotions and everything around her was pushing her to stay with Dean. The season 4 Dean debacle...she was still very young and naïve. I put most of the blame on Dean for manipulating her; I say most because if Rory really wanted to be with him, she should have been more sure of the status of his marriage, but I repeat: he manipulated her and she was very young and naïve. I dare to say she has been conditioned to view Dean as nothing but safe and trustworthy so why wouldn't she believe him... Season 4 was all about her being out of sorts when away from the Stars Hollow bubble and trying to reclaim some normalcy. Narratively, I see why this makes sense and I don't think the intention was to say “Rory is okay with cheating,” but to show very explicitly that Rory isn't perfect. This show goes to extremes, at this point I kind of just accept it and don't jump to "this person/character is terrible!" Certain characteristics and behaviors I have less patience for (mild) or will make me lose all respect for a character (extreme - honestly very few GG characters fall into this category for me); you may feel differently and that's fine. When other plot points in this series are much more bizarre and OOC, while this turn of events makes me uncomfortable and angry, at least it makes sense to me.

The 6x18 kiss I've already said that I don't think Rory had premeditated intent to cheat on Logan judging from the fact that Jess initiated it; yes, she went with it nor was it a complete surprise, I get this. The "I couldn't even cheat on him..." line I think is an outburst of guilt and regret, not her saying she had a plan in mind. Maybe I'm being too soft on her, I don't know...she did stay there late but maybe she just got lost in the book while waiting to say bye. We've seen her not know how to deal with conflicting emotions and change to her status quo, and attempt to distract herself when life isn't panning out the way she wants and not think about the consequences in the moment, so I don't find this scene OOC or intentionally cruel. The revival...I don’t think I can even go there right now because it would just be me screaming incoherently about how much I hate "full circle" and how bizarre the entire thing was. Maybe something of value would eventually come out with a lot of editing. XD

This isn’t to say I’m 100% on Rory’s side all the time. Pretty much every character in this show has at some point made me smile, made me laugh (generally with them, but some characters it’s more like at), made me want to give them a hug, made me roll my eyes, and made me want to throw something at them. That’s why I love it so much! Even if the drama is turned up to 1000, I still get the sense that these characters are human. My favs end up on my “will protect at all costs” and “shit” lists throughout the series, no one is immune. Except Lane. She really is the best person in this entire show. #JusticeForLaneKim

If ASP had written season 7: (Remember there being some sort of theme to this post? Only two episodes in s6, but Jess sure does make an impact.) I bet Jess would show up at some point. MV is loyal to the creators and not the show, if it was important for Jess to be there I’m sure his shooting schedule would have been accounted for. Storyline would have been similar to the revival because AYITL is ASPs season she didn’t get to do without considering how time passing affects the characters (I’M STILL SALTY) except Rory is at Yale and I think the book was a new idea. Shipping as endgame doesn’t change, and I bet there wouldn’t be a nice little Literati ending because we’ve got to end it the same way, right? I don't even need them to be together at the end because Rory has greater plans to focus on, but just a moment! One moment is all I asked for... I don’t know if this makes me mad because I felt like the narrative had been pushing us along this path for so long even if actual "endgame" was going to be offscreen or if I kind of like just having it in my imagination. Little bit of column A, little bit of column B. In any case, it could have been cool to see Jess present for the birth of his half-sister and giving Luke some support.

Like I said, I'm not touching AYITL right now. The whole starting point of this was, "huh, if MV never came back to the show, how would I feel about Jess and Literati?" And he was in it so it doesn't really fit into this even though we've gone on a meandering journey as pieces of discourse that have never sat right with me but didn't quite know how to express that disagreement until now popped in my mind. So there you go. If you’ve made it to end, claps to you, what a champ.

At the end of the day, Literati is the ship that makes me feel the most things, it's kind of just a gut thing. This really isn't any sort of argument just an outpouring of love for the show and these characters. I don't know how well that's communicated, but hey, I try. I’ve got a lot of nostalgia for the pairing and I always viewed Jess as being Rory’s, and only Rory’s, choice.

#Gilmore Girls #Literati #rory x jess #Jess Mariano #I've been writing and editing this for 2 weeks and just accidentally pressed post and uhhhh #I don’t think there's more you can do self #Just run with it

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wr1ter-reader-dreamer · 4 years

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Waiting (Pt. 1)

Timothee Chalamet x Reader

A/N: This story is an original work of fiction inspired by actors I like. If you like it too, please reblog it and leave a comment. Also check out some of my other works at my master list linked below. I welcome feedback, so let me know how I could make my posts better! Thanks, and enjoy <3

Masterlist

Part 2 - Part 3

He had been away filming for months, and it was hard. We had gotten by with late night phone calls and Facetimes, but it was obvious how much we missed each other. Usually I was able to take time off to spend a week or two wherever he was filming, but not this time. This time the director had requested no outside guests, hoping that it would keep everyone focused so they could finish as fast as possible. Never before had I hated his job as much as I did now, but it was his passion, so I tried not to show it.

The calls and Facetimes had been innocent at first. We would end almost every night with a summary of our days, a statement about how much we missed each other, and a declaration of love. Days where we knew we would be too busy to call would see numerous Snapchats with short captions about whatever we were thinking at the moment. Everything was going fine the first month, but then everything changed.

I had been having a particularly hard day at work when I got a text from Timothee to check his Instagram. Curious, I immediately clicked open the app and looked for his most recent post. What I saw had my body instantly heating up.

The picture was a first look of Timmy’s character in the movie. He was dressed in period garb with black leather pants and chainmail. His hair was cut shorter than usual, and he was looking off camera with a serious look on his face. The image radiated power and authority, a look I usually only saw from Timmy in bed.

Sucking in a deep breathe, I attempted to rein in my racing heart. I didn’t bother texting him back, knowing he would see that I had liked the post and that he would know what it had done to me. For now, I tried desperately to focus on my work until I could get home and show him exactly how much I had liked the picture.

That night our FaceTime hadn’t been so innocent. Instead we both showed each other just how much we had missed the other with lowly spoken words of praise and need. After that, all of our conversations had an underlying, if nor outright, sexual tones. It was obvious that we needed each other in a more carnal way that neither of us were bothering to hide.

It was no surprise really that we had come to this. Timothee and I had always had a very active sex life, and that didn’t change just because he was away filming. After almost two years together, we knew all of the alternative ways of getting each other off. If anything, it was surprising that we hadn’t started this earlier.

We continued like this for two months, our calls now ending with breathless “I love you’s” after we were both temporarily satisfied. Neither of us was a stranger to the fact that the tension and sexual frustration was building the longer he was away. I needed him, and he needed me, and the last day of filming could not come fast enough.

Just when I thought I would die from frustration, Timmy announced in an excited call that he would be him in two days. Bubbling with anticipation, I prepared for his arrival. I re-stocked the fridge with all his favorites, changed the sheets on the bed so he could crawl into fresh ones, and even bought a new set of lingerie that I knew he would love.

I took off of work the day he was set to arrive, knowing I wouldn’t be able to focus. Instead I set my focus on preparing for tonight. Timmy’s plane would arrive relatively late, and I knew he would be hungry, so I made his favorite dinner. I also took a shower, shaved, and put on the lingerie under now of his oversized t-shirts so that I was prepared for desert. It was a tradition to spend our first night back together relieving all of our built up tension, no matter how late he got in.

Finally, I got the text that he had landed and was in a car on his way home. Squealing, I set out dinner on our small table and went to the entry hall to wait. I knew that it would take a while for him to arrive, but I was to excited to do anything else. I had missed my sweet boy more than I ever could have imagined, and I was so happy to finally get to be in his arms again.

Lost in my thoughts about his soft smile and fluffy brown hair, I almost missed the sound of the key turning in the lock. Still, there was no way I could miss the door swinging open to reveal my handsome boyfriend, a large yet tired smile on his face.

“Timmy!” I squealed, rushing into his arms and almost knocking him over in the processes.

He laughed and dropped the bags in his hands so he could wrap his arms around me, “Hi, mon amour.”

Eagerly I pulled back from the hug only to connect my lips with his in a frantic kiss. Pushing up on my toes, I tangled my fingers in the base of his now grown out curls and tugged lightly. He growled, returning my kiss briefly before pulling away with a quick peck.

“I’ve missed you, baby,” he sighed as he smoothed his thumbs over my cheeks and looked at me, “I almost forgot how beautiful you are.”

Rolling my eyes, I nipped playfully at his thumb before stepping away entirely, “I made you dinner.”

“I can smell that,” he smiled, hand trailing down my arm to my own so as to not loose contact. After so long away he didn’t want to let me go for a second, and I was perfectly fine with that.

I bent down to pick up his bags as I said, “Why don’t you get started, and I’ll take these to our room?”

“Merci, mon cher. Hurry back, though. I miss you.”

Smiling, I nodded. I quickly took his bags to our room and deposited them in our closet before glancing in the mirror. Briefly, I fluffed my hair and smiled, then made my way back to where Timothee was tucking into dinner.

“How was your flight, handsome?” I asked as I sat beside him and tangled my fingers with those of his free hand.

Taking a moment to chew and swallow his bite, he shrugged, “Long and boring. This is really good.”

“You should know by now that I can cook when I want to,” I teased playfully.

He rolled his eyes with a smile, “But you prefer when I do it.”

I shrugged, “Not my fault those French grandparents of yours taught you so well.”

With a laugh and a shake of his head, he reached for the glass of wine by his plate. I watched mesmerized as his long fingers wrapped atone the simple glass and brought it to his lips. His soft lips curled around the rim, Adam’s apple bobbing as he swallowed a large gulp. Then he returned the glass to its place by his plate, and my eyes lingered on his hand.

He had such nice hands. Long fingers, wide palm, perfect for curling inside me or pinning my hands above my head when I was naughty. Instantly my body heated uo, reminding me just how long I had gone without those hands on me.

