#a s fischer original | Explore Tumblr Posts and Blogs

writingworlds · 3 months

Text

𝐏𝐑𝐄𝐒𝐓𝐈𝐆𝐄

Pairing(s): Charles Leclerc x Porsche!reader

Summary: The Porsche Princess, that nickname has followed Y/N around since birth. And who better for a princess than a prince?

Warning(s): shitty Google translate

yn_porsche

liked by milaaa, porsche, mickschumacher, and others

yn_porsche Essen und Freunde 🤍

view all comments

milaaa Mach keine Witze, du liebst das Essen mehr als ich 😘

papaporsche meine Prinzessin

yn_porsche Ich liebe dich Papa ❤️❤️

mickschumacher and where was my invitation?

yn_porsche sorry Micky but it was a girls only event

username hello??? not mick attempting to shoot his shot 😭😭

username girl I hate to break it to you but mick and y/n are only friends. They’ve known each other for years now

username day 673 of asking for Porsche to rejoin f1 permanently

milaaa 🤭🤭🤭

username milaaa WHAT DO YOU KNOW

milaaa oh nothing at all 🤭

yn_porsche 🫣🫣🫣

username y/n drop the pie recipe because it looks delicious

username y/n drop the makeup routine because you are gorgeous

username well that too

liked by porscheagracing, yn_porsche, papaporsche, and others

f1 Welcome to the paddock porscheagracing!

view all comments

porscheagracing Excited to be here!

username JSHSHD OMG

username RACING ROYALTY IS BACK BABY

username ….wait…does this mean we will be able to see THE Y/N Porsche in the paddock

yn_porsche no promises but I do hope to make it to at least one Grand Prix!! Most likely the German one 😉

username DOES THIS MEAN THAT HOCKENHEIMRING IS RETURNING TOO

username THE RUMOURS WERE TRUE

username 11 teams f1 is so back

username I CANT WAIT

porscheagracing

liked by f1, mickschumacher, yn_porsche, and others

porscheagracing Get to know us!

Who We Are: Originally founded in 1931 by Ferdinand Porsche, Porsche was meant to represent excellence, luxury, and class.

Our story starts with the creation of our first sports car, the 356, to our unveiling of the legendary 911. But those are simply designs of luxury sports cars, they do not encapsulate our rich heritage of motorsport.

We have dominated various endurance championships, most notably being the 24 Hours of Le Mans. It is time, however, to take that dominance to open wheel and Grand Prix racing.

What We Do: We will be competing in Formula One starting from the 2025 season. Our goal is to bring a sense of rejuvenation back to the world of Formula One (and of course take a few world championships while we are at it).

Our team: Holding the words power, precision, and performance in mind we created a team of uniquely qualified individuals to make sure we excel in all aspects.

- CEO: Henrik Porsche

- Team Principal: Sebastian Vettel

- Technical Director: Julia Wagner

- Chief Aerodynamicist: Karl Becker

- Chief Mechanic: Michael Braun

- Strategy Coordinator: Lisa Fischer

Information on our drivers will be released shortly.

Wagen Sie es, sich von Träumen mitreißen zu lassen.

view all comments

username is that Sebastian Vettel I see???

username try as he might he can’t escape motorsport 😭😭😭

mickschumacher 🖤❤️💛

yn_porsche F1 BABY

username please please please let Mick Schumacher be one of the drivers

username if his hearts mean anything you might be in luck

username maybe I’m just dumb but did anyone else just realise that the Porsche team colours are the same as the German flag 🧍‍♀️🧍‍♀️

username it’s not just you I promise 😭😭

username any predictions on how good they’ll be? Cause I’m thinking they’ll start as a midfield car this year and then very quickly work their way up to the top

username i agree, they had Vettel on board as TP so he’ll give them plenty of experience in that regard but otherwise it will probably take them a bit of time to get used to f1 itself. once they do however….the rest of the grid best be prepared

username honestly i just can’t wait till they gain major sponsorship deals

username from twitter i heard they may have deals from Apple, Hermès, and of course Volkswagen

porscheagracing

liked by arthur_leclerc, mickschumacher, yn_porsche, and others

porscheagracing Please give a warm welcome to your drivers for the 2025 season arthur_leclerc and mickschumacher

view all comments

mickschumacher Lass uns gehen Porsche 🖤❤️💛

arthur_leclerc Thank you so much for this opportunity

charles_leclerc Congratulations little bro, f1!!!

username THE LECLERC BROTHERS IN F1 IM GONNA CRY

username NO BECAUSE IM SO PROUD LIKE THESE ARE MY CHILDREN

yn_porsche Zeit, Rennen zu fahren 🫡🫡

arthur_leclerc I am going to pretend I understand what you are saying

yn_porsche someone is going to need to teach you German

milaaa I volunteer as tribute 🫡🫡

yn_porsche ah yes because you are known for your brilliant teaching strategies

milaaa shush

papaporsche Welcome to the team you two! Here’s to an incredible first season in Formula 1

mickschumacher Wir lassen Sie nicht im Stich, Chef

arthur_leclerc Gonna make Porsche proud

sebastianvettel Pleasure to be working with you both 😊

username plsssss he’s such a dad

username and we love him for it

username oh for sure

Charles Leclerc

alors... Y/N Porsche

Arthur Leclerc

frérot c'est quoi ce bordel

#f1 x reader #f1 social media au #charles leclerc x reader #charles leclerc #charles leclerc x you #charles leclerc fanfic #formula one imagine #writingworlds

2K notes · View notes

brightlight-dazzlingeyes · 1 year

Text

the french exit | chapter 04

kylian mbappé x original female character [+18]

synopsis: alice is a lonely rich girl whose biggest fear is to become a lonely rich woman. ever since they moved to paris, her fiancé doesn’t seem to be interested in her anymore. so alice decides to find comfort in the arms of another man. warnings: cheating; angst; smut; i have never been to france; minors dni.

previous chapter | masterlist | next chapter

Chapter 04 | Cherry

“I fall to pieces

when I'm with you,

I fall to pieces”

“Hello, chérie!” Rose and Robert McConnell, David’s parents, were visiting. Rose was wearing a red bonnet hat and a beige Celine trench coat. They were meeting at a tourist trap bistro that Rose loved. Alice and her fiancé arrived early, the bistro was filled with people, but there was a palpable sense of loneliness that hung in the air. The couple sat together, but their eyes were empty, their conversation forced. Even after the future in-laws sat together, the younger couple’s smiles were strained, as if they were struggling to find joy in the melancholic atmosphere.

“So… How’s life in Paris?” “How is the business doing?” Rose and Robert asked at the same time, respectively. David was playing with his food and didn’t bother looking up, Alice answered then.

“Life is good. Business is good.”

David giggled at that and every other eye at the table turned to him, who sat straight upon realizing he shifted the attention to himself.

“Everything is great.” He reassured his parents. “Now tell us about you guys, is this a second honeymoon or something?”

Rose and Robert looked at each with worried expressions.

“Something like that, yes.” Robert said, still looking at his wife.

Rose McConnell and Caroline Fischer have been best friends since they were 13. They have never lied or hid anything from one another. They raised their children together and when Alice and David inevitably fell in love, they planned a big spring wedding and a long line of grandchildren. They were over the moon when David finally proposed a few years later. So when Alice called her mother complaining about feeling lonely, Caroline would immediately call Rose to relay the gossip. The incessant complaints worried the two friends and they decided the best thing to do was to pay a visit to the young couple and assert just exactly how big the issue was.

“We’re worried about the two of you. You look so… So sad.” Rose said carefully. “What is happening, kids? I can barely recognize the two of you!”

Alice feels a chill down her spine and her mind hurries her to give an excuse. She remembers how she used to be. How they used to be. Young, in love and overly optimistic. They had the whole world and were ready to take it.

“It’s just…” She starts, stuttering. “It's France! Everybody is always either angry or sad here, or both. I guess we just need some time to get used to it.” David had an unreadable look on his face, he held out his hand in Alice's direction, who immediately took it. He kissed her hand and held it for the rest of the brunch.

“Yes, we’re having a hard time adapting to the culture. I didn’t want to admit it, it’s a bit embarrassing.” David spoke in a monotone voice.

“Nonsense!” Robert said, laughing. "That 's normal, son. But once everything is settled with the company, and after the wedding, you guys will go back home. Where you two belong.”

“I hope you didn’t come all the way here just for that.” David says to his father.

“Oh, no!” Rose laughs, feeling relieved already after believing Alice’s lie. “We are having a second honeymoon, yes! We’re going to Nice tomorrow, and then Monaco!”

The rest of the brunch went smoothly and Rose hugged both of them tightly before saying goodbye. David and Alice stayed at the bistro for a couple more drinks before deciding to go back home. Their shared apartment looked bigger and colder each passing day. Neither of them was spending much time there recently, it was almost like nobody actually lived there.

“So,” David says, throwing his coat on the couch. “You think we need some time to get used to France?” He’s smirking but his humor doesn't meet his eyes.

