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made-this-cause-why-not · 2 months

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How I would re-write Supergirl Season 2/3

(as some one who stopped watching after season three, and also has not rewatched the series since 2020) (reign arc and heroes of the week will remain unchanged)

So, starting off strong, at Alex and Maggie would not have gotten engaged. Season 2 finale would have been Maggie realizing she was rushing into things, Alex being all "no I love you, I know I do" and Maggie being like "there is a whole gay world for you to explore... go do it." This would lead to sadness, a bit of tears (Chyler and Floriana would be AMAZING- daytime emmy nominee worthy performance).

Rhea would reveal Kara's identity to Lena in the finale. It would be casual too, she would be like "you are much better for my son Lena, that kryptonian isn't worth her weight in dirt here. I can't believe he would settle for a lowly slave." And then Lena would be all "reporter" and Rhea would be like "Yes Kara Danver's, former slave to a, Cat Grant I believe her name is" and then Rhea would continue on her spiel and there would be a cut scene as the camera focuses on Lena taking in the information

They save the day- Monel leaves for what ever reason he had to leave- don't remember, don't care. Also, Kara and Mon-el would have never dated, he would have just pined for her and James and Winn would be all "join the club"

Season 3

Alex mourned over her first lesbian relationship over the 6 month gap between seasons, Lena hasn't told Kara she knows.

First DEO scene of Season 3 is Alex talking to Kara (and invertedly Winn and James) about her most recent date on an app. It went bad, Winn chimes in like "what was it this time" and Alex is like "she was weirdly into ___" then J'onn walks in, like "Alex I am sorry to interrupt but there are pressing matter to attend to- there is a meta human down town" (que hero of the week intro)

Lena and Kara hang out, audience find out that Lena hasn't told Kara cause Kara has to leave to deal with a alien and does the usual "uh, I hear my named being called, ugh bye" and Lena just smiles and nodds, and sighs wistfully, staring after her (supercorp shippers go crazy)

Ep 2 or three we first see Sam and Ruby in line for Noonan's or something (why did they establish that as a brand, just to immediately ditch it after season 1???) and it's just a cute simple little "Hi, I'm Alex, let me help you out" but Sam is endeared and Ruby just smiles because (I love Ruby but honestly) she didn't have that much of a personality early on in the season

That same ep we see Lena reuniting with Sam. After that, when ever Sam and Lena meet each other (I don't remember when or how) Kara and Lena are like "you two know each other" and Alex is all blushy like "yeah, Kinda, I mean, not really" and Sam is like "yeah, Lena she is the girl from the place". Sam and Lena share a look (agent reign shippers go crazy)

Sprinkles of supercorp here and there- Just Kara and Lena doing their normal friend shit but Kara being like "woah, I am feeling things maybe"

At ep 8 or so Kara is at the bar with Alex and ask her how she knew with Maggie, that she liked Maggie. And Alex is all "well, I guess I always knew I liked girls but it was always objective. Like, I would think, she is so kind and smart and beautiful and amazing, any guy would be lucky to have her. But something about Maggie just forced me to realize that I was the one feeling these things, not some guy. I don't know, something about her just made alot of things clearer. Like, I realized I was the one driving the car, not a passenger. She made me stop being so passive in my own life" and Kara is quiet the whole time. Alex then ask "why" and Kara is all "no reason". Cut to Lena at L-Corp working on something relevant to the plot (supercorp shippers go crazy) (that conversation inspires Alex to ask Sam out- they then start to date)

Next ep, Kara goes to Lena's office, and is all, "there is something I need to tell you" and Lena is all "I already know" and Kara is shocked an all "how do you know" and Lena is like "in hindsight it was obvious. *list of things that hold double meanings cause miscommunication trope*" "Lee- I would have told you earlier but I-" "It's fine, I get it. You were doing it to protect me" "protect you???" "yeah- you're supergirl". Que Kara sighing and then freaking out, Lena saying Rhea told her, Kara being pulled away by some kind of supe situation, and Lena being all "go get them supergirl"