Timmy must have noticed my gaze because he sighed. Blushing at having been caught, I looked up at him to find an apologetic look on his face.

“What’s wrong?” I asked with a slight frown.

He sighed again and turned slightly to rest his arm on my shoulder and play with the ends of my hair, “I’ve had a really long day, mon amour, and I have to be up really early for a photoshoot tomorrow.”

“So?”

“Baby,” he said softly, abandoning my hair and cupping my cheek, “I can’t tonight.”

“Oh,” I said dejectedly.

“I’m sorry, amour. I know how much we’ve both been looking forward to this, but I need to get some sleep.”

Plastering a small smile on my face, I shook my head, “It’s alright Timmy. I understand, and I can wait.”

“Are you sure?” he asked, leaning down slightly to catch my eye.

“Of course.”

He smiled and pulled me into a big, “Je t’aims, douce fille. Merci.”

“I love you too, Timmy. So much”

And that was how we broke tradition for the first time. Timothee finished his dinner then took a shower while I cleared the table. When I was done, I got ready for bed, making sure that he didn’t see my disappointment. I knew that his job was important, and I didn’t want to make him feel bad. I hadn’t lied. I did understand, and it was fine. I was perfectly capable of waiting. I just didn’t realize how long I’d have to wait.

A/N: There are a second and third part to this, so make sure to hit the link above to read them! And if you’d like to read more of my work, make sure to check out my masterlist, also linked above.

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grigori77 · 3 years

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2020 in Movies - My Top 30 Fave Movies (Part 1)

30. BODY CAM – in the face of the ongoing pandemic, viral outbreak cinema has become worryingly prescient of late, but as COVID led to civil unrest in some quarters there were a couple of 2020 films that REALLY seemed to put their finger on the pulse of another particularly shitty zeitgeist. Admittedly this first one highlights a problem that’s been around for a while now, but it came along at just the right time to gain particularly strong resonance, filtering its message into the most reliable form of allegorical social commentary – horror. The vengeful ghost trope has become pretty familiar since the Millennium, but by marrying it with the corrupt cop thriller veteran horror screenwriter Nicholas McCarthy (The Pact) has given it a nice fresh spin, and the end result is a real winner. Mary J. Blige plays troubled LAPD cop Renee Lomito-Smith, back on the beat after an extended hiatus following a particularly harrowing incident, just as fellow officers from her own precinct begin to die violent deaths under mysterious circumstances, and the only clues are weird, haunting camera footage that only Renee and her new partner, rookie Danny Holledge (Paper Towns and Death Note’s Nat Wolff), manage to see before it inexplicable wipes itself. Something supernatural is stalking the City of Angels at night, and it’s got a serious grudge against local cops as the increasingly disturbing investigation slowly brings an act of horrific police brutality to light, until Renee no longer knows who in her department she can trust. This is one of the most insidious scare-fests I enjoyed this past year, sophomore director Malik Vitthal (Imperial Dreams) weaving an effective atmosphere of pregnant dread and wire-taut suspense while delivering some impressively hair-raising shocks (the stunning minimart sequence is the film’s undeniable highlight), while the ghostly threat is cleverly thought-out and skilfully brought to “life”. Blige delivers another top-drawer performance, giving Renee a winning combination of wounded fragility and steely resolve that makes for a particularly compelling hero, while Wolff invests Danny with skittish uncertainty and vulnerability in one of his strongest performances to date, and Dexter star David Zayas brings interesting moral complexity to the role of their put-upon superior, Sergeant Kesper. In these times of heightened social awareness, when the police’s star has become particularly tarnished as unnecessary force, racial profiling and cover-ups have become major hot-button topics, the power and relevance of this particular slice of horror cinema cannot be denied.

29. BLOOD QUANTUM – 2020 certainly was a great year for horror (even if most of the high profile stuff did get shunted into 2021), and this compellingly fresh take on the zombie outbreak genre was a strong standout with a killer hook. Canadian writer-director Jeff Barnaby (Rhymes for Young Ghouls) has always clung close to his Native American roots, and he brings strong social relevance to the intriguing early 80s Canadian setting as a really nasty zombie virus wreaks havoc in the Red Crow Indian Reservation and its neighbouring town. It soon becomes clear, however, that members of the local tribe are immune to the infection, a revelation with far-reaching consequences as the outbreak rages unchecked and society begins to crumble. Barnaby pulls off some impressive world-building and creates a compellingly grungy post-apocalyptic vibe as the story progresses, while the zombies themselves are a visceral, scuzzy bunch, and there’s plenty of cracking set-pieces and suitably full-blooded kills to keep the gore-hounds happy, while the horror has real intelligence behind it, the script posing interesting questions and delivering some uncomfortable answers. The characters, meanwhile, are a well-drawn, complex bunch, no black-and-white saviours among them, any one of them capable of some pretty inhuman horrors when the chips are down, and the cast, an interesting mix of seasoned talent and unknowns, all excel in their roles – Michael Greyeyes (Fear the Walking Dead) and Forrest Goodluck (The Revenant) are the closest things the film has to real heroes, the former a fallible everyman as Traylor, the small-town sheriff who’s just trying to do right by his family, the latter unsure of himself as his son, put-upon teenage father-to-be Joseph; Olivia Scriven, meanwhile is tough but vulnerable as his pregnant white girlfriend Charlie, Stonehorse Lone Goeman is a grizzled badass as tough-as-nails tribal elder Gisigu, and Kiowa Gordon (probably best known for playing a werewolf in the Twilight movies) really goes to the dark side as Joseph’s delinquent half-brother Lysol, while there’s another memorably subtle turn from Dead Man’s Gary Farmer as unpredictable loner Moon. This was definitely one of the year’s darkest films – largely playing the horror straight, it tightens the screws as the situation grows steadily worse, and almost makes a virtue of wallowing in its hopeless tone – but there’s a fatalistic charm to all the bleakness, even in the downbeat yet tentatively hopeful climax, while it’s hard to deny the ruthless efficiency of the violence on display. This definitely isn’t a horror movie for everyone, but those with a strong stomach and relatively hard heart will find much to enjoy here. Jeff Barnaby is definitely gonna be one to watch in the future …

28. THE MIDNIGHT SKY – Netflix’ big release for the festive season is a surprisingly understated and leisurely affair, a science fiction drama of big ideas which nonetheless doesn’t feel the need to shout about it. The latest feature in the decidedly eclectic directorial career of actor George Clooney, this adaptation of Good Morning, Midnight, the debut novel of up-and-coming author Lily Brooks-Dalton, favours characterisation and emotion over big thrills and flashy sequences, but it’s certainly not lacking in spectacle, delivering a pleasingly ergonomically-designed view of the near future of space exploration that shares some DNA with The Martian but makes things far more sleek and user-friendly in the process. Aether, a NASA mission to explore K-23, a newly-discovered, potentially habitable moon of Jupiter, is on its return journey, but is experiencing baffling total communications blackouts from Earth. This is because a catastrophic global event has rendered life on the planet’s surface all but impossible, killing most of the population and driving the few survivors underground. K-23’s discoverer, professor Augustine Lofthouse (Clooney), is now alone at a small research post in the extreme cold of the Arctic, one of the only zones left that have not yet been fully effected by the cataclysm, refusing to leave his post after having discovered he’s dying from a serious illness, but before he goes he’s determined to contact the crew of Aether so he can warn them of the conditions down on Earth. Despite the ticking clock of the plot, Clooney has reigned the pace right in, allowing the story to unspool slowly as we’re introduced to the players who calmly unpack their troubles and work over the various individual crises with calm professionalism – that said, there are a few notable moments of sudden, fretful urgency, and these are executed with a palpable sense of chaotic tension that create interesting and exciting punctuation to the film’s usually stately momentum, reminding us that things could go suddenly, catastrophically wrong for these people at any moment. Clooney delivers a gloriously understated performance that perfectly grounds the film, while there are equally strong, frequently DAMN POWERFUL turns from a uniformly excellent cast, notably Felicity Jones and David Oyelowo as pregnant astronaut Dr. “Sully” Sullivan and her partner, mission Commander Adewole, and a surprisingly subtle, nuanced performance from newcomer Caoilinn Springall as Iris, a young girl mistakenly left behind at the outpost during the hasty evacuation, with whom Lofthouse develops a deeply affecting bond. The film has been criticised for its slowness, but I think in this age of BIGGER, LOUDER, MORE this is a refreshingly low-key escape from all the noise, and there’s a beautiful trade-off in the script’s palpable intelligence, strong character work and world-building (then again, the adaptation was by Mark L. Smith, who co-wrote The Revenant), while this is a visually stunning film, Clooney and cinematographer Martin Ruhe (Control, The Keeping Room) weaving an evocative visual tapestry that rewards the soul as much as the eye. Unapologetically smart, engrossingly played and overflowing with raw, emotional power, this is science fiction cinema at its most cerebral, and another top mark for a somewhat overlooked filmmaking talent which deserves to be considered alongside career highs such as Good Night & Good Luck and The Ides of March.