“What are you implying?” Alice feels angry, standing tall by the doorway in her Jimmy Choo heels and tightly holding her Hermès handbag, as if she’s ready to run away at any moment.

“We have to talk at some point, Alice.” David sits on the couch and taps the seat on his side, motioning for Alice to sit beside him. She refuses and continues to stand by the door. They’ve been like that for a couple of weeks. It’s hard to remember the last time they shared the same bed.

“I don't want to talk.” Tears start streaming down Alice’s eyes.

“So we continue to ignore what’s happening?” David had his hands on his face, his voice muffled, when he looks back at her, his face is red and he’s crying too.

“You heard your parents.” Alice feels her voice sounding like a little child. She cries harder at that. “Once everything is settled with the company, and after the wedding, we’ll go back home. And everything will be fine.”

“You’re in denial” David yells.

“You don't love me anymore?”

“Of course I love you! I just don’t know how to make you happy.” He’s still yelling and Alice drops to her knee in front of him, she holds his hand and looks deep into his eyes.

“Come home, David. Stay with me. Spend time with. That’s how you make me happy.” She’s desperate, Alice feels like she’s going crazy, begging him for something she’s not even sure she wants.

“Okay. Okay, love. Don't cry.” David kisses her forehead hoping to calm her down. They take deep breaths in each other's arms. “I’ll come home. I promise.”

He doesn't. He continues to spend his weekends and off days everywhere but home. They continue to avoid each other, only speaking when extremely necessary. So Alice went back to Kylian, as she got used to, and turned his bed into her personal oasis.

"Which one?”

Kylian shows her two different pairs of sneakers and Alice picks one. He’s dressing up to a marketing event for the club and the blonde woman lying in his bed watches him in admiration.

“You’re beautiful.” Alice says, smiling.

“Don't say things like that.” Kylian laughs, throwing a pillow at her. “You know I can't stay.” He goes to her on the bed and gives her a peck on the lips. “I’ll take care of you when I come home, I promise.”

He always kept his promises. Alice waited for him on the couch, watching some random tv show, and as soon as he walked in the door, late at night, he carried her to bed. Kylian got rid of their clothes before they reached the bedroom. He’s hard and Alice puts her hand on his member, feeling him, how big he is. She feels desperate to have him inside of her.

“With your other hand.” Kylian says, moaning.

“No, can’t. The ring is going to hurt you.”

“Then do it slowly. I want to see.”

The bedroom is being illuminated by the moonlight, making her diamond ring shine bright on her hand. As she touches him, her fingers become coated with his precum. They both admire the view. The sigh is filthy, obscene. It only makes them hornier, hungrier for each other. It doesn't take long and they’re kissing again, Kylian holds her in his lap and Alice guides his cock, having him where he belongs. Inside of her, fucking her.

“So deep.” She’s moaning incoherently.

“Yeah? Keep talking, baby.”

Kylian is focused, his eyes glued on where their bodies meet, his hands on her hips, pushing her into himself.

“You’re so big, Kyky. I feel so full.”

“You like it?” He kisses her neck, her ear. “Is my baby happy?”

“Yes. Yes.”

Their movements become faster, erratic.

“I want to…” Kylian closes his eyes, trying to focus. “I want to.” He doesn't know how to ask for what he really wants. “Alice, baby, you’re…” Mine. Mine. Mine. Is all he can think of. She hears it, somehow, she’s thinking about it too.

“You can do whatever you want.” Alice says in between kisses. “Whatever you want.”

Kylian bites her. Her lips, her neck, the side of her breasts. He turns her and she’s lying on her stomach. He enters her again and slaps her ass. He’s trying to mark her, trying to show her. Mine. Mine. Mine.

“Good girl. That 's right. You’re taking me so well.”

She’s on all fours and Kylian continues his mission, distributing love bites all over her back. She cums hard, her legs shaking. Kylian has to hold her up as he continues to fuck her. Alice tries to say something, but she can’t find the right words. Her brain and body feels like gelatin after her orgasm.

“What is it, baby?” Kylian pulled her closer, listening carefully. “Just ask me and I’ll give it to you. Anything."

“Cum on my face, please. Please.”

He has to hold back, stopping abruptly, not to cum right at that moment. Kylian grants her wish with great pleasure. Painting her beautiful face in white. Mine. Mine. Mine. The next day Alice wakes up with Kylian giving her soft kisses. From the bed, she looks out the window. Winter is dying outside and that realization worries her.

“The weather is changing.” She speaks, still half asleep. There’s something left unsaid. Spring is coming.

“We’re running out of time.” Kylian says and Alice feels like she’s been punched in the gut. He sees the pain in her face and looks worried at her. “What?” He gives a dry laugh, humorless. “You don’t expect me to continue this after you marry another man, do you?”

Alice takes a second to process what he said. Suddenly, she becomes enraged. She gets up, pointing a finger to his face.

“You…” She’s seeing red. “You don’t care about me, do you? Fuck! You never did.” She’s accusing him, even though she doesn't know exactly what crime he committed that she didn’t commit as well. “You’re just using me!”

“How can you say that?” Kylian sits up on the bed, not fully understanding what’s going on.

“You’re so… You’re so… Selfish! Fuck you, Kylian.”

“What the fuck. Don't talk to me like that. You don’t get to call me selfish. Everybody else in the world says that about me, but you can't. Not you. I was never selfish with you.”

They stare at each other in disbelief, both yelling.

“This was always some sort of kink to you.” Alice looks disgusted at him. “Some sort of twisted one sided competition that you created in your head and you actually think you’re winning.” She feels like her head is about to explode. She closes her eyes trying to collect herself.

“I'm winning.” Kylian yells harshly. “Look at where you are. I won already. And it’s not one sided, baby.”

“He doesn’t even know about you.” Alice whispers, crying.

Kylian takes a deep breath and stares at his phone, he’ll be late to practice if he doesn't get up soon. He doesn’t know what to do, or what caused the fight.

“I’m taking a shower.” He gets up, speaking softly now, no longer angry. He tries to touch her shoulder but she recoils. “We can talk when I come out.”

When Alice hears the water running she puts on her clothes and walks out. For a while that’s all she does, just walking and walking and walking. A couple hours later, when she’s tired and out of breath, she sits at a café. On her phone there’s a notification. Alice lights up a cigarette as she reads the messages.

k.mbappe you have been using me too this whole time it’s not just me don’t act like you’re better than me alice answer me you don’t get to just walk out like this answer me

...

join the taglist

@mywhimsyjournal

#kylian fanfic #kylian mbappe #kylian mbappe fanfic #football fanfic #football fic #the french exit

53 notes · View notes

uwmspeccoll · 9 months

Text

Staff Pick of the Week

The Hundred Year’s War is a slight misnomer; it was actually a series of multiple wars occurring between the years 1138 and 1450 with an occasional peace treaty in between periods of intense battles. Contemporary accounts of the events happening during these years are essential for historians to gain a better understanding of the time period, even if they are exaggerated or clearly biased recordings of the events at hand. One of the many historical accounts from this time is that of Frenchman Sir John Froissart. While not born into nobility, Froissart spent much time surrounded by nobles as he chronicled the happenings of the first half of the War, and his Chronicles are a vital resource for historians about that time. He also wrote a variety of poetry and even an Arthurian Romance, along with his historical accounts.

Today’s Staff Pick of the Week is an edited version of the English translation of The Chronicles of Froissart by John Bourchier, Lord Berners (1467-1533), edited by the English classical scholar G. C. Macaulay (1852-1915). John Bourchier was an English translator, as well as a soldier and statesman. His translation of the book was said to have made a significant advancement in English historical accounts and made the book accessible to a much wider audience than simply those educated to read and understand French.

The edition shown here is the 1959 Limited Editions Club (LEC) production of Froissart's Chronicles, printed by Peter Beilenson (1905-1962) of the Peter Pauper Press, with illustrations by American artist Henry C. Pitz (1895-1976), in an edition of 1500 copies signed by the illustrator. Pitz's marginalia illustrations appear to emulate those of medieval illuminated manuscripts. There are a wide variety of people depicted in clothing of the time of the Hundred Year’s War, as well as shields, weapons, animals, and buildings which are most likely meant to add a visual link to the time in which this account was originally recorded and published. Besides these marginalia, there are 16 full page-spread illustrations reproduced from Pitz's line-and-wash paintings, hand-colored through stencils at the Walter Fischer Studio.

– Sarah S., Special Collections Graduate Intern.

View more Staff Picks.

#staff pick of the week #Jean Froissart #john froissart #Henry C. Pitz #john bourchier #G. C. Macaulay #gc macaulay #chronicles of froissart #limited editions club #LEC #Peter Beilenson #Walter Fischer Studio #marginalia #hand colored prints #illustrated books #hundred years war #The Chronicles of England France Spain and Other Places Adjoining #Sarah S.