Kara admits her feelings at the end of the episode. Lena is shocked, but agrees. They agree to go on a date, a real romantic date and not a friend one, but oops- it's ep 9 which means Kara fights reign, goes comatose and then we get angsty, driven lena being like "we gotta fix Kara"

From then on, the show goes like usual, but Alex and Sam are dating and Kara and Lena are as well. The show ends with Season 3, Alex leads Deo, Winn stays but James leaves to help in the future but it really doesn't matter because the show it over. Supercorp is canon, Alex and Sam have a daughter and everyone lives happily ever after.

Edit: forgot to say this orginally but more Cat cameos. I love that woman so much- she has to come back at least twice in season 3 and be like "I leave the city for five minutes and you let her do WHAT? Agent Scully, why on EARTH would you let your sister fight a world killer??? Have you no brains under that thick skull" or something. I just want for her to be there, see Kara and Lena together and pull out of peice of paper from her purse that says "gay" and be like "I knew when you first walked into my office. No straight women would willingly be yelled at that often" or something. Idk, she was just very deeply missed

#supergirl #supercorp fandom #supercorp #rewrite #how I would have done season three #I have thought about this for a long time #kara danvers #lena luthor #agent reign #sanvers #alex danvers #sam arias

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bugsnaxed · 4 months

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I kinda wanna make a stardew valley x bugsnax mod

#is it mostly so i can marry gramble? yes.#but now I'm thinking about who could replace who....#penny is gramble obviously #i would probably have to rewrite his dialogue a bit though #i feel like floofty and snorpy could work as Sebastian and maru?#chandlo is alex #skully speaks #bugsnax #rambling #I'll probably make a clearer post about this later sorry

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vallentiina · 24 hours

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When they parted for breath, Casey just wanted to curl up next to him and sleep. But Anderson was waiting. "I'm gonna go back to work now and you take a nap." Alex quickly kissed him again before tucking him back into his sweats and pulling the comforter over his heated body. "And when you wake up, I'll be here." He threw on his suit jacket and leaned over Wake who was already fighting his heavy eyelids but still managed to smile sleepily at him. "And I love you too", Casey whispered before planting a kiss on the Director's forehead.

#blink and you miss it :D #alan wake 2 #aw2 #alan wake #alex casey #caseywake #my art #AU Alan is the director of FBC #i've been rewriting this for the past 30 min and i need to stop

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poems-of-a-lover · 7 months

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the way that everyone else in the room disappears in the middle of darcy and elizabeth dancing at the second ball. they're dancing together and watching each other so intently and suddenly its like they're the only people in the room. and then they are! everyone else is gone! and then the dance ends and they bow and everyone's back! ugh. cinema.

#its so good i cant #agh..........this movie #thinking about........rwrb pride and prejudice........maybe ill write it one day who knows #gonna rewrite all of pride and prejudice but henry and alex #pride and prejudice

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owl-with-a-pen · 8 months

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Winn had been in the future for way too long, how else could he forget just how heavy Kara’s infamous game nights could be? Add Lena and Alex to the equation as the worst enablers in history and he was certain he’d have a wicked hangover come morning.

But, hey, this was a party, and he was only back in the twenty-first century for a couple of days. So, consequences be damned, he was going to make every second count.

At least, that’s what Drunk Winn thought. Future Winn, well, he might have had some choice words to say on the matter.

Good thing he was living in the present.

Winn was in no way close to being the worst offender of the night, he could thank his very human alcohol tolerance for that. That being said, games requiring strategy - or even general dexterity - were well beyond anyone’s ability right about now. So, they’d all taken to the floor of Kara’s apartment - some in better states than others.

Lena was the only one who had kept the high ground up on the sofa, wine glass deftly balanced between three fingers as she curled snugly into her chosen corner.