27. PALM SPRINGS – the summer’s comedy highlight kind of snuck in under the radar, becoming something of an on-demand secret weapon with all the cinemas closed, and it definitely deserves its swiftly growing cult status. You certainly can’t believe it’s the feature debut of director Max Barbakow, who shows the kind of sharp-witted, steady-handed control of his craft that’s usually the province of far more experienced talents … then again, much of the credit must surely go to seasoned TV comedy writer Andy Siara (Lodge 49), for whom this has been a real labour of love he’s been tending since his film student days. Certainly all that care, nurture and attention to detail is up there on the screen, the exceptional script singing its irresistible siren song from the start and providing fertile ground for its promising new director to spread his own creative wings. The premise may be instantly familiar – playing like a latter-day Saturday Night Live take on Groundhog Day (Siara admits it was a major influence), it follows the misadventures of Sarah (How I Met Your Mother’s Cristin Miliota), the black sheep maid of honour at her sweet little sister Tala’s (Riverdale’s Camila Mendes) wedding to seemingly perfect hunk Abe (the Arrowverse’s Superman, Tyler Hoechlin), as she finds herself repeating the same high-stress day over and over again after becoming trapped in a mysterious cosmic time-loop along with slacker misanthrope Nyles (Brooklyn Nine Nine megastar Andy Samberg), who’s been stuck in this same situation for MUCH longer – but in Barbakow and Siara’s hands it feels fresh and intriguing, and goes in some surprising new directions before the well-worn central premise can outstay its welcome. It certainly doesn’t hurt that the cast are all excellent – Miliota is certainly the pounding emotional heart of the film, effortlessly lovable as she flounders against her lot, then learns to accept the unique possibilities it presents, before finally resolving to find a way out, while Samberg has rarely been THIS GOOD, truly endearing in his sardonic apathy as it becomes clear he’s been here for CENTURIES, and they make an enjoyably fiery couple with snipey chemistry to burn; meanwhile there’s top-notch support from Mendes and Hoechlin, The OC’s Peter Gallagher as Sarah and Tala’s straight-laced father, the ever-reliable Dale Dickey, a thoroughly adorable turn from Jena Freidman and, most notably, a full-blooded scene-stealing performance from the mighty J.K. Simmonds as Roy, Nyles’ nemesis, who he inadvertently trapped in the loop before Sarah and is, understandably, none too happy about it. This really is an absolute laugh-riot, today’s more post-modern sense of humour allowing the central pair (and their occasional enemy) to indulge in far more extreme consequence-free craziness than Bill Murray ever got away with back in the day, but like all the best comedies there’s also a strong emotional foundation under the humour, leading us to really care about these people and what happens to them, while the story throws moments of true heartfelt power at us, particularly in the deeply cathartic climax. Ultimately this was one of the year’s biggest surprises, a solid gold gem that I can’t recommend enough.

26. THE LAST DAYS OF AMERICAN CRIME – Body Cam’s fellow heavyweight Zeitgeist fondler is a deeply satirical chunk of speculative dystopian sci-fi clearly intended as a cinematic indictment of Trump’s broken America, but it became far more potent and prescient in these … ahem … troubled times. Adapted by screenwriter Karl Gadjusek (Oblivion, Stranger Things, The King’s Man) from the graphic novel by Rick Remender and Greg Tocchini for underrated schlock-action cinema director Olivier Megaton (Transporter 3, Colombiana, the last two Taken films), this Netflix original feature seemed like a fun way to kill a cinema-deprived Saturday night in the middle of the First Lockdown, but ultimately proved to have a lot more substance than expected. It’s powered by an intriguing premise – in a nearly lawless 2024, the US government is one week away from implementing a nationwide synaptic blocker signal called the API (American Peace Initiative) which will prevent the public from being able to commit any kind of crime – and focuses on a strikingly colourful bunch of outlaw antiheroes with an audacious agenda – prodigious Detroit bank robber Bricke (Édgar Ramiréz) is enlisted by Kevin Cash (Funny Games and Hannibal’s Michael Carmen Pitt), a wayward scion of local crime family the Dumois, and his hacker fiancée Shelby Dupree (Material Girl’s Anna Brewster) to pull off what’s destined to be the last great crime in American history, a daring raid on the first night of the signal to steal over a billion dollars from the Motor City’s “money factory” and then escape across the border into Canada. From this deceptively simple premise a sprawling action epic was born, carried along by a razor sharp, twisty script and Megaton’s typically hyperbolic, showy auteur directing style and significant skill at crafting thrillingly explosive set-pieces, while the cast consistently deliver quality performances. Ever since Domino, Ramiréz has long been one of those actors I really love to watch, a gruff, quietly intense alpha male whose subtle understatement hides deep reserves of emotional intensity, while Dupree takes a character who could have been a thinly-drawn femme fetale and invests her with strong personal drive and steely resolve, and there’s strong support from Neil Blomkampf regulars Sharlto Copley and Brandon Auret as, respectively, emasculated beat cop Sawyer and brutal Mob enforcer Lonnie French, as well as a nearly unrecognisable Patrick Bergin as local kingpin (and Kevin’s father) Rossi Dumois; the film is roundly stolen, however, by Pitt, a phenomenal actor I’ve always thought we just don’t see enough of, here portraying a spectacularly sleazy, unpredictable force of nature who clearly has his own dark agenda, but whom we ultimately can’t help rooting for even as he stabs us in the back. This is a cracking film, a dark and dangerous thriller of rare style and compulsive verve that I happily consider to be Megaton’s best film to date BY FAR – needless to say it was a major hit for Netflix when it dropped, clearly resonating with its audience given what’s STILL going on in the real world, and while it may have been roundly panned in reviews I think, like some of the platform’s other glossier Original hits (Bright springs to mind), it’s destined for a major critical reappraisal and inevitable cult status before too long …

25. BILL & TED FACE THE MUSIC – one of the year’s biggest surprise hits for me was also one I was really nervous about – the original Bill & Ted’s Excellent Adventure and its just-as-good sequel Bogus Journey have been personal favourites for years, pretty much part of my geeky developmental DNA during my youth, two gleefully dorky indulgences that have, against the odds, aged like fine wine for me over the years. I love Bill and Ted SO MUCH, so like many of the fans I’ve always wanted a third film, but I knew full well how easy it would have been for it to turn out to be a turd (second sequels can be tricky things, and we’ve seen SO MANY fail over the years). God bless Alex Winter and Keanu Reeves for never giving up on the possibilities, then, and for the original screenwriters, Chris Matheson and Ed Solomon, for writing something that does true justice and pays proper respect to what came before while fully realising how much times have changed in the TWENTY-NINE YEARS that have passed since Wyld Stallyns last graced our screens. Certainly times have moved on for our irrepressible pair – in spite of their convictions, driven by news from the distant future that their music would unite the world and usher in a new era of peace and prosperity, Bill and Ted have spectacularly failed to achieve what was expected of them, and they’ve grown despondent even though they’re still happily married to the Princesses and now the fathers of two wonderful girls, Billie and Thea (Atypical’s Brigette Lundy-Paine and Ready Or Not’s Samara weaving). Then an emissary from the future arrives to inform them that if they don’t write the song that unites the world TODAY, the whole of reality will cease to exist. No pressure, then … it may have been almost three decades, but our boys are BACK in a riotous comedy adventure that delivers on all the promises the franchise ever made before. Winter and particularly Reeves may have both gone onto other things since, but they step back into their roles with such ease it’s like Bill and Ted have never been away, perfectly realising not only their characters today but also various future incarnations as they resolve to go forward in time to take the song from themselves AFTER they’ve already written it (a most triumphant and fool-proof plan, surely); Lundy-Paine and Weaving, meanwhile, are both absolutely FANTASTIC throughout, creating a pair of wonderfully oddball, eccentric and thoroughly adorable characters who would be PERFECT to carry the franchise forward in the future, while it’s an absolute joy to see William Sadler return as Bogus Journey’s fantastically neurotic incarnation of Death himself, and there are quality supporting turns from Flight of the Conchords’ Kristen Schaal, Anthony Carrigan, Holland Taylor and of course Hal Landon Jr., once again returning as Ted’s grouchy cop father Captain Logan. The plot is thoroughly bonkers and of course makes no logical sense, but then they’re never meant to in these movies – the whole point is just to have fun and GO WITH IT, and it’s unbelievably easy when the comedy hit rate is THIS HIGH – turns out third time really is the charm for Matheson and Solomon, who genuinely managed a hat trick with the whole trilogy, while there was no better choice of director to usher this into existence than Dean Parisot, the man who brought us Galaxy Quest. This is the perfect climax to a trilogy we’ve been waiting YEARS to see finally completed, but it’s also shown a perfect way to forge ahead in new and interesting ways with the next generation – altogether, then, this is another most excellent adventure …

24. TRUE HISTORY OF THE KELLY GANG – Justin Kurzel has been on my directors-to-watch list for a while now, each of his offerings impressing me more than the last (his home-grown Aussie debut, Snowtown, was a low key wallow in Outback nastiness, while his follow up, Macbeth, quickly became one of my favourite Shakespeare flicks, and I seem to be one of the frustrated few who actually genuinely loved his adaptation of Assassin’s Creed, considering it to be one the very best video game movies out there), and his latest is no exception – returning to his native Australia, he’s brought his trademark punky grit and fever-dream edginess to bear in his quest to bring his country’s most famous outlaw to the big screen in a biopic truly worthy of his name. Two actors bring infamous 19th Century bushranger Ned Kelly to life here, and they’re both exceptional – the first half of the film sees newcomer Orlando Schwerdt explode onto the screen as the child Ned, all righteous indignation and fiery stubbornness as he rails against the positions his family’s poverty continually put him in, then George MacKay (Sunshine On Leith, Captain Fantastic) delivers the best performance of his career in the second half, a barely restrained beast as Ned grown, his mercurial turn bringing the man’s inherent unpredictability to the fore. The Babadook’s Essie Davis, meanwhile, frequently steals the film from both of them as Ellen, the fearsome matriarch of the Kelly clan, and Nicholas Hoult is similarly impressive as Constable Fitzpatrick, Ned’s slimily duplicitous friend/nemesis, while there are quality supporting turns from Charlie Hunnam and Russell Crowe as two of the most important men of Ned’s formative years. In Kurzel’s hands, this account of Australia’s greatest true-life crime saga becomes one of the ultimate marmite movies – its glacial pace, grubby intensity and frequent brutality will turn some viewers off, but fans of more “alternative” cinema will find much to enjoy here. There’s a blasted beauty to its imagery (this is BY FAR the bleakest the Outback’s ever looked on film), while the screenplay from relative unknown Shaun Grant (adapting Peter Carey’s bestselling novel) is STRONG, delivering rich character development and sublime dialogue, and Kurzel delivers some brilliantly offbeat and inventive action beats in the latter half that are well worth the wait. Evocative, intense and undeniable, this has just the kind of irreverent punk aesthetic that I’m sure the real life Ned Kelly would have approved of …