30 notes · View notes

attackfish · 4 months

Text

This blog stands as an archive of Attackfish's blog, from 2012 to the beginning of 2024. It is no longer active, and the blogger is logged out of this account.

These last twelve years in fandom on tumblr have been transformative, as all fanworks should be, and while I have left fandom, it wasn't in bitterness or shame, but simply a new chapter for me. I leave this blog behind intact so that everybody who enjoyed my fanworks in the past, or who might find them in the future can still access them.

I have a new blog, for original fiction at @a-s-fischer, and I would love to see you there, and talk to you about what I'm writing!

#posts i created

17 notes · View notes

denimbex1986 · 6 days

Text

'When Steven Zaillian sat down to write his version of The Talented Mr. Ripley for Netflix, he produced what he describes as “a 500-page movie script.” Zaillian isn’t shy about writing scripts with a certain level of detail — clearly laying out character motivations and reactions, both physical and emotional. It’s a deep-dive approach that is part of what makes Ripley such an immersive watch. Long stretches of episodes are devoted to how exactly scammer Tom Ripley (Andrew Scott) wipes up a pool of blood, or how he negotiates a boat-sale scheme with an Italian counterpart, or how he alters his appearance to trick a detective into believing he’s a different person. The series’ moral ambiguity flourishes thanks to all that methodology, which is exactly the kind of thing Zaillian excels at writing (see the chess gameplay of his directorial debut, Searching for Bobby Fischer; the statistics-reliant maneuvering in Moneyball; or the calculated bribery in Schindler’s List).

If Zaillian hadn’t had the ability to make Ripley this long and sprawling, he wouldn’t have done it. “I felt that I could do things with the book that a movie can’t in two hours,” says Zaillian, whose 2016 TV debut, the HBO miniseries The Night Of, won five Emmys out of 13 nominations. The eight-episode Ripley — originally ordered by Showtime before ending up on Netflix — rejects the sunny luxury of previous depictions of the Italian coast (as seen in 1960’s Purple Noon and 1999’s The Talented Mr. Ripley). Its black-and-white cinematography is bold, angular, and unsettling (thanks to cinematographer Robert Elswit, who previously worked with Zaillian on The Night Of, alongside other returning collaborators like composer Jeff Russo and casting director Avy Kaufman), which ends up serving Scott’s version of the sinister orphan well. Unlike the rakish suave of Alain Delon or the corn-fed sincerity of Matt Damon, Scott’s Tom is more mean, even dispassionately alien, in how he disposes of Dickie and Freddie. In the series’ stark color scheme, the bloody damage Scott inflicts on these men and the lonely locations in which he abandons their bodies make both Ripley the character and this portrait of his ascension feel like Patricia Highsmith’s text filtered through a German Expressionist fever dream.

Much of Ripley’s distinctness comes from its mimicry of Zaillian’s own life (aside from the serial-killer thing). His transfixed reaction the first time he saw a piece of Caravaggio-style artwork became Tom’s, too. Kenneth Lonergan, a longtime friend of Zaillian’s, pops up in an unannounced role as Dickie’s self-made father, Herbert Greenleaf. Shadows and darkness are more intriguing to Zaillian than sunny beach weather, which rarely shows up in Ripley, though it defines the look of previous adaptations. But maybe only a director who would confess to hating blue skies is capable of appropriately forefronting the murk of Tom Ripley.

Ripley is shot in black-and-white. You’ve said you consider the book the “novelistic version of film noir.” Did classifying the story in that genre lead you to the color palette?

That’s part of it. The other part is because the story itself is a rather dark and sinister story. It’s not impossible, but it’s difficult, to shoot Italy in color without having it look like a postcard. We shot in the winter; the whole story takes place in the winter. I didn’t want blue skies; I wanted cloudy skies, rain and rain-glistening streets. I had that look in mind from the beginning.

There’s a moment when Marge is writing Dickie a letter and says the tomato plant he gave her is thriving, and the series cuts to a shot of the plant completely dead. I laughed. It’s Tom Ripley by way of The Cabinet of Dr. Caligari. There is something so unsettling about seeing Italy this way.

Cinematographer Robert Elswit tells this story that I forgot, which is — Robert knows how much I hate clear blue skies. But when we were shooting the scene on the beach when Tom meets Dickie and Marge, there was nothing we could do about it. It was sunny. I wanted to put the camera way up high and get a shot of them lying on this beach. As I was doing that and had Tom walk by, his shadow fell across them. And Robert said, “Well, that never would have happened with an overcast sky. There are some good things about a clear, sunny day.”

Were there any approaches you and Robert used to amp up the visual contrast of the show?

There was a standing rule that whenever we were shooting outdoors, we had the ability to wet down the streets, whether it was daytime or nighttime, because it instantly brings those film-noir images to mind. And because it’s beautiful; it’s a little better than a dry street.

I’m curious about the Caravaggio of it all, and how the Italian painter and his work entered into the adaptation.

The first time I went to Italy, I went to a small museum in Perugia, and I was looking at this painting that had drawn my attention. It didn’t look like any other painting in the place. There was no one in the room except a museum guard and me. After watching me stand longer before this painting than any others in the room, the guard came up behind me and said exactly what the priest says in the show — “La luce, sempre la luce”; “The light, always the light.” He was talking about the chiaroscuro of the painting. It was not a Caravaggio, but a painting by a peer or next-generation artist influenced by him — a Caravaggisti. So I started seeking out all the Caravaggios in Italy when I was there. When I was writing the script, I put that in, and it developed from there. It became a sort of motif. I felt that Tom was somebody who could appreciate art and would do something like that.

And at a certain point, I said, “Well, let’s show Caravaggio himself.” He murdered someone 350 years ago. You may think you’ve made a mistake when it says, “Roma, 1606,” but I thought people would keep up with it. We went to the paintings in the cities we were shooting in. In Naples, we went to Misericordia Church, which is where Seven Mercies is. In Rome, there’s a triptych of three paintings in San Luigi dei Francesi, which I’ve seen before. In terms of the ones that he would look at in books, those were the ones that he hadn’t seen in person that I thought he should see — some of the ones that I liked.

We start the series with Tom dragging Freddie’s body down the stairs and then we go into the details of his life in New York. Was establishing Tom as a killer always your beginning?

It wasn’t. In the scripts, it starts in New York City. During the editing, I had the idea to start there as a little prologue. That’s one of the things that happens when you have the time in post to think about things, rethink things. We had almost two years in post.

Something I like about that beginning is we see the cat Lucio for the first time. I remember thinking, This cat knows what’s going on.

The only witnesses to Tom are animals and portraits and things that can’t testify. A goat sees something. And the cat. The cat sees everything.

The Tom and Freddie dynamic feels shaped by a shared loathing that’s potentially mixed up in their sexualities. Freddie is played by Eliot Sumner, who is nonbinary but male-presenting and implied to be gay in the series. I’m curious about the intention behind Eliot’s casting, and if there was a layer to the performance that you wanted to reflect our questions about Tom’s sexuality.

Not really. Eliot was cast from an audition tape, one of 200 actors who came in for that part. Most of them played the part as a kind of version from the book, although some of them were playing it almost like a copy of Philip Seymour Hoffman. And Eliot did something completely different, which was sophisticated, quiet, British. And I thought, This is it. Why can’t this character be the most sophisticated person in the story? Which I feel Freddie is, and that makes him a bigger challenge and a bigger threat to Tom, if he’s not just some sort of loud, obnoxious American character.

The moment with the Ferragamo loafers, when Freddie realized Tom was wearing Dickie’s shoes, really threw me. As you said, this version of Freddie is quiet, but he’s taking inventory of everything.

Eliot said that and did it exactly that way in the audition — without looking, is what I mean. And I thought, That is so smart, to take in the shoes before. I won’t bother showing Freddie taking in or seeing the shoes, but he does. It was a joke on the set when I’d say, “Let’s get another shot of Freddie’s shoes. Let’s get another shot of Tom putting on his Ferragamos.” It’s the thing that starts the whole sequence between these two, is this lying. So there’s a lot of shots of the shoes.

This series has such a collection of wealth signifiers: the loafers, the Brooks Brothers robe, the gold cigarette case, the fridge, the Picasso. Were they scripted to that level of detail?

They were scripted — the pen, the Hermes Baby typewriter. The Picasso was chosen while we were filming, and we had to get it painted and the rights to use it from the estate. For me, these items are important, and they’re not important because they signify wealth to Tom. I don’t think Tom looks at them that way. I think the people that own them look at them that way, like a status symbol. But Tom just appreciates them for the beauty in them. He’s attracted to them because he likes to look at them — even the ashtray. He just likes to have nice things around him, beautiful things.

Andrew said that the series has a “very light message” that “everybody is deserving of beauty and arts in the world. It’s not for a certain section of the community. It’s not just for the rich … We have to understand that it’s about class and money and morality and fairness.” I’m curious if you agree with that — if you were aiming for someone to walk away from the series with, if not exactly an eat-the-rich ideology, more of a spread-the-wealth ideology. Did you create the series with a political angle as an intention?