Down on the ground with the common folk, the couples had predictably coupled together. Kelly was lazing across Alex’s lap, resting her head against the cushions that weren’t currently being occupied by Lena’s legs. On the other side of the coffee table, Nia and Brainy sat arm to arm, an impressive hoard of snacks littered around them.

It was in that blissfully intoxicated state that Kelly had proposed the terrible idea of playing a game far less taxing to the ol' thinker: truth or dare.

Winn had expected outrage, a cacophony of booing, at least one person begging they switch to Netflix instead of trialling more party games – especially of the high school variety.

What he hadn’t expected was to find himself lured into an impromptu circle not ten seconds later, an empty beer bottle poised at the centre like a deadly snake ready to snap. Kelly had been immensely pleased with herself.

Guess Alex was rubbing off on her, now Winn had three enablers he had to worry about.

Thirty minutes and half a solo cup of questionable liquid later and so far, so good, Winn had yet to divulge any timeline altering secrets to the party. He had a pretty airtight plan to avoid that, in actual fact. It was a simple execution: he just avoided 'truth' at all costs.

Oh, the things he’d done already for those damned dares. He still wasn’t sure where his left shoe was. Or his Legion ring.

Another Future Winn problem. For right now, none of that mattered, especially when it was his turn to spin again. Winn couldn’t say his spin had been very eloquent; the bottle travelled impressively slow, a hollow warble echoing from the empty glass until, eventually, the bottle’s neck came teetering to a halt in front of one unsuspecting Coluan.

The second the bottle stopped, Brainy peered down at it as though its very presence had personally offended him. Winn smothered a snort with his hand. He’d been lucky to avoid the bottle’s judgement so far, but even a twelfth level intellect’s luck ran out eventually.

Unable to contain his glee any longer, Winn grinned broadly. “Well, well, well, Querl Dox,” he announced, slapping his free hand against his knee, “we haven’t heard much from you tonight. So, what’ll it be, buddy? Truth or dare?” He pointed to Brainy with an overgenerous hand, slopping the contents of his cup across his wrist in the process.

“Winn!” Alex scolded.

Winn rolled his eyes. “Alright, alright!” he said, making a show of putting the cup down. He wasn’t surprised when Alex thrust him a handful of paper towels to clean up his mess.

While Winn mopped up his sleeve and a good portion of the floor, Brainy sat with rigid posture as he pensively observed his options. His eyes flittered towards the ground, then back up again. Once or twice, he caught Nia’s gaze, who smiled at him encouragingly, brushing her hand across his knee. Her superhero name had never been more deceiving – it looked like Dreamer was the brightest eyed of the bunch by miles. The only close contender was Brainy, although it wasn’t a particularly high bar overall. With the alien grade alcohol sat between them, Winn knew for a fact that neither one of them was particularly sober.

Eventually, Brainy narrowed his eyes, lifting his head. “Very well,” he said, puffing out his chest as though he’d just volunteered himself for a suicide mission. “I choose truth.”

Winn’s eyes widened in surprise. Well damn, maybe he had.

He’d sort of expected Brainy to pick dare like just about every other superhero sat around the circle. The only outlier was Lena, who had promptly bowed out of the game before it had even started, electing to act as umpire from her perch on the sofa.

Winn drummed his fingers together beneath his chin. It was rare that he was ever given the opportunity to ask Brainy something that – barring certain prohibited topics – he’d answer honestly and without hesitation. Whatever he asked still had to match the vibes of the game, of course. In which case, he knew he had to play this safe.

“What to ask the smartest person in the room,” Winn wondered aloud, mostly to buy some time. The truth was, there wasn’t much he could ask that was game-night appropriate – otherwise, he wouldn’t get a fun answer. And he really wanted a fun answer.

Which only left, well, the most generic of all high school truth or dare questions.

A devious smile spread along Winn’s face. He could make that work.

“I’ve got