23. MUST MERCY – more true-life cinema, this time presenting an altogether classier account of two idealists’ struggle to overturn horrific racial injustices in Alabama. Writer-director Destin Daniel Cretton (Short Term 12, The Glass Castle) brings heart, passion and honest nobility to the story of fresh-faced young lawyer Bryan Stevenson (Michael B. Jordan) and his personal crusade to free Walter “Johnny D” McMillan (Jamie Foxx), an African-American man wrongfully sentenced to death for the murder of a white woman. His only ally is altruistic young paralegal Eva Ansley (Cretton’s regular screen muse Brie Larson), while the opposition arrayed against them is MAMMOTH – not only do they face the cruelly racist might of the Alabama legal system circa 1989, but a corrupt local police force determined to circumvent his efforts at every turn and a thoroughly disinterested prosecutor, Tommy Chapman (Rafe Spall), who’s far too concerned with his own personal political ambitions to be any help. The cast are uniformly excellent, Jordan and Foxx particularly impressing with career best performances that sear themselves deep into the memory, while there’s a truly harrowing supporting turn from Rob Morgan as Johnny D’s fellow Death Row inmate Herbert, whose own execution date is fast approaching. This is courtroom drama at its most gripping, Cretton keeping the inherent tension cranked up tight while tugging hard on our heartstrings for maximum effect, and the result is a timely, racially-charged throat-lumper of considerable power and emotional heft that guarantees there won’t be a single dry eye in the house by the time the credits roll. Further proof, then, that Destin Daniel Cretton is one of those rare talents of his generation – next up is his tour of duty in the MCU with Shang-Chi & the Legend of the Ten Rings, and while this seems like a strange leftfield turn given his previous track record, I nevertheless have the utmost confidence in him after seeing this …

22. UNDERWATER – at first glance, this probably seems like a strange choice for the year’s Top 30 – a much-maligned, commercially underperforming glorified B-movie creature-feature headlined by the former star of the Twilight franchise, there’s no way that could POSSIBLY be any good, surely? Well hold your horses, folks, because not only is this very much worth your time and a comprehensive suspension of your low expectations, but I can’t even consider this a guilty pleasure – as far as I’m concerned this is a GENUINELY GREAT FILM, without reservation. The man behind the camera is William Eubank, a director whose career I’ve been following with great interest since his feature debut Love (a decidedly odd but strangely beautiful little space movie) and its more high profile but still unapologetically INDIE follow-up The Signal, and this is the one where he finally delivers wholeheartedly on all that wonderful sci-fi potential. The plot is deceptively simple – an industrial conglomerate has established an instillation drilling right down to the very bottom of the Marianas Trench, the deepest point in our Earth’s oceans, only for an unknown disaster to leave six survivors from the operation’s permanent crew stranded miles below the surface with very few escape options left – but Eubank and writers Brian Duffield (Spontaneous, Love & Monsters, Jane Got a Gun, Insurgent) and Adam Cozad (The Legend of Tarzan) wring all the possible suspense and fraught, claustrophobic terror out of the premise to deliver a piano wire-tense horror thriller that grips from its sudden start to a wonderfully cathartic climax. The small but potent cast are all on top form, Vincent Cassel, Jessica Henwick (Netflix’ Iron Fist) and John Gallagher Jr. (Hush, 10 Cloverfield Lane) particularly impressing, and even the decidedly hit-and-miss T.J. Miller delivers a surprisingly likeable turn here, but it’s that Twilight alumnus who REALLY sticks in your memory here – Kristen Stewart’s been doing a pretty good job lately distancing herself from the role that, unfortunately, both made her name and turned her into an object of (very unfair) derision for many years, but in my opinion THIS is the performance that REALLY separates her from Bella effing-Swan. Mechanical engineer Norah Price is tough, ingenious and fiercely determined, but with the right amount of vulnerability that we really root for her, and Stewart acts her little heart out in a turn sure to win over her strongest detractors. The creature effects are impressive too, the ultimate threat proving some of the nastiest, most repulsively icky creations I’ve seen committed to film, and the inspired design work and strong visual effects easily belie the film’s B-movie leanings. Those made uneasy by deep, dark open water or tight, enclosed spaces should take heed that this can be a tough watch, but anyone who likes being scared should find plenty to enjoy here. Altogether a MUCH better film than its mediocre Rotten Tomatoes rating makes it out to be …

21. PENINSULA – back in 2016, Korean director Yeon Sang-ho and writer Park Joo-suk took the tired old zombie outbreak trope and created something surprisingly fresh with their darkly satirical action horror Train to Busan. The film was, deservedly, a massive international smash hit and a major shot in the arm for the sub-genre on the big screen, so a sequel was inevitable, but when the time came for them to follow it up they did the smart thing and went in a very different direction. Jettisoning much of the humour to create something much darker and more intense, they also ramped the action quotient right up to eleven, creating a nightmarish post-apocalyptic version of Korea which has been quarantined from the rest of the world for the last four years, where the few uninfected survivors eke out a dangerous day-to-day existence amidst the burgeoning undead hordes, and the value of human life has plummeted dramatically. Into this hell-on-earth must venture a small band of Korean refugees, sent by a Hong Kong crime boss to retrieve a multi-million dollar payday in stolen loot that got left behind in the evacuation, led by former ROK Marine Corps Captain Jung-seok (Secret Reunion’s Gang Don-won), a man with a tragic past he has to make up for. Needless to say, nothing goes according to plan … Train to Busan was an unexpected masterpiece of the genre, but I was even more bowled over by this, particularly since I got to see this on the big screen on Halloween night itself, just before the UK cinemas closed down again for the Second Lockdown. This certainly is a film that NEEDS to be seen first on the big screen – the fully-realised hellscape of undead-overrun Seoul is spectacularly immersive, the perfect cinematic playground for the film’s most impressive set-pieces, two astounding, protracted high-speed chases with searchlight-and-flair-lit all-terrain vehicles racing through the dark streets pursued by tidal waves of feral zombies. Sure, the plot is predictable and the tone gets a little overblown and maudlin at times, while some of the characters are drawn in decidedly broad strokes, but the breathless pace rarely lets up throughout, and there are moments of genuine fiendish genius on offer here, particularly in a truly disturbing centrepiece sequence in which desperate human captives are set against slavering undead in a makeshift amphitheatre for sport, as well as a particularly ingenious use for radio-controlled cars. And the cast are brilliant, with Don-won providing a suitably robust but also pleasingly fallible, wounded hero, while Hope’s Lee Re and newcomer Lee Ye-won are irrepressibly feisty and thoroughly adorable as the young girls who rescue him from certain death among the ruins. Altogether, this is horror cinema writ large, played more for thrills than scares but knuckle-whitening and brutally effective nonetheless, and in a year where outbreak horror became all too real for us anyway it was nice to be able to enjoy something a little more escapist anyway – given the strength of its competition in 2020, this top-notch sequel to a true genre gem did very well indeed to place this high. I’ll admit, I wouldn’t say no to thirds …

#body cam #body cam movie #blood quantum #the midnight sky #Palm Springs #palm springs movie #the last days of american crime #bill and ted face the music #true history of the kelly gang #just mercy #underwater #underwater movie #underwater 2020 #peninsula #train to busan presents: peninsula #2020 in movies

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imthepunchlord · 4 years

Text

Colors of Grey: Pride

If ever asked, Felix can confirmed that what they played is a delicate game of cat and mouse.

Though, he can’t quite say which of the two was the cat in this game, and who was the mouse. Between them, Lady Nuit was the actual cat. But it was Felix who actually pursued her while she raced to be out of his reach; though she did turn around sometimes to tease him, get close and literally dance out of his reach.

It was frustrating, and bruised his pride a little.

Even knowing that Lady Nuit had the advantage with that magical ring she wore, he found himself long confirmed that he could easily go toe to toe with any magical user. He didn’t need a miraculous to be on their level, and he can smugly declare that he caught even the elusive Lady Nuit off guard a lot.

But it wasn’t enough.

No matter how good he was, she could leap farther, could blend into the shadows of night, could see where he could struggle, and if she ever did want to, could easily overpower him. He’s seen Gloria easily flip a mind controlled Gorilla that was sent charging at her. The dainty ladybug hero, besting his cousin’s giant of a bodyguard.

And Lady Nuit was supposed to be her equal, but with destructive power.

Felix always had to remind himself of that whenever he followed the Lady on the rooftops. And the interviews Gloria humored, always quick to remind everyone to be cautious of the black cat that turned away from her. Lady Nuit was powerful and dangerous. And a true cat burglar. Heartless in her selective help, and never where she should be.

Despite the logic behind being cautious, unease has long since left Felix, and all that remained was determination, slight irritation, and slight intrigue. Part of him wondered how capable she’d be without the ring. Will he ever have the pleasure to see and try? What was the ring and what was her?

Movement on the horizon snapped Felix out of his thoughts, and he focused, seeing the glint of turquoise of Lady Nuit’s eyes against the black shadows. He stayed still, watching the small speck of color move, trying to see if she saw him or not. She told him once that he was a better actor than her, but she knew how to pretend, act natural when she noticed trouble.

He was to proceed with the assumption that she knows he’s there.

Dressed in far more black than her, no hints of yellow or turquoise like her, he moved swiftly over the roofs, staying as low as possible. For now, Lady’s attention was elsewhere. Quietly, he came up behind her, standing on a higher roof, watching her peek into one window, attention fully inside. One ear twitched towards him and Felix instinctively took a few steps back, trying to stay hidden though it was a pointless effort.

He’s pursued her enough to know that she officially knows he’s there.

Though it seems he wasn’t worth focusing on as she continued on her way, silently moving along the building’s edge. He watched her curiously, jumping onto the same building, shadowing her. He paused to find an empty corner, no Lady Nuit in sight.