I wasn’t really thinking about that. I did think that Tom appreciates these things in a way that the rich don’t. The rich feel entitled to them, and they don’t see the inherent beauty in them. And he comes from a place where he does.

I want to ask you about Dickie and Marge, who were more homophobic than I expected. Can you talk a bit about that characterization of them?

I never really thought of them as homophobic. For Dickie to say, “Marge thinks you’re queer,” I don’t think that’s homophobic. I think that’s just what she thinks. At one point she says, “I don’t know what to think of Tom’s sexuality. I don’t think he’s normal enough to have any sort of sex life,” so she doesn’t know what’s going on in that regard. I think Tom has never really loved anybody other than himself. But the closest he comes is Dickie — maybe he likes him, he might even love him. And I think Dickie finds something attractive about Tom as well.

Andrew has said he doesn’t see Tom as a villain. You’ve said that you don’t think about generating sympathy or empathy when you’re writing characters. But I thought the series was very pointed about keeping us in Tom’s perspective when he does things I perceived as humorously mean, like when Marge is getting back on the train and Tom very energetically says “bye” to her and then throws her scarf away. How much of that dark comedy was intentional? It’s all intentional, yes. I love the relationship between Tom and Marge. At one point I said to myself, I think they would actually be very good friends if they didn’t happen to be in love with the same person, because they’re very much alike. You see this relationship changing when Marge starts to see the advantage of Dickie being missing and her starting to get some attention for that. Tom doesn’t really appreciate it. The scenes with them in Venice together I just love.

I liked how much friction there is in their arguments. It felt like watching a duel, each of them trying to get the last word.

And it’s the thing that nobody else seems to notice with them. If there’s a scene between the three of them — Dickie, Tom, and Marge — you’ll notice Dickie’s always looking down or looking off when those looks happen between them.

Dickie’s death is a huge moment. It seems spontaneous, but it’s such an involved scene — Tom attacks Dickie and collects items from his body, then ends up in the water himself when he tries to dump Dickie’s body, and then weights the boat and sinks it. What went into that?

That particular sequence probably took a week to shoot. Did we talk about it? We didn’t really talk a lot about anything. If a question would come up, I’d try to answer it, but I felt like the actors knew who they were. The scripts I write aren’t shy about mentioning what a character is thinking or feeling. I don’t write camera angles, but I do write that. In that particular case, Andrew had an awful lot to do. That was just a matter of committing it to memory and then doing it, and making it feel as if he’s figuring it out as he goes along, which was very important to me both in the sequence with Dickie and then later with Freddie — to show that he is not a professional killer. He’s actually no better at it than we would be. How do I get this guy out of a boat? becomes a huge problem. We shot that in a tank. How do I get this guy downstairs? becomes a really elaborate problem. Those two long sequences were in the script — they were quite long in the script.

For the most part, the series does not use handheld. But there is a moment when Tom is dragging Freddie’s body out of the apartment that we see one handheld shot, right?

It’s sort of one setup. I did shoot it non-handheld, as wide, as well. I like setting the frame and having the action take place in the frame. But when Joshua Raymond Lee, who is one of the editors, used it, I said, “Oh, I don’t think I want to use it. It would be the only handheld shot in the whole series.” And he said, “Well, maybe that’s a good reason. I think it looks really good here.”

I liked it because it helped make that moment feel unplanned, like another instance of Tom trying to figure this all out. Beyond the camerawork, was there a specific scene or moment where Andrew surprised you with a contribution to this version of Tom? I’m thinking of his “I like girls” line, which Andrew delivers very flatly.

Everything in that scene is for that line. And when there is a line like that, where it is the whole point of the scene, I’ll keep doing it until I hear it. He had a lot of patience with me in that regard. And when I heard it, I said, “Okay, good, we’re done with this scene.”

I mean, everything surprised me. I was constantly surprised daily by the choices he would make. He’s also really good at the process of things. If he has to forge something, he’s going to forge it. If he’s going to have to write a letter, he’s going to write it. If he has to climb from the water into a boat, which is extremely hard — it seems like it’s easy; it’s not — he’s going to do it, and I’m going to keep filming it.

There are scenes in the series where we are supposed to doubt Tom’s sanity a little bit. I’m thinking about the Italian language tapes, where the dialogue he’s learning feels very particular to him: “How much money do you need?” Or when he sees Dickie’s ghost. Or when he imagines Bokeem Woodbine’s detective listing all of his crimes. What should we take away from those scenes?

It’s more about a glimpse into his mind. But not to say, “Oh, he’s crazy.” There were actually more of them in the scripts. But the ones we do see include when he’s writing a letter to his aunt Dottie. He imagines her at the dentist. He imagines the people he doesn’t like being in some uncomfortable situation.

And it was important to me that what he imagines is something that he’s actually seen. If he’s going to imagine a banker in a bank, it’s a bank that he’s been to; if he’s going to imagine a private detective accusing him of something, he imagines him in what he imagines a private-detective office should look like, which is something straight out of a movie that he’s seen. The locations of these — I don’t know if I would call them a fantasy — imaginings of people talking to him are intentional.

In the last episode of the season, we’re introduced to John Malkovich’s character, Reeves, who sees Tom for what he is, and Tom sees him for what he is. They describe themselves as “art dealers,” and Reeves is the closest thing Tom has to an ally. Did you write the role for Malkovich, who played Tom Ripley in 2002’s Ripley’s Game?

He doesn’t appear in the first book; he’s introduced in the second book, Ripley Under Ground. More than anything else, I thought it would be fun to see him in this one, and figured out a way he could actually serve some sort of plot function. It was as simple as writing to John and telling him, “It might be fun to do this, and I hope that if there ever is another one, if we do any more of these books, that you’d want to do that too.” And he said, “Yeah!”

Was Kenneth Lonergan cast as Herbert Greenleaf in a similar way? You and him working together again was a mini Gangs of New YorkZaillian, Lonergan, and Jay Cocks co-wrote the screenplay for Martin Scorsese’s 2002 film Gangs of New York reunion that I was very excited about.

Kenneth, I’ve known him for a number of years, and I’ve always liked his performances in his own movies. What I didn’t want was what I would call your standard blue-blood aristocratic rich guy. I wanted somebody who felt more like a working man who made his money. That would be more meaningful in terms of the story. It was just, “Hey Ken, maybe you want to do this.”

At the end of the season, after Tom has convinced everyone that Dickie died by suicide and he’s reading the letter he forged that he’s passing off as Dickie’s last words, Herbert looks so guilty when he hears who he thinks was Dickie describing his own paintings as “worthless.” But they are pretty terrible. How did they come into being?

We had an Italian artist in the art department, Valentina Troccoli. She did all the Dickie paintings. She also did the Caravaggios; there’s a scene where we’re in his atelier and we see a couple of his paintings in the process of being painted. She also did the Picasso. She’s really something. For the Dickie paintings, production designer David Gropman and I initially had this idea that we would put up easels and everyone in the art department would try to paint badly, and that it might be better if it wasn’t a professional artist trying to paint badly, but somebody who just painted badly. It turned out that the professional won the contest. She was able to do it in a way that didn’t look ridiculous but at the same time was not good.

Was there anything from the Ripley books that you wanted to adapt in this series but that you didn’t get to?

No. But if somebody wants to do it again, there’s no shortage of material. She wrote five books about Tom Ripley, so there’s a lot there. My favorite of those books is called Ripley’s Game. I just love that story.'

4 notes · View notes

dr-archeville · 2 years

Video

youtube

Violent Night - Official Trailer [source]

To hell with “all is calm.”

From 87North, the bare-knuckle producers of Nobody, John Wick, Atomic Blonde, Deadpool 2, Bullet Train and Fast & Furious Presents: Hobbs & Shaw comes a coal-dark holiday action-comedy that says you should always bet on red.

When a team of mercenaries breaks into a wealthy family compound on Christmas Eve, taking everyone inside hostage, the team isn’t prepared for a surprise combatant: Santa Claus (David Harbour, Black Widow, Stranger Things series) is on the grounds, and he’s about to show why this Nick is no saint.

The film also stars Emmy winner John Leguizamo (John Wick), Cam Gigandet (Without Remorse), Alex Hassell (Cowboy Bebop), Alexis Louder (The Tomorrow War), Edi Patterson (The Righteous Gemstones) and Beverly D’Angelo (National Lampoon’s Vacation franchise).

Directed by razor-edged Norwegian director Tommy Wirkola (Hansel & Gretel: Witch Hunters, Dead Snow franchise), Violent Night is produced by 87North’s Kelly McCormick David Leitch and Guy Danella. The original screenplay is by Pat Casey & Josh Miller, the writers of Sonic the Hedgehog. The film’s executive producer is Marc S. Fischer.

Universal Pictures will distribute the film in all territories.

AMAZING

#Violent Night #Santa Claus #David Harbour #film trailers #movie trailers

63 notes · View notes

thorraborinn · 17 hours

Note

Hi! I'm reading The House of the Wolfings and all these houses have -ing names, Elking (elk), Harting (hart/stag), Bearing (bear). And even in other lore and legend we got Ynglings, Wulfings, Hundings, Scylfings, etc. So, my last name is Haring. And anything I can find about it says it's just a different way to spell herring, and relates to the fish/a fisher. But I can't help and look at this and wonder if it has anything to do with this old naming pattern. Do you have any thoughts on that?

Hard for me to say. This is a little outside my expertise. I think if I really wanted to know, I'd start by seeing if I could trace the origin of it being used as a surname, especially the occupation of the people who used it. That would at least give some indication of whether the explanations you've found on the internet are well-informed, or just guesses. I will say, the herring explanation does make sense and even if it is a weakly-supported guess I think it would take a lot of work to unseat it as the likeliest candidate (compare the surname Fish/Fisher/Fisch/Fischer/Fisk/etc).

Surnames weren't common in most parts of Europe until relatively recently, so we should not expect that a name was coined as an ancient tribal or dynastic name and used continuously that way up until it transitioned into being a modern surname. I'm not aware of any Wulfingas or Ynglingar who are alive now. So we would have to look for a different process of that kept a name in some other kind of use in between. There might actually be one here. It seems that Haring was used a given name at one point, and the probably-related Hering even earlier. so it's theoretically possible that it could have been a group name, then became a given name for a while, and later a modern surname. Or it might be simpler to say, formed as a given name in early times, and then adapted as a surname when they started using those. I have no idea how likely that is. If the Haring surname only started being used as a surname in like the 1600's, then it remains to be explained why those guys had the same/almost the same name as a first name hundreds of years before. But in that case, we would not have a strong reason to suppose that the name stayed in a particular family or line.

Even if the name was first formulated in ancient times, it's still entirely possible that it could be related to herring. Herring are an extremely important food source, historically as well as today, and we do have evidence of ancient Germanic people named for characteristic foods (the Rugii, named for 'rye'), and furthermore, while we don't see a lot of tribal/dynastic names involving fish, we shouldn't ignore the fact that it's as much an animal as wolves and hounds, etc (though I can't imagine herringing being used as a name).

Also, while -ing names go back to ancient times, the use of the suffix to make names continued to be used into the modern era. I'm pretty sure they can still make new -ingar and -ingjar in Icelandic now. So even if your name doesn't follow a succession leading back to ancient times, and was coined in like 1600 or something, it may still have participated in that much older naming convention.

In fact, herring arguably does follow the same *[root]-ingaz, -ingijan- name-formation process, at least on the phonological level. The theories that I see for the etymology of herring derive it variously from *hēri- 'hair' (referring to its wispy bones), *harja- 'army' (referring to large schools of fish), or *haira- 'hoar; gray.' Any of these could also be tribal or dynastic names, with or without a connection to the fish. A derivation from the 'hair' word would parallel the Haddingjar, from haddr 'hair.' A derivation from the 'army' word would be similar to the Harii, a Germanic tribe whose name indicated them as warriors. I don't think any of these individually stand out as likely independent explanations of your name, but they're all feasible both for the origin of the word herring and for names that could have emerged when there were Skylfings and Skjöldungar and stuff. So really, you could be the inheritor of an ancient cool name, by means of the fish, which is itself pretty cool.

I dunno, like I said this is not really my wheelhouse (the further the discussion goes from Icelandic and its antecedents, the less capable I get) so this is all speculation but I hope it's helpful.

3 notes · View notes

curiously-questing · 1 year

Text

GUYS OKAY. I WAS JUST VIBING AND WATCHING A VIDEO ABOUT THE HISTORY OF FONTS BECAUSE I WANTED TO MAKE AN ACCURATE 1920′S NEWS REPORT FOR MY BOOK ANALYSIS - AND I WAS SEARCHING UP THE NAMES OF EVERYONE THE VIDEO MENTIONED. ONE OF THEM WAS NAMED PAUL RAND (not super important to the story but) WHEN I SEARCHED HIM UP I SAW AN OwO FACE AND I WAS LIKE “damn paul rand was the original owo thats like learning about how motzart would get on his knees and meow sometimes” AND. IT JUST HIT ME. LIKE A GOODDAMN BOULDER. “hey THATS. THATS NOT SOMETHING NEUROTYPICAL PEOPLE DO” SO I WENT TO OUR BESTIE GOOGLEtm AND SEARCHED THIS UP

and i was like “haha i really am the first person asking this question” AND THEN.

I WAS FFKING RIGHT AND I WAS SO PROUD OF MYSELF FOR SOME REASON BUT THEN I WAS CURIOUS SO I CLICKED ON THE LINK. I’LL LIST A FEW THAT I KNOW THE MOST ABOUT PERSONALLY.

- Thomas Jefferson

- Bill Gates

- Steve Jobs

- Bobby Fischer

- Charles Darwin

- Lewis Carroll (writer of Alice in wonderland)

- Hans Christian Anderson (original writer of The Little Mermaid and The Ugly Duckling)

- Michealangelo

- Nikola Tesla

- Issac Newton AND ALBERT FUUCKING ENSTIEN.

IT MAKES SENSE BUT ALSO I CAN’T THINK OF ANY FAMOUS HISTORICAL FIGURE NOT ON THE SPECTRUM?? AS PROBABLY THE 1 (one) SINGULAR PERSON ON THIS WEBSITE THAT IS NEUROTYPICAL I FEEL LIKE. LIKE WHAT DO I DO WITH THIS KNOWLEDGE. IM THE ONLY ONE ON THIS SITE THAT ISNT EMPOWERED BY THIS KNOWLEDGE. I FEEL LIKE NOW I NEED TO SEARCH UP COOL REVOLUTIONARY HISTORICAL FIGURES THAT I LOOK UP TO THAT ARENT ON THE SPECTRUM NOW CAUSE EVERYONE THAT DID ANYTHING SPECIAL IS AUTISTIC??? HELLO??

#can someone please search up revolutionary figures that arent on the spectrum and arent assholes so i can feel like i can actually do someth #ing again #i dont know how to make image id's so if someone is able to do that that i can edit in the post #autism #asd #aspergers #OCD #neurodivergent #neurotypical #i know i only mentioned men in the post but because of the education system- those are the only people i know from the link #edited the post 22nd of december for readability.

31 notes · View notes

keemera-art · 5 months

Text

Template by Blaze-On-Fire on deviant art! Got the idea from Dunsparmy on Deviant too :)

Rogue Lenny

Lenny is on Kupa Keep’s side only because he doesn’t want to make Cartman an enemy. He would rather join the Drow elves but knowing how ruthless an enemy Eric could be he chose Kupa Keep to stay on Eric’s good side.

Class: Thief

Alignment: Chaotic neutral

Weapon(s) of choice: two daggers

Main attacks:

“Ruthless Attack”. He takes out his two daggers and runs up to the enemy, slashing them up to four times on a perfect hit.

“Cheater”. He takes marbles out from his pockets and throws them on the ground which causes the opponent to fall, giving the enemy the “defense down” condition.

Voice lines:

After attacking:

“Let’s play marbles!”

“Cheaters always prosper”

“That’s gonna leave a mark”

“Words still cut deeper”

When hit:

“Ack!”

“Ow, thanks a lot”

“That was totally unfair”

“You so missed”

—————————————————————————

Invisa-Boy:

Alias: Lenny Fischer

Class: Assassin and elemantalist

Invisa-Boy is a vigilante with the power to become ✨invisible✨. He is a Freedom Pal whose power’s origin is unknown, but he uses it both to slip by unnoticed, stealing cheat sheets from the teachers at South Park elementary that he can sell to students, and to fight crime in the streets after dark.

His closest allies in Freedom Pals are Mysterion, Super Craig and Toolshed, who happen to all be well paying customers.

Backstory:

he doesn’t remember his parents… his memories were stripped away from him… all he knows is that from a young age he could go by undetected. People would often ignore him at school or on the street… it was some kind of super power he possessed, to be so easily ignored and forgotten about. Once he realized the amazing power he possessed he started using it to his advantage, both for good and also business, as he realized kids liked cheating on tests… they really liked cheating. Kids didn’t want to do the work. So he learned he would get paid handsomely if he started selling cheat sheets to kids at his school.

By day, Invisa-Boy is Lenny, the keeper of the cheats. By night… he’s a crime fighting vigilante who seeks to stop evil in its path with his invisibility.

Attacks:

“Silent Onslaught”

Turning invisible, Invisa-Boy runs up and leaps onto the enemy, stabbing them with his dagger. Inflicts bleeding condition and defense down to enemy. Invisa-Boy’s invisible condition ends on his next turn or when he takes damage.

“Fucked From Behind” He runs up behind the enemy and in a similar manner to “backstab” from the Thief class, stabs them. Causing bleeding and extreme damage.

“Wind Turbine” he blasts a windy gust towards enemies (can hit up to 6 squares) causing damage and knockback.