“Its not a good night to try and herd this cat.”

His head shot up to Lady Nuit perched above him, her pupils needle thin against the Parisian light that glowed upon her, adding yellows and orange on her black mask, her eyes looking more chartreuse with the warm colors.

He straightened, narrowing his eyes at her as he pulled down the cowl. “You should learn that I’m not going to be so easily dissuaded.”

“Nor a cat so easy to catch.” She got up and stretched, languid, like he wasn’t something she feared. He could see her still watching, wary but not nervous.

He considered what to do next. They were now face to face, with her having the literal high ground and not in a mood to humor the game tonight. So what mouse was she pursuing then? “What’s in here?” he asked.

Her belt tail twitched, and a slight tension came to her body.

“What are you after?” he pushed.

“Stealing an heirloom. Just like you... Or are you still after that ring?”

He gave her a flat look.

She was equally unamused. “I’m very tempted to just return it.”

“I would very much like it back,” he said. Part of him would miss this game, but it only started because he walked in on her stealing the ring he stole from his uncle. As much as he liked to swipe and add to their collection, that was one of the two essentials.

He definitely would like it back.

Though, he was a tad surprised. “You didn’t sell it?”

“I don’t sell what I grab.”

“You collect then.”

“In a sense,” she answered vaguely. He eyed her, brow raised. Interesting. She quickly continued before he could ask more. “Either way, I can return that ring to you. We had fun, but this has got to end.”

“Why?”

Her eyes flickered with playful exaggeration. “You don’t want to end it?”

He joined her on the higher level, tired of staring up at her, a lot more satisfied to be staring down. “A part of me can confess that it has been fun. Its not often I meet an equal in this game.”

She laughed at that. “I don’t know about equal...”

He raised a brow. “Because of your ring?”

“Because you don’t need a ring.” She admitted, “That’s a little scary.”

He cleared his throat, trying to ignore the slight flare of satisfaction he felt. He continued, “You’ve kept it interesting. I will miss that.” He glanced to the cityscape, taking in the shapes of the building against the light, the illumination of the lit windows, making certain buildings shine against the glow of Paris. “I am still curious for why you collect, in a sense.”

“That will have to remain a mystery,” she said simply.

Felix moved to reply, only to have a start when there was a flash of silver in front of him. He grabbed at it instinctively, finding his family heirloom in his palm, officially returned to him. He looked up and Lady Nuit was gone, no sign of her around.

He curled his fingers around it, squeezing it, feeling the warm metal against his palm, torn. It was back. It was finally back.

And the game was over with.

...For tonight.

There was a mystery with Lady Nuit, begging to be uncovered. Nor could he simply allow her to end things like this. He was in a little too deep now, far too invested. “See you next time, Lady Nuit.”

#miraculous ladybug #Felinette #Felix Graham de Vanily #Marinette Dupain-Cheng #cat!Marinette #ladybug!Lila #kwami swap #Sleight of Hand #cat and mouse au #of sorts #I'm calling it this au for now

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solennitawrites · 3 years

Photo

Nina: left; Adelaida: right

HUGE, HUGE thanks and MAJOR props to @killjo-qartz for these incredibly perfect commissions of my MCs!!!!!!

Read on for character intros! Note: DOB is written in the calendar format for Amasi, so stay tuned for calendar and timeline info!

Nina Zafira

15 years old; she/her; lesbian; attention disorder.

DOB: 15th Day of the Third Desert Moon, 502 Adeni PST

Appearance: 5'2, pear-shaped. Copper skin, bright brown eyes; brown coily hair (recently dyed hazel streaks); round cheeks; full lips.

Personality: Leader–dominant, sometimes to the point of domineering; ambitious, extroverted. Deeply loyal and generous, but stubborn; not afraid of confrontation, and can sometimes unintentionally center herself or insert herself in situations. Creative.

Hobbies: Art (sketching, watercolors; also nail art and make-up art); dancing (can merengue and salsa with the best of them, but doesn’t believe in formal steps/learning); singing (being tone-deaf never stopped her from belting her favorite gaitas at the top of her lungs!).

Favorites: Orange/yellow/pink; pastel blues; passion fruit anything (juice, ice cream, mousse, candies); arepa with queso rayado.

Relationships: Constantly crushing on girls and flirting but never really goes anywhere with it; struggles with maintaining serious relationships, whether platonic or romantic, so her serious friendship with Adelaida is all she feels capable of at the moment.

Fears: Being abandoned by everyone she loves, or losing them and ending up alone; not being good enough (as a friend, mostly, but later on as a heroine as well); losing trust of those she loves; alligators and bugs/insects.

Self Expression: Fast talker, often jumps around in trains of thought; often interrupts others (not always conscious of this and often well-intentioned–trying to contribute to the conversation by completing someone’s thought or bringing up something she thinks is relevant/interesting). Confidence informs her posture, stride, body language. She is noticed/center of attention without even trying. Despite being normally high energy, she sometimes crashes with moments of low energy and struggles sometimes to acknowledge and communicate needs when she crashes.

Communication & Affection: Words > actions. Promises mean everything. But this is in tension with her love language (physical touch) - easy for her to express affection with physical touch, but expects words of affirmation even where she struggles to give them. Deep emotional commitment and showing real, emotional vulnerability is difficult. Kind of a double standard as she demands/expects openness and vulnerability from others. It comes down to how much/whether she can fully trust someone.

Morality: Truth and honesty above all but if someone she loves is in danger, all morality goes out the window. She’ll do whatever it takes, even teaming up with morally “bad” or questionable actors if it means protecting or saving her loved ones–especially Adelaida. Not willing to give up her own life to save the world if Adelaida wouldn’t be saved, but she’d sacrifice herself in a heartbeat to save Adelaida.

Adelaida Zafira

15 years old; she/her; bisexual; social anxiety.

DOB: 13th Day of the First Earth Moon, 502 PST

Appearance: 5'5, square, lanky build. Golden-brown skin, acne (bumps and some acne scars; dark brown eyes (glasses); thick, wavy black hair; sharp features.

Personality: Dreamer–impressionable, naïve, sensitive, empathetic, introverted, shy. Very selfless and accepting, but can be self-pitying. Part of her shyness comes from social anxiety, but she generally prefers to be in solitude, or at most, quiet company. Tendency to be manipulated by stronger personalities. Does not like and avoids confrontation at all costs. Difficulties in standing up for herself/others.

Hobbies: Gardening (also interested in how to use herbs for medicinal purposes); reading (always has a book in hand); animals (always trying to rescue or heal stray injured animals; spends a lot of time learning how to care for animals; feels an affinity around them).

Favorites: Shades of brown; dark/navy blues; chupe (chicken broth-based soup with potatoes, corn); sucker for dark chocolate.

Relationships: Doesn’t always recognize friendships/others’ efforts at being friends. Not comfortable with physical touch (not from trauma or phobia; just more comfortable with space); needs time and trust to feel comfortable (Nina struggled to understand this at first). Doesn’t really crush on people; when she falls, she’ll fall hard.

Fears: Failure; hurting her loved ones; disappointing people; public speaking (panic attack-levels). Self Expression: Good posture, but dresses in muted tones and simply so as to not draw attention to herself. Movement is almost feline - quiet, but elegant. Speaks little, slowly/carefully, except around those she trusts, around whom she lets go more, talks a little faster and a little more, is a little more assertive and confident.

Communication & Affection: Actions > words. Expresses affection through acts of service and feels appreciated by receiving acts of service. Struggles to express emotions/affection with words. Struggles with vulnerability, but sees it differently (rather than vulnerability being showing emotion, she sees it as letting someone see her in her most comfortable self–i.e., when she’s reading alone!).

Morality: Strong moral code - ends cannot justify the means. She can be manipulated with threats against those she loves, and she will gladly sacrifice herself for them, or for the good of the entire world, but she won’t act in a way she believes is immoral even if it seems like the only way. She will always look for another way.

#tsrchars #my wip #tsr #character intros #writeblr #Nina zafira #Adelaida zafira #zafira squad #Latinx fantasy #queer fantasy #YA fantasy #fantasy adventure #character development #art commission #killjo-qartz art #mc #my ocs #diverse characters

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dulce-pjm · 3 years

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tag game !

tagged by @jtrbluv !! ty love, i’ve seen this one going around and it looked fun !!

1. what fandoms have you written for (but do not currently)?

i only started writing fanfiction this year, so bts is the one and only lol

2. what fandoms are you currently writing for?

bts !! i think i’ll be sticking to just bts x reader fics during my time here :) (but i am def a big fan of other groups and post about them sometimes !! my other interests can be found through the navi and i’m down to chat/fangirl anytime)

3. how long have you been writing?

like five or six years? i used to write original stories on wattpad in middle school but i have unfortunately forgotten both the username and password to that account and just realized those monstrosities might still be floating around on there oof

4. on which platforms do you post your stories?

just tumblr !! i’m the process of making an ao3 in case something happens to my account, but i probably won’t crosspost unless i have to, just kinda depends

5. what is your favourite genre to write?

def fluff and comedy !!! i enjoy angst but i’m a bit of a method actor in that i deeply feel whatever i’m writing so i normally don’t make it far writing angst lol but i will try one day !!

6. are you a pantser or a planner?

planner for sure !! i have def written fics that weren’t planned, but i tend to feel way better about the ones that i plan out. they flow better when i plan them and when you know where your story is going it’s easier to foreshadow and actually build tension towards the climax and ending !!!