Ultimate attack:

“Now you see me, now you don’t” Going invisible, Invisa-Boy harnesses the power of wind and weaves all farts in the surrounding area into one big cloud around enemies, causing gross-out and extreme damage.

Character sheet:

Race/ethnicity: Magic-infused human

Sex/gender: Bi-curious trans male

Alignment: Neutral

Religion: Oxygen

Power source: People’s obliviousness

Kryptonite: Hall monitors

Voice lines:

After attacking/during combat:

“Can’t hit what you can’t see!”

“I’m getting McDonald’s after this.”

“I could’ve made like four moves by now.”

“Pull your head out of your ass let’s GO.”

When hit:

“I guess you aren’t as ignorant as the others.”

“Bring it on.”

“Ack!”

“I could’ve totally blocked that.”

#digital artist #digital illustration #digital drawing #digital art #south park #south park oc #south park art #south park fanart

3 notes · View notes

a-s-fischer · 4 months

Text

Happy half price Sukkot decorations day for all who observe! Not sure why it takes place a whole three months after Sukkot, at the end of the twelth month of the Christian calendar. I think it has to do with the feast day of a minor goyische diety known as Sunta? Senta? Something like that. Anyway, go forth and find something pretty to hang in your sukka next year!

I am really going to have to look up that diety figure. I feel appallingly ignorant for not knowing his name. I have friends and neighbors who are Christian. I really should educate myself more on their culture.

EDIT: It's Satan.

#a s fischer original #jewish

2K notes · View notes

moorheadthanyoucanhandle · 4 months

Text

COMPLEX CHARACTERS

Opening today:

Freud's Last Session--The "session" in question is fictional, or at best nervily speculative--a meeting of the titular psychoanalytic pioneer with the Christian apologist C. S. Lewis. It's September of 1939; England has just declared war on Hitler's Germany, and Freud, who has fled Austria for England with his obsessively devoted daughter Anna, is in the agonizing homestretch of terminal mouth cancer. Irked by Lewis' parody of him in The Pilgrim's Regress (1933), Freud has invited the young Oxford don to his house in London for a civil but contentious chat.

Freud is played by Anthony Hopkins; Lewis is played by Matthew Goode. The direction is by Matthew Brown from a script he co-wrote with the American playwright Mark St. Germain, based on St. Germain's play (which I saw well-produced by Arizona Theatre Company in 2013). The play is a two-hander, but this handsomely-produced movie expands on it with scenes involving Anna (Liv Lisa Fries) and her partner Dorothy Burlingham (Jodi Balfour), flashbacks to Freud's childhood traumas and to Lewis' PTSD from the trenches in the earlier war, his eyebrow-raising cohabitation with Janie Moore (Orla Brady), etc.

But the juice in the film is still in the theatrical sparring between the two leads, especially Hopkins as the chuckling, cheerfully furious Freud. He's as lovably cantankerous here as he was as Pope Benedict in 2019's The Two Popes. For his part, Goode is smart enough not to make Lewis saintly or jolly; he gives him an edge of defensive aloofness alongside a deep decency.

It's hard to say which, if either, of the two men's viewpoints St. Germain and Brown are most in symapthy with. Many of us are likely to feel ourselves somewhere between Freud's staunch and bitter rationalism and Lewis' somehow rather half-hearted pose of orthodoxy. But the point of the film seems to be that what underlies both is, at least partly, existential terror, of a sort to which intelligent, intensely imaginative people like these two are particularly subject. Neither strict nonbelief nor strict belief seems to offer much deliverance.

Mean Girls--"It's a cautionary tale..." So the Greek chorus characters Janis and Damian sing to us at the beginning of this musical remake of the well-loved 2004 teen comedy, pared down from the 2018 Broadway version. This may be the secret of Mean Girls, in each iteration: it really is a moral tale with a cautionary point, and the heroine really does go to the dark side.

As you'll recall, Cady Heron (Angourie Rice) is a smart kid who grew up in campsites in Africa; her mother (Jenna Fischer) is a researcher. When she lands at a suburban American high school for junior year, the divisions in cafeteria clique and caste strike her as similar to those in the animal kingdom. She gets sucked into spending lunches with "The Plastics," a circle of glamorous sycophants led by uber-mean girl Regina George (Renée Rapp). Cady agrees, initially, at the urging of artsy girl Janis (Auli'i Cravalho) and big gay Damian (Jaquel Spivey) to serve as a double agent in a revenge plot against Regina. But gradually, of course, the plastic begins to take over for real.

Or maybe the secret is just that the film, scripted, like the original, by Tina Fey (freely adapting a book by Rosalind Wiseman), is funny and sweet, but not so sweet that it forgets to be, you know, mean. Or maybe it's that most of the songs, by Nell Benjamin and Jeff Richmond, are delightful, and buoyantly staged by directors Samantha Jayne and Arturo Perez, Jr.

Overall, these actors don't have the vibrancy or distinctive personalities of the original film's cast, but they make up for this with terrific musical performing. Rapp brings such a baleful moan to "Meet the Plastics" that she really is a little scary, and Rice shades herself from guileless to conniving very believably. A few vets are around; Fey and Tim Meadows reprise their roles from the first film, and Busy Phillips and Jon Hamm contribute funny bits. The standouts, however, are Cravalho as Janis and Spivey as Damian, both equipped with gorgeous voices and the ability to act while they're belting.

Fey's generous-hearted--and sensible--take on popularity and self-esteem has provided a solid and unsentimental piece of role modeling for teens (and the teens that endure within most adults) for twenty years now. Maybe this movie will extend it for another twenty.

#mean girls #freud's last session #angourie rice #renee rapp #anthony hopkins #matthew goode #tina fey #auli'i cravalho #jaquel spivey #liv lisa fries #jon hamm #busy philipps #jodi balfour #orla brady #jeremy northam

2 notes · View notes

hughmanrights · 4 months

Text

Mean Girls (2024) film review

Director(s):

Samantha Jayne and Arturo Perez Jr.

Main cast:

Angourie Rice, Renee Rapp, Auli’i Cravhalo, Jacquel Spivey, Avantika, Bebe Wood, Christopher Briney, Jenna Fischer, Busy Philipps, Tina Fey, Tim Meadows and Jon Hamm.

Runtime: 112 minutes.

Does it pass the Bechdel test? Yes

Basic Plot:

A home-schooled girl moves to an American high school where she encounters the various social classes. The 2024 film Mean Girls is a musical inspired by the 2002 book “Queen Bees and Wannabes” by Rosalind Wiseman.

Overall Thoughts:

The 2024 reboot of Mean Girls is very enjoyable. This reboot adopts all the best parts of the 2004 film while discarding certain problematic jokes. The acting, singing and storyline of this film are excellent. Furthermore, the 2024 version of Mean Girls has more ethnic and sexual diversity than the original film.

Overall rating: 4.3 out of 5 stars.

#mean girls #cadey heron #regina george #feminism #samantha jayne #arturo perez jr #angourie rice #renee rapp #auli'i cravalho #jacquel spivey #avantika #bebe wood #christopher briney #jenna fischer #busy philipps #tina fey #tim meadows #jon hamm

3 notes · View notes

brightlight-dazzlingeyes · 1 year

Text

the french exit | chapter 05

kylian mbappé x original female character [+18]

previous chapter | masterlist | next chapter

Chapter 05 | A Burning Hill

“I am a forest fire

And I am the fire and I am the forest

And I am a witness watching it”

Alice goes home intentionally when she knows David won't be there. She grabs her Louis Vuitton luggage and starts to pack, looking around the apartment for anything she might like to take with her. There isn't much. She has a plan. She’ll take a french exit, she’ll go to a hotel and stay there until her head stops spinning. And only when that happens, if that happens, she’ll talk to David. It feels like a good plan. She was always non confrontational, her whole life. She was raised to be a good girl and good girls don’t argue, they don’t raise their voices. So she prefers to just leave. Except David also decided to go home when he thought she wouldn't be there. And he just stares at her in disbelief, watching her pack. He knows what it means, she’s leaving him. But he doesn’t know what to do. So Alice helps him.

“I know you’re cheating on me.” She says, surprisingly calm.

“Alice, love–”

“I cheated on you too.”

“Oh.”

They stay quiet for a while, just looking at each other. Alice continues talking when she notices he’s not going to say anything.

“We’re not people we’re pretending to be.”

“No, I guess we’re not.” David’s voice is low, he almost looks like a statue, unmoving. Or robot, only answering her sentences, without a single thought of his own.

“You used to be my best friend, David.” Alice starts crying when she says that. She didn’t know she had any tears left, but they’re just rolling down her face like a waterfall.

“I’m so sorry, love.” David is still unmoving.

“What happened to us?”

As she says that, David shakes his head and gets closer, he holds her face, trying to dry her tears.

“I don’t know.” It is as painful for him to say those things as it is for her to listen. “I just woke up one day and I wasn’t happy anymore.”

Alice almost laughs when he says that, and David raises his brow when he notices the spark of humor in her eyes.

“It was the same for me. That 's funny.” She chuckles.

“Yes, it is funny.”

They both laugh at that, a genuine, teary eyed laughter.

“Who–who was it?” David asks as she’s leaving.

“Does it matter?”

She doesn’t want to say it. And she doesn't want to know who he was spending his nights with either. It was the last thing they needed as they were saying goodbye.

“I still love you, Alice.”

“I still love you too.” She says, hoping that it matters. Hoping that maybe it means it wasn’t that bad, since they were still loving each other in the end. She leaves the engagement ring on his bedside table. And just like that, it was over.

After that, she spent as much time as possible at work, or at work related events. When she didn’t have anything else to do, she would return to her hotel room. A Garden Terrace Suite at the Mandarin Oriental Hotel. She decided to spend her entire inheritance money in Dom Pérignon and drink herself to sleep for the rest of her life. Alice had another issue to deal with, another loose end she was in denial about. She was non confrontational, she told herself. If she never saw Kylian again, they wouldn’t have to break up. Or end things. Or whatever is called in those situations.

One day, Alice hears a knock on her door. She shouldn’t be surprised, she could have predicted that visit coming from a mile away. Ever since she stopped answering her phone and ignoring her texts. Still, she says, in shock:

“Mom?!”

Caroline Fischer stands on the other side of the door looking like she just came out of a photoshoot. But Alice knew better, that’s just how mother looks like. Strangely, there’s an orange little thing in her hand that doesn't match with her outfit.

“What is that?” Alice asks, still in shock.

“That’s a kitten, honey.”

“I don't think they allow pets in this hotel, mom.”

“They don’t. That’s why I hid him in my purse on my way here.”

Caroline moves her daughter out of the way and enters the suite, looking side to side at the deplorable state of the room. The place was a mess. She felt like she was walking into Alice’s teenage bedroom.

“Okay…” Alice is still unsure on how to behave, she closes the door behind her and just stares at her mother.

“He is yours! Here, take him.” Caroline hands her the cat.

“Oh… You brought me a cat?”

“Yes, Alice. Because you didn’t follow my advice.” She sounded bored, like she was saying something obvious that was already said hundreds of times. “So I came all the to France to deliver you a fucking cat.”

“He is cute.” Alice holds the kitten close to her face, the tiny thing can practically fit on the palm of her hand.

“Yes, I know. You have to name him, but don’t hurry. Take your time. Pick something chic. Something you won't get bored of. Choose wisely.”

“Are we still talking about the cat?”

Caroline sighs at the questions, and then she looks serious at Alice. A kind of look her daughter didn’t get to see very often. A look of genuine care and love.

“I’m not upset about the wedding. I’m strangely proud of you.” Caroline then immediately avoided her daughter's gaze, she felt ashamed of admitting such a thing.

“You are?”

“Yes, yes. Don't make me say it again. I guess I raised you better than I thought. You became an ambitious woman, Alice. And ambitious women don’t settle for men like David. I’m still worried, though. You’re your own now, starting over in the middle of your twenties! That’s dangerous. I figured the cat would help.”

“Thanks. Really. The job you got me is also helping a lot.” Alice smiles, she feels like teasing her mother about her strange behavior or maybe even hugging her, but she won't push her luck.

“Yeah? Good.” Caroline sighs in relief. “So you’re going to be fine?”

“I’m going to be fine, mom.” Alice agrees.

“And you’re sure you don’t need a psychiatrist?”

“Not right now, but I’ll let you know.”

“Good. Good.”

Hiding the cat in the Suite turned out to be hard work. Especially sneaking in all the cat food and items. But it made her happy to, for once in her life, be doing a harmless bad thing. She felt like Eloise at the Plaza, like a little kid doing shenanigans. One night, when it was just her, the cat, a bottle of Dom Pérignon and another episode of Succession, Alice started thinking about Kylian. And how he would have named the cat by now. She wondered how angry he was at her, or if he even remembered her at all. She went back to the apartment the next day.

As soon as she arrived, holding Cat, somebody opened the apartment door. A man she never met.

“Oh, merde. You’re not delivery.” The man looked at her from head to toe. “Shit, you’re Alice?”

He is suddenly pushed from the front door. It’s Kylian, and he replaces the guy in the same position, holding the door, staring Alice from head to toe. Behind her in the hallway another person shows up, holding bags from a nearby restaurant.

“It’s the delivery guy!” Kylian’s friend says behind him, who is still blocking the door. The four of them stand awkwardly in the entrance hall as the food is delivered and only after that Kylian acknowledges her presence.

“This is my friend Tchaga,” he points to his friends, who waves. “and Tchaga, this is my friend Alice.” Alice waves back.

“That’s a cute cat!” Tchaga points at the kitten and Kylian rubs his eyes, feeling stressed at the situation.

“Can you give us a minute?” He asks and his friend vigorously nods.

“Yeah, I’ll take the food to the kitchen.”

As soon as he leaves, Kylian turns to Alice, both still at the entrance hall.

“What are you doing here, Alice?”

“I wanted to talk.” She feels shy immediately as his attention is turned solely to her. She can feel her face turning red. “I fucked up. I know. So I figured I owed you a talk. If you want.”

“Did you bring a cat to help you?”

She recognizes the tone of voice and the look on his face, he’s teasing her and it feels like a victory to Alice.

“No.” She 's smiling. “I just couldn't leave him alone, he’s still a baby.” She holds up the cat, introducing the two of them. “So, can we talk? In private, hopefully?”

Kylian chuckles and agrees, gesturing for her to follow him.

“Yeah, come on.”

He takes her to the bedroom. Their bedroom. It looks different, in a way, even though nothing really changed. There’s a big box on the bed and Kylian sits right next to it.

“That’s…” He points to the box. “That’s your stuff. I was angry and I figured you wouldn’t come back, so I just…”

Alice continues to look around the room and notices a broken lampshade.

“Like I said, I was angry…” Kylian gestures to the lampshade, feeling embarrassed. He broke it the day she left, right after he came out of the shower, and hasn’t cleaned yet. For him, it served as a reminder. Alice handles him the cat, hoping it would help with his anger issue. She didn’t want him to be that angry during their talk. As he takes the cat, Kylian finally notices her hand, and the missing diamond ring.

“You left him?” His eyes turn twice its size when he says that. He can't believe it.

“Yes. For many reasons.” She’s staring at her feet. “I actually had a whole speech ready and now I can’t remember a single word I wanted to say.”

The cat looks comfortable in Kylian’s lap, and Alice smiles. She wants to be comfortable like that too, lying in that same bed, cuddling with that same man. Instead she just finally sits on the bed. closer to the middle, crossing her legs. Cat goes to her, asking for pets, and Kylian follows her movements, also crossing his legs. Now they’re sitting facing each other with only the tiny kitten in between them.

“You left him.” Kylian repeats, almost as if trying to convince himself. “All of my friends told me I was being an idiot, that you were just using me.” He says.

“You talked about me with your friends?”

“You didn't talk about me with your friends?”

Alice shook her head.

“Oh. Fuck. Well, I had a speech too.” He takes her hand and it’s almost insane that he’s allowed to touch her again. Or finally allowed to touch her. “You were half right. At first this was only about the trill for me, –” As he says that, Alice bites her lower lips, remembering their early days and Kylian laughs at her reaction. “Baby, pay attention.” He kisses her hand. “My feelings for you changed. I thought this was just an affair, that I could hide you here in this apartment, but then… You were everywhere. I couldn’t stop thinking about you, Alice. I fell in love. I’m in love with you. And I just wanted to keep you here as much as I could, until you had to leave to marry someone else.”

“I was so angry when you said that last time.” She comes closer to him, practically sitting on his lap and Kylian holds her waist. “Because I thought you meant that you didn't want me. That you were fine with me leaving.”

Kylian shook his head.

“I want you so much. Baby, how can you think that?” He brings her even closer, with Alice now fully in his arms. “Can’t you see how much I want you? Because I know you want me too. I've always known.” He starts distributing kisses all over her neck, and face. He missed her so much.

“I was an idiot.” Alice returns the kisses, trying to tell him she misses him too. “I’m so sorry, Kyky.” For everything, she tries to say, but he kisses her lips as soon as she apologizes.

“It’s okay, baby.”

“Kylian…”

“Yes?”

“I’m in love with you too.”

...

@mywhimsyjournal @lalunaenamoradasworld

#the french exit #kylian mbappe #kylian mbappe fanfic #kylian fanfic #football fanfic #football fic

41 notes · View notes

jeonstellate · 5 months

Text

ocean waves & faded dreams — shore i

agent collins unknowingly crashes an avengers’ mission.

⚝༄ platonic!bucky barnes x original character (ft. platonic!tony stark x original character)

⚝༄ mentions of manipulation & human experimentation; depictions of murder & brainwashing activation

⚝༄ paragraph format — 1.6K words

masterlist | ow&fd masterlist

[gif’s full credit belongs solely to its owner]

⚝༄ think everything in bold is in russian.