7. one shot or multi-chapter?

it really just depends on the story !!! it’s all in how i envision it tbh. if i see the scenes more as episodic and almost separately working towards the ending, then it’ll probably end up fitting into chapters. but if the scenes and arcs all really rely on each other and flow as a group, then yeah it’s a big one shot !! as a reader, i tend to binge anyway so it doesn’t matter to me lol

8. what is the perfect chapter length in your opinion?

lol again it depends on what suits the story !! and i think it’s fun sometimes for there to be a variety of chapter lengths

9. what is your longest published story? is it complete?

stepsisters and squires at 11.0k, and yes it’s complete !! although my current biggest project is probably going to end up around 15k and if i had to guess, part two will probably be a bit shorter than that

10. which story did you enjoy working on the most?

hmmmm for sure @alpacaparkaseok’s request case closed!! i was being very silly writing it and had a grand time, but takes two to tango is a close second behind !!!

11. favourite request you've have written and why (if any?)

oh well there we go it’s case closed !!! i love some good silly ridiculous romance and i feel like i did an okay job achieving that lol

12. are there reoccurring themes in your stories?

awkward people finding love ???? LOL and lots of overthinking only to realize things aren’t quite as big as they first appeared wait omg yeah that’s it that’s the one lmao. scrolled through my masterlist and it seems that the central conflict is always the main character versus their own mind which is basically my day-to-day life so makes sense i guess

also i’ve accidentally written people talking over each other and then said something like “timing’s funny” right after in two separate fics and needless to say i’m disappointed in myself LOL how did i do that ??? tsk tsk

13. current number of wips?

ahhh i’m not really sure how to count them but i’m like actively writing around four or five, i tend to bounce around and then suddenly binge write an entire one

14. three things you have noticed about your own writing?

hmmm well 1) we’ve learned my characters are too caught up in their own heads (like me muhahaha), 2) i tend to write pretty colloquially even though i have the vocabulary to be more descriptive lol, and 3) even when i don’t mean to i tend to end up writing based off of things i’ve experienced before

15. a quote you like from a published story

lol this isn’t particularly well written or anything i just think it’s funny and i really enjoyed writing this scene. it’s from stepsisters and squires !

“Maybe you can trick the witch!” You suggest, words muffled by the dessert you’re chewing on as you blatantly talk with your mouth open. All manners have been abandoned as Taehyung is eating two eclairs at once, equally focused on the matter at hand. “Well, no, maybe trying to trick a magical scary lady is a bad idea.”

i’m very attached to tae’s character despite him making a very minor appearance and i love his and the oc’s chaotic energy together haha !! i’d like to write him his own spin-off sometime based on their interaction

16. a quote from an unpublished story

hehe imma keep teasing the tae twoshot in the hopes that it makes me ACTUALLY FINISH IT FJKDLSHGLSDKJF anyway ~~~

“Your singing, on the other hand, is just fantastic,” he adds, smirking as he side-eyes you. He suppresses a laugh when he sees your mortified expression. You’re quick to cover it, crossing your arms and feigning pride.

“I know. You guys are lucky I’m not participating in the battle of the bands. I’d crush you.” Taehyung full on giggles then and you don’t hate it all that much. It’s a little squeaky though. But then his eyes light up and he’s grabbing you by the shoulders, a desperate look in his eye.

“Wait, would you wanna join? Because we could really use a mezzo voice, it’d completely change the sound—”

hopefully an official teaser will be dropped soon we’ll see !!!

17. space for you to say something to your readers

thank you guys for being so patient and supportive :( i know i’ve been very sporadic about posting and really haven’t posted at all in like a month and a half. it was very much my intention to write a bunch and then release things on a schedule (and it still is!!) but things have been difficult recently and prevented that from happening. to get to the point, you guys are so great and every piece of feedback and every like and every follow absolutely makes my heart soar. you guys remind me that i’m still capable of writing even when i really don’t feel like it and i appreciate you !! much love <333

tagging @softbobamilktae and @hyungieyoongi my go-to’s lol (sorry if you’ve already done it !!!)

#tag game #jtrbluv

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the-metaphorical-jellicle-cat · 4 years

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A Scene in Cats 2019 Where the Music Makes the Scene Better

Last time I spoke about Skimbleshanks the Railway Cat and mostly talked about how I think Steven McRae’s talent as a dancer influenced how the song was basically choreographed and how it seemed as though all the energy went into this performance.This time, it’s Mungojerrie and Rumpleteazer’s turn. I actually really liked this both as a song and performance. Like with Skimbleshanks, I will be going over my initial thoughts with the music and then the scene itself. I also think the same can be said here when those cast for Mungojerrie and Rumpleteazer make the scene better than it needed to be. Alright here we go!

When I first listened to the soundtrack recording, I was very puzzled. I was already familiar with the version from 1998 which is upbeat and fun. This version was jazzy and slow. I was definitely surprised but in a good way. When I did some research to see if this version was actually from the show’s history. And it was (and is) used in the original London production. If you want a good idea of how it was performed you can see it here as it is in the 1993 London production. Anyway, the opening instrumentals really gave an immediate different feel from what I was used to. Just from that opening, I know that these cats are sneaky and they know it.

I also get a Pink Panther type of feeling with the instrumentals. Where Pink Panther sets the mood of the music to be mysterious and shows how it’s a detective film, Jerrie and Teazer give off a mood of sneakiness and danger. And that only in the first 16 second of the track. The use of the cymbals and the horns also lends towards tension. We don't know what these cats are going to do. Because I am listening to it first, I don’t know if they have an audience or not. Who are they singing to and why? The use of piano is also hesitant yet inviting. We want to know. We have a need. The same can be said with the clarinet, strings, and some of the piano. It is a hint of what’s to come.

Then we hear the characters singing. I needed to remember that this was recorded as a ‘live performance’ in the Tom Hooper style. (If you don’t know what I am referring to, watch this video. I also made a post about it. Just search the tag #sideways and you’ll find it.) Anyway, so far in the movie, as according to the soundtrack, we have heard 3 solos. 2 of which were terrible and 1 that was actually pretty good. The reason being that it was sung live just like Les Mis was. I thought they were going to butcher Mungo and Teazer but was surprised when I heard the singing capabilities of the actors (Naoimh Morgan and Danny Collins) who are from the world of musical theater. Of course I didn't know that when listening to the track at first but one can tell they had experience with this type of music. Their voices pull you into their story almost as if they are talking to the audience very much like in the stage show. I also want to point out the instrumentation once more since, unlike the other songs,it almost becomes a character in itself by contributing to the version that is being performed.

After that we come to the midpoint where we hear big brass and percussion. There is something happening but we don’t know what it is. We can infer by the use of these instruments that something chaotic is happening in the scene. It builds and builds and we hear Rumpletazer come in once more but quieter as she is hiding something. It’s 72 seconds of instrumental music which takes us to a different location musically with the instruments. As Teazer sings her part, we hear more piano but with Mungo, we hear a dynamic change with the horn and the instruments that follow. The music becomes more playful and more like the characters we know from the stage version.

What I really love about this track is the playfulness we hear when they are at the dining room section of the song. Mungo breaks the song by speaking instead of singing and it works. It works because it helps us understand how the cats view humans. To them, we are their source of fun. These two cats like to trick humans for food and essentially cause as much chaos as they can. Then we hear an entirely new voice. It’s Victoria and we realize these two actually do have an audience. It's this new voice who sounds taken in by their story. They have her wrapped around their paw. You can especially tell this because Victoria finished the line “it’s that horrible cat”.

Afterwards we get another big band moment but it lasts longer than the last. There’s more bombastic horns and saxophones and percussion while their voices reach above them. This combination pushes that chaotic sneaky narrative we heard at the very beginning. We even hear a guitar that uses the same musical theme as the horns/saxophones.

Then we get towards the end of the track and I hear something I have no idea how to take. We hear them creating the chaos we have only heard through the music. We hear the smash. We hear the crash. However, it sounds very rushed and the actors sound out of breath. I can barely tell what the lyrics are and if I wasn't so familiar with this song I would probably never know.

Then the music quiets while keeping that mischievous tone. I also love Victoria’s high note for the word “and” and how it matches with one of the instruments. But Mungojerrie and Rumpleteazer whisper “and there’s nothing at all to be done about that” like it's a conspiracy and they can get away with pretty much anything. The end of the song also has a sense of finality. This is who they are and they managed to get Victoria to follow what they want. The fact that the music does this also suggests that something is going to happen. Nothing stays final and their chaos doesn't end there. All of which we see later in the film but not the music. We just get a taste.

Overall, I like what they did with this song musically and vocally. This version is different and not used as often as the one we know which is smart. They also had to choose a version that matched the film’s aesthetic, was different in mood from Bustopher Jones, and gave a different interpretation of the characters. It needed to stand out against what we had heard so far and I think it accomplished that task.

Now onto the scene itself. I had to backtrack a bit after Bustopher Jones and really listen to the dialogue that happens during the track itself. The first 16 seconds of the song is instrumental yet the dialogue within that section is important. Victoria had to leave her new friends because of Macavity. Mungojerrie and Rumpleteazer literally pick her up which transports her into their world of chaos and shenanigans. I’m going to be pointing this out a lot in this section but the tail animation is used perfectly throughout the sequence. Their tails are used to make sure Victoria is looking at them when each of them is speaking. It’s a great detail which then causes us to pay attention to the two cats’ relationship. Their facial expressions are also great! We get a moment where Rumpleteazer is speaking to Victoria and the look on Mungojerrie’s face gives us a hint of what’s in store. The music itself helps with this set up of mischievous fun.

You can also see how Victoria is very uncomfortable with the two cats at the very beginning of the song. Her face and posture is uptight and uncomfortable. She is kind of forced to be there since none of the other cats are there with her. She doesn't want to be there but Rumpleteazer ‘encourages’ her to have some fun. Teazer steals the spotlight in the beginning of the song as it shows Victoria this is what they do. She even does this thing with her hand as if she is hypnotizing the other queen. Teazer even nods to Jerrie to continue with the job. It’s almost as if Teazer is technically used as a reassurance device to show that this is okay and they’ve done this before.

Then Teazer puts the pearls around Victoria’s neck. Of course this is done with the line “suddenly missing her Woolworth pearls” and it is effective. This is when Victoria begins to trust these two cats. To her they are different. They don't take the world seriously. The fact they are having fun basically destroying every room in the house makes everything right.

The camera work from when they are on the bed to when Mungojerrie puts the drawers on Victoria is very well done. The circular motion of the camera creates movement with the choreography without it becoming nauseating.

I don’t have much else to say about the sequence other than once the music picks up near the end, we see why they become so out of breath. They are literally destroying the kitchen and the bedroom with very little care. And, again, Victoria is fully invested which also contributes to her part in the actual song. In the version we know, the only vocals come from Mungo and Teazer. This version has Victoria, who represents the audience. At the beginning we only hear the two trouble makers. Then Victoria has bits and pieces. She, like us, wants to be part of this new type of fun. And destroying property can be fun.

Overall this is a version that deserves to be seen and heard. I think if we got the other version, we might have a different movie all together and these characters might be different. This is definitely one of the many highlights of the film. The others being the ones I’ve already written about. But what I love most about this sequence is the acting, tail animations and the use of practical props.

I will say this now, if it wasn't for Naoimh Morgan and Danny Collins, this could have been a lot different. The acting, especially the facial expressions throughout the scene, are perfect for these characters. They give a sense of mischievousness and like they can get away with anything. Their facial expressions give more to this idea that these characters like to have some relatively harmless fun. If it wasn't for those facial expressions, I don’t think I would have enjoyed this version as much as I did.

There is also the use of dialogue that I didn't expect to like but it works. In between some of the phrases, dialogue is said by the two cats which help with their character. My favorite bit is from Mungojerrie on the stairs. He says something to a ‘police officer’ which is in character for the purpose of the film.

This is also probably one of the best scenes to watch if you want to see how they used the tail animations for the characters. My notes for this scene were mostly just how they animated those tails. I wrote examples above, but another one is when Victoria is singing ‘And’ at the end of the song. If you pay close attention, her tail rattles because of the high note. Mungojerrie and Rumpleteazer also constantly use their tails to communicate with each other and Victoria.

There are also two things I want to commend in this sequence. The use of practical props and the scale of the set. I really like how the cast used the practical props in a way that not only showed quirks of the characters but also development (in Victoria’s case.) My favorite set of props they used were during the dining room scene. There were parts where it did feel a bit faked and plastic but I ignored it in favor of the performance. There were several points I did have to remind myself that this world is different from reality. Other than that, this sequence used props that pushed the story rather than hinder it. They weren't there to be there, the props were there for a reason. One can say they are a character in themselves because this world takes human objects and transforms them into how a Jellicle may see them.

They didn't need the theatrics of the stage version. What I mean to say is they didn't need the double cartwheels because they were not necessary. Instead we got the over the top music, wonderful acting, dialogue that made sense, and a version of the characters that make sense within the world of the film. While I know a lot of people wanted the double cartwheel (myself included), it felt fine the way it was. If you want to watch a version of this with the double cartwheel, I highly suggest watching this video. It’s a dress rehearsal from the 1994 West End production with Jason Parmenter & Vikki Coote.

Overall, I love this version of the song and scene. It fits the characters of Mungojerrie and Rumpleteazer while also continuing Victoria’s journey through the Jellicle tribe. This is also one of the few songs where there aren't any interruptions from other cats or mice. The other one being Skimbleshanks (there was one but that’s it). The only ‘interruptions’ are dialogue between Mungojerrie and Rumpleteazer which never break the song. It doesn't take away from the flow of the song like in Rum Tum Tugger where the interruption disrupts the scene and performance. Here, it was done in a way that was smart.

I would definitely suggest this to others who want to know some of the good parts of this film. It is definitely up there with one of the best sequences of the film. Right along with Skimbleshanks the Railway Cat and the Magical Mr. Mistoffelees.

#long post #might redo this so it has a read more bar #cats 2019 #mungojerrie #rumpleteazer #Mungojerrie And Rumpleteazer #scene analysis #music analysis #rum tum tugger #skimbleshanks #cats 1994 #naoimh morgan #danny collins #jason parmenter #vikki coote

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edgymegatronus · 4 years

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The Pits of Kaon

The lights of the arena where always blinding. Searing white light that chiseled its way into your optic nerves, washing away any other surrounding colours so much that one may think they’re joining with the Allspark once they step out onto the ashy plain. This is purposeful, of course, for the arena was a stage for the barbaric, where the onlookers can see it’s actors, but the actors cannot gaze back at them. Once you have shuttered your optics several times and they begin to adjust, only spots of bright light decorating your vision for a short while, the arena comes heaving into view, stagnant and intimidating. Massive, beyond comprehension, the blackened jewel of Kaon. You’d have to squint to see the opposite end of the Energon-crusted pit. The steep, cold grey sides rocketed up towards the skies, the heavens where the audience sat to eagerly absorb the slaughter. Every brandish of a sword, every amputation of a limb, every scream or victory holler, every spark taken was feasted upon by those hunger bound optics. In the lower areas of the arena, closer to the action, there were boxes reserved for the higher caste aristocracy from great cities like Iacon and Vos. Above them, with a more strained view, sat the rest of the Cybertronain populous. It was never correctly calculated how many the arena could house- it depended on how tightly the lower class worker mechs packed themselves together to watch the entertainment. There was always shoving and drunkenness, fights began over the limited space and smaller mechs often simply got crushed under pede if they didn’t move fast enough. Very few actually from Kaon ever got to sit in the golden boxes, where quality high-grade Energon flowed like ground oil as its famed patrons gawked down into the pit. The atmosphere was always rancheros, the first death spelled out the kick-off for the day's events to begin. In the mornings there were petty fights. Weak slaves pitted against each other, unarmed mechs left to the mercy of some of the most vicious beasts Cybertron had to offer. This got the crowd vying to see more Energon spilled on the ashy floors of the pit. As the hilarity reached its crescendo into the afternoon, we were brought out.

Titled ‘Gladiators’, we were prime time entertainment. Romanticised as strong mechs each with some characterisation the media invalidated us with to entice the onlookers into made up rivalries between us, adding passion to the murder. Some mechs actually sank into this, and took signature moves and mottos played into their characters, worked to gain support from those oppressing them. Usually, this was the quickest way to die. The arena owners would only allow a Gladiator in the limelight for so many matches and killed them before they became too boring, and to make the audience more invested as each match progressed. They died deluded, for we were just slaves with swords. Brought from all over Cybertronain, but most commonly hailing from places like Kaon, Tarn, and Praxus. Sold off from our previous services because we were no longer needed, a better model had been introduced, rule-breaking, being damaged, or because our masters had taken a general disliking. Being sold to the arena was most times a death sentence, an execution in front of the masses. Gladiators were ones who had won their petty matches by some flailing chance of Primus, and in turn proven their metal, and therefore their worth as a mascot. We were not Gladiators.

Our namesake competed by choice, for fame or honour or glory. For a fractured misconception of what they believed to be justice or righteousness. We were slaves, forced to kill our peers, and stare them in the optics as we did, giving a good performance. Refusal meant immediate death, and showmanship was integral. Most of us only lasted a few months before losing a match and being offlined, the longest-reigning mech making it just over a year before the Arena Owners decided he had nothing left to give, no new tricks, and threw him in the pit unarmed with four Krystar Iron-Bears. Some audience members genuinely cried when he passed. But by the next week, he was replaced by a new favourite Gladiator to root for.

I was on my fifth month. My last match had been a near miss. Bad damages all over my frame, lost an arm and my sword-wielding servo was crushed. Inches over and my spark chamber would’ve known the cold of a blunted blade. My opponent was of a bigger build than me, but still new, he had chosen the name ‘Ignode’ for himself after the Arena Owners had given him a flashy new red paint job, replacing his basic menial grey. For some appalling reason, he’d made the mistake of choosing two weapons, rather than one and a shield. An underestimation, I suppose. The new Gladiators, nicknamed ‘Pickrings’ by the rest of us, often got too cocky and suffered the consequences. The day I was declared fit for fighting it was a ‘Winner stays on Tournament’ these often drew larger crowds due to the anticipation and tension aspect that was attached to them. Clearly my medical bills were going to be well paid for by this grotesque procession. The objective to continually kill, over and over, to vanquish spark after spark until eventually, you grew so weak from each consecutive battle that you could no longer hold your own – and you were killed, your deathbringer taking up the mantel and the cycle continued deep into the night while the crowds drank and laughed and indulged.

The bellowing winds that spun like a lifeless tornado around the arena whipped uncomfortably over the exposed cables on the back of my neck. The piece of armour plating that usually protected it had been lost last round and was therefore subject to the treatment of the blowing grit and ash that made a point of invading every crack and gap in plating. Everything felt too heavy, most notably my spark. I had just completed round fifteen, downed fifteen opponents, and somewhere I doubted if Primus would accept me into his loving cradle. My frame was ex-venting in long, drawn out drags. An attempt to cool my shot systems. Every inch of plating was dented or scarred, with slices and holes, faintly missing main Energon lines or mobility joints. I smiled. Before entering the arena, each slave got to choose two tools to utilise during the match. Almost classically, I wielded a long sword with some form of age old forgotten crest on the hilt. I had nicknamed it ‘The Pick’ and it occupied my right servo. To my left brandished a thick oval-shaped silver shield, decorated dashingly with chipped paint and emblems. These things were my trademark, my protection, my symbol, and my saviours.

The spotlight swung intricately around the arena floor once more towards the pit entrance. The thick metal gates opening with the same slow dramatism to reveal my newest combatant. The light fell on him, illuminating his thickset grey frame for the crowds to gawk at, tantalising their optics with the slick view. He smelt like blood and burnt circuitry. They were enraptured, seeing that I was weakening and that this new rival seemed finely built to deliver onto me the final blow, one of those agile miner types. I sized him up immediately; hazarding a guess the Arena Owner’s hadn’t expected much to come from him, only bothering to add spiked red paint under his optics and the larger areas of his expansive grey plating. His optics were stifling, staring directly at me as I stood blatantly forward with my shoulders rolled back, awaiting. We couldn’t yet commence as the Announcer hadn’t yet called for us to do so. Most Gladiators took this brief interval to entertain the crowd, picking up the bodies of mechs they’d killed and throwing them, giving grand victorious gestures and shouts with their weapons, lapping the arena, cheering. I stood still and stared, unwilling to give them any more than the battle.