Agent Collins, at eleven years of age, was S.H.I.E.L.D.’s youngest recruit.

Many opposed, as a battlefield was no place for a literal child, but Director Fury insisted. He understood that she was more of a liability to S.H.I.E.L.D. than an asset, but he also knew that the world was better off with her as S.H.I.E.L.D.’s liability than HYDRA’s asset.

Agent Collins was aware of the circumstances of her recruitment. Not because people kept on reminding her, but because she wasn’t granted the luxury to be naive. The world was cruel and unforgiving during her tender years — and she wasn’t foolish enough to think that it changed for the better as she aged.

With her involvement with S.H.I.E.L.D., at least she could pretend that the balance between good and evil was tipping more gray than dark.

She was never the best soldier and, frankly, anyone who believed she would be the perfect agent was — for the lack of a better word — an idiot.

To her credit, no one specifically forbade her to tag along on the mission concerning her former manipulator. So, technically, she wasn’t disobeying any direct order. To S.H.I.E.L.D.’s defense, no one knew she got a wind of the said mission. So, they couldn’t’ve possibly forbidden her in participating, either.

Unfortunately for Agent Collins, since no one technically knew her current whereabouts, that meant she was alone with no backup. If — heavens forbid — everything went south, then she was highly susceptible to being kidnapped without a trace. Again.

"Riptide has found her way back home," Dr. Wilhelm Fischer celebrated with a maniacal laugh. The two HYDRA agents that brought her into the room roughly made her kneel on the floor, close to the doctor. "Did you miss your father, Phantom Riptide?"

Agent Collins’ stealth uniform covered her entire body. In addition to the body-fit suit, she was wearing boots, gloves, and goggles. She was also donning a hood and a mask that fully covered the lower part of her face to complete the ensemble.

Her S.H.I.E.L.D.-designed stealth uniform was specifically customized with her in mind, as they aimed to protect her identity. However, as an indirect consequence, her uniform also concealed her emotions pretty well. In any given day, she couldn’t care less about her expressions being hidden. However, at the moment, she wanted nothing more than letting the doctor see the burning hatred in her eyes.

"You’re not my father," she spat. Since nonverbal cues were difficult to convey with her outfit of choice and her hands cuffed behind, she was left with the only other option.

"Right," Dr. Fischer wasn’t even taken aback. "Because everyone made you believe someone else owned that title. Isn’t that right, Winter Soldier’s daughter?"

Agent Collins froze momentarily, she had forgotten about that nickname. She regained her composure a moment later, her sense of bravery renewed. "I’d rather be known as his daughter than yours."

He feigned offense, "A cruel reminder, really.

"I spent my whole life perfecting HYDRA’s new wave of soldiers and the most viable experiment ended up being credited to another asset."

Agent Collins wanted to go on this mission for two main reasons: first, to ask her former manipulator her questions and second, to kill him with her own weapon.

(Because an assassin would never be above revenge and debts.)

"How many Phantom Riptides did you make?"

"Three hundred." Her heart churned with the knowledge that 300 lives were experimented on. Hers and 299 others. Worst of all, the doctor blurted that number as if it meant nothing — as if he merely said how many beakers he had broken over the years, not how many lives he had ruined for the sake of his project.

"How many survived?" She was finally reminded that she merely crashed someone else’s mission when a new voice joined the conversation.

Agent Collins wasn’t sure if she expected to see anyone when she turned, but she definitely didn’t expect to see the Avengers there. With them being in the premises, that meant only one thing: she just crashed into an Avengers’ mission. Uh-oh.

She was in for an intense earful once S.H.I.E.L.D. hears, for sure.

"One," she heard Dr. Fischer answer. "Her."

Agent Collins waited for this day way before she even regained enough of her right mind.

Once she understood how Phantom Riptide came to be, her fear and grief manifested into a lot of things — including the need for revenge.

"However entertaining stalling you have been," Dr. Wilhelm Fischer started a moment after answering one of the Avengers’ questions, "I’m afraid my ride is almost here."

"Wait," Agent Collins chose that moment to interrupt. She looked up to the HYDRA agents guarding her, "my legs fell asleep. Can you guys help me stand?"

Sensing no harm in her simple request, Dr. Fischer motioned for one of the HYDRA agents to help her up.

Except, unbeknownst to anyone else, that was just a hoax to have one of them be at her arm’s reach.

Agent Collins secured a hold on a knife she had hidden in her boots while the HYDRA doctor was stalling for time. When one of her guards pulled her up, she carefully shifted her hold and blindly planted the knife on him.

Guard 1’s sudden stagger caught everyone’s attention. She used that second to lay the handcuffs down her wrist and force her arms apart, breaking herself free with a loud, satisfying sound.

Wasting no time, she immediately took another knife out and threw it in the air. She pulled out the knife she planted on Guard 1’s abdomen the same second the other knife landed on her free hand.

By the time her audience recovered from their shock, Guard 1 was already lying on the floor — bleeding out from a stab on his abdomen and two slits on his throat.

"Ugh," she couldn’t contain her disgust. She removed her goggles, as they were newly decorated with blood splutters. "I forgot how messy that can be."

"What are you doing?" Dr. Fischer asked, dumbfounded. Despite the circumstance, she could hardly blame him. As far as she could remember, he never actually saw his most viable creation in action before — outside the mandatory trainings, that was.

"Cleaning up," she answered nonchalantly, as if she didn’t just kill a man with an audience. She casually took the gun from Guard 1’s belt. "I don’t like leaving witnesses."

To further prove her point, she threw a knife straight at Guard 2 without looking. She didn’t even turn to confirm if she succeeded in what she aimed to do, like she knew that the knife’s trajectory would only end at where she aimed for.

"The Winter Soldier trained you well." He made no move to alert anyone with eyes on him. He just subtly took a notebook from somewhere behind him, without looking away from her figure.

Rather dramatically, she did a somersault to avoid the bullet from Guard 2’s barrel. As the latter was sporting a newly impaled eye, his aim was unsteady. Which was a stark contrast to hers, despite firing her gun twice whilst in the air.

The bullets hit Guard 2 on his chest, one hitting right in the area where his heart lied.

She landed perfectly on her feet, now back to facing the doctor. "If I ever see him again, I’ll be sure to pass on your compliment."

Even with the two HYDRA agents dead, Dr. Fischer was seemingly unfazed that he was left alone with her and the Avengers. He merely flipped the pages of the notebook on his hands.

Agent Collins observed the cover of the notebook. It was a plain navy blue, with white waves near the top.

Oh.

"Loathe," he began reading. "Young."

She moved closer to the Avengers, not bothering for introductions before conversing with them in a low tone. "You guys are done questioning him, right? Can I kill him now?"

Purely based on his outfit, she assumed Captain America was the one who responded. "We have to take him into custody."

"Archangel."

"Yeah, no. That’s not happening." If anyone could see under her hood, they would see the quick judging look she casted him. "No offense, but he’s literally trying to trigger me right now. He’s not gonna go with you alive."

She quieted down for a moment, just long enough to let them hear Dr. Fischer continue reading off of the notebook. "Four. Deception."

"You have," she paused as she counted in her head, "five words left before Hell breaks loose. Decide quickly."

"Spring."

"Is killing him your mission?" Black Widow asked, eyes obviously trying to read everything she could.

"It’s more for personal revenge; but sure, you can say that."

"Clever."

"Fine, you can kill him." Iron Man eventually gave her permission. "But you’re answering to our superiors when they question why we brought Fischer dead."

Agent Collins fought the urge to say that she’d have to answer to Director Fury either way. She figured it was best that the Avengers didn’t know she was with S.H.I.E.L.D., at least until they were safely away from a HYDRA base.

"Stark. Orphan."

Instead of saying anything to acknowledge the given permission, she murmured a comment to herself. "‘Stark’ isn’t Russian."

Truthfully, she didn’t have her trigger words memorized. She just knew the first word, for the obvious reason of it being the beginning. Somehow, though, she also remembered the last two words Dr. Fischer just uttered. Not because they were near the end, as she couldn’t even recall the very last word, but because they seemed as though they were purposefully listed in that order.

It certainly didn’t help that ‘Stark’ was the only trigger word in English, either.

"Eighth." Dr. Fischer looked up as he closed the notebook. He sported a satisfied smirk when his eyes landed on her unmoving figure. "Experiment 218?"

She made a show of the daggers hidden in her sleeves falling perfectly onto her grasp. "Ready to comply."

"Kill them."

next shore >

#bucky barnes imagines #bucky barnes scenarios #bucky barnes oneshots #bucky barnes fanfics #bucky barnes fics #bucky barnes #the white wolf #the winter soldier #marvel #mcu #avengers #the white wolf imagines #the winter soldier imagines #marvel imagines #mcu imagines #platonic!bucky barnes x reader #platonic!avengers x reader #marvel x reader #mcu x reader

6 notes · View notes