“Welcoming! Megatronus of Tarn! A heavy-hitting ground-build from the Mines of Messatine! During his petty match earlier this week, Megatronus won against two fellow contestants and a Decopodian in record time! Let’s see how he will fare against our reigning Knight! May Round Sixteen Commence!”

Of course- I had viewed that match from my cell screen. Looking at him now, his crimson optics dimmed. He seemed like a mech who had slaughtered millions, not just two. He made the first step forward, revealing to me his weapons. A small, lightweight shield and a ridged axe. A very decent choice for a mech of his stature. A bow or daggers would’ve been suicide, he was too stocky to be properly dexterous with them, and he was clearly aware. A mech overtly aware of his own capabilities was inherently more dangerous than one who overestimated, or even underestimated themselves. I resumed my ‘defensive stance’ as his larger frame drew closer, each step meticulous and powerful and calculated. He was so self-assured, confident in his ability to wield and kill on his first ever Gladiator match. His EM’s were almost suffocating. I struck the first blow, my long sword firmly embedding itself between his thick shoulder plating. The weapon felt so leaden in my tired arms, each movement causing a low static to run through my circuits as they protested in earnest. My frame was tired, and my processor malcontent. The grey mech swooped his axe low and he raised his smaller shield, directing it precisely so my sword repelled off of it, the force driving my abused frame backwards – into the sharpened blade of his axe.

The Arena began to swirl maliciously as I opened my optics, my HUD showing severe damages to my left leg, and to my back spoilers which had taken the brunt of the hurt as I hit the engulfing floor of the pit. Through the static shock that vibrated through my audial, the faint crazed shouts and cheering from the crowd, layered over the Announcer speaking in a hurriedly excited tone. They were joyful in the revelation of my oncoming demise.

He stared down at me blankly, lifting the axe while calculating the weakest points to strike in my neck or spark chamber. The lights of the arena shone brighter than ever, searing into my optics as they flickered and faded.

He took his victory unlike any other, simply lifting his arms and throwing away his weapons in retribution. They hit the floor of the pit with an almighty clatter, and the crowd cheered and chanted his name, making members of the elite recoil.

#mtmte #mtmte megatron #maccadam #transformers #tfp

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couldnt-think-of-a-funny-name · 5 years

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Could we ever see a concept from you on how OUAT could have been a better show?

alright, fair warning, I haven’t actually watched the show in a while so my memory might be a little spotty, but off the top of my head-

Don’t kill Neal. He was at the heart of the plot, which started to unravel the second he was gone. Don’t sacrifice a clear plot line you had planned just because the fans really like Captain Hook oh my GOD

Stop having everyone discredit Regina being Henry’s mother just because they don’t like her. OR, have them do that but have Henry defend her. Their relationship was too back and forth and we never had anything to tell us she was a bad mom to him before he found out about the curse...like, if you found out your Nice and Normal Mom was allegedly an evil witch, wouldn’t you...I don’t know....defend her a little? So either commit to having her be a shitty mom and then she has to make up for that, or have Henry fully torn between both sides of his family. NOT the mess we got on the show where she had to earn his trust back because of things she did like 30 years before he was even born

Stop dropping plotlines. I understand they had an issue of actors getting jobs in other franchises, like Sebastian Stan and the guy who ended up in 50 Shades, but either stipulate something in the contract that they need to make time for a certain amount of episodes when you sign them, or just recast the actors. Don’t wait three years before Little Red Riding Hood can pop back up for an arc. Oh my God.

The Peter Pan arc happened way too soon- Neal needed time to build relationships with everyone else, specifically with Henry, his father, and Emma. Think about how it could’ve been if he’d patched things up with Emma quicker and they got in the groove of parenting Henry, only for Regina to still have her reservations about him because of her history with Rumple- only for Henry to then be kidnapped and the three of them have to become and Iconic Parent Trio to get him back. Hello.

Henry should’ve learned magic way before he became the Author. He is a True Love Baby who’s also related to three extremely powerful magic users and making him the damsel in distress every single season finale got old very fast. How about- after the Peter Pan arc, Rumple starts teaching him magic behind his parents back, because 1) he isn’t sure how they’d feel about it since Tensions 2) with all the shit in this universe Henry definitely needs to know how to defend himself, and 3) AFTER SEEING HIS FATHER ALMOST STEAL HIS GRANDSON THE SAME WAY HE STOLE HIS SON I FEEL LIKE THAT MIGHT HAVE AN EFFECT ON HIM EMOTIONALLY???? They never bothered to develop a real relationship with Henry and Rumple, every now and then he’d be like ‘oh yeah that’s my grandson’ and like...that was it. it was WACK

It also could’ve lead to some low-level comedy drama with David fretting about not being the ‘cool’ grandpa anymore lmao

The whole thing where Emma and Henry got their memories erased for a year while the others got sent back to the Forrest....it literally didn’t make sense for Neal not to go with them I’m still screaming. They literally said the only reason Emma and Henry could escape was because they weren’t effected by the first curse....literally neither was Neal??? Oh my God

So you could’ve had it like...they patched things up faster, and they weren’t back together but they weren’t Not back together, and they had definitely gotten a decent co-parent situation down, so he chooses to stay with them because he doesn’t want to abandon Emma again and he doesn’t want Henry to grow up without his father like he did. The dramatic goodbyes are for their parents and Regina. A year later, Hook choses to warn them about whatevers happening on his own free will, beginning a redemption arc that is NOT tied to Emma. He’s trying to protect the family to make up for what he did to Neal in Neverland

idk how I truly felt about the whole dead/resurrected Rumple situation but if we keep with it, BELLE is the one who resurrects him- and NOT with a spell that will kill her, but with DR. FRAKENSTIEN WHO FUCKING EXISTS ON THE SHOW AND THEY ONLY MENTION HIM ONCE IN A BLUE MOON ARE YOU KIDDING ME THEY DIDN’T USE HIM FOR A RESSURECTION STORY ARC

The whole Frozen arc shouldn’t have happened- I didn’t hate it, Emma and Elsa were sweet, but overall Elsa, Anna, Kristoff and Hans felt very shoehorned in and didn’t really mesh well with the rest of the story.

I DID however like the whole bit with the Ice Queen trying to adopt Emma when she was younger, and I think they could’ve used that to build onto the dark Emma storyline- the Ice Queen’s prophecy or whatever could’ve been referring to her, Emma and Zelena. That way it’s not Ice Queen trying to convince two powerful light magic users to go dark (and also not two ice power types and one Whatever The Fuck Type Emma Is)- it’s two powerful dark magic users trying to sway one woman who’s still trying to get a grasp on magic. Rather than the whole Dark One nonsense. Henry saves the day using his magic to subdue Ice Queen and Zelena the best he can, and convincing Emma she’s a good person, similar to how Regina chose to stop being dark for Henry. She snaps out of the hold the other two have on her and kicks ass. Hello.

The whole Author plotline was a hot mess but I’m still down for Henry taking over the position, it made sense for the story.

If they absolutely needed to do a new dark one plotline...NEAL. COME THE FUCK ON,

AND THEN HE MANAGES TO SUCCEED WHERE HIS FATHER FAILED WITH IT AND MAYBE THEY MANAGE TO KILL THE DARK ONE SPELL ALTOGETHER. TRUE LOVES KISS WITH EMMA OR HENRY WHO BOTH HAVE INCREDIBLY STRONG LIGHT MAGIC WHICH IS THE OPPOSITE OF THE DARK ONE. HELLO.

Maleficent’s Daughter Lily should’ve...stayed on???? Fully mended her friendship with Emma??? Iconic girl team??? Hello???

Belle gets to be an actual character instead of a character so underused that it becomes a running joke on the show that she asserts she’s cable of defending herself and then Doesn’t. Someone please teach this bitch to swordfight or something

It can be part of Hook’s Not-Emma-Related redemption arc maybe- instead of him using and threatening her. Or Neal can do it so they can bond. Or David or Snow decides to be nice it doesn’t actually matter please just make her a capable person I’m screaming

Henry should’ve kept in touch with friends he made in (Tallahassee) Boston for the year he lived there to uhhhh give the kid some concept of a normal reality and experience talking to people his own age. Also it could’ve been a super funny running gag to have a friend face time him and ask him what’s up and Henry’s trying to hide a dragon and magic spells off screen like ‘uh nothing just some family drama’

They needed to stop being so inconsistent about magic- first it was ‘magic can’t work outside of storybrooke’ but then Zelena was like ‘I’m going to magically transform into a different person in the middle of New York’ and ‘Wendy’s Brothers won’t age even though they aren’t in storybrooke’ and then it was like ‘magic can raise Robin and Hook and Rumple from the dead but it absolutely can do nothing for Neal, sorry’ like what the hell...please just some consistency

Make Snow like....35% less annoying

Don’t let Emma get lost in the story so much like at some point she really stopped being the main character and it was annoying as hell

that whole thing in one episode where David and Snow saw through a portal to young Emma and David wanted to go through to her but Snow was like ‘no we can’t change her past’ was some PRIME BULLSHIT. We already brought time travel into a fairytale show! nothing matters anymore bitch! let him hug his daughter!

Really thought they could’ve been like...they weren’t allowed to permanently change the past but they could’ve gotten a letter or some shit through to her...come on

alright this is all I got right now but like....genuinely a lot of their mistakes were so easily avoidable. it’s still truly baffling that the show went so downhill. rip

#once upon a time #ouat #emma swan #neal cassidy #henry mills #asks #molly mumbles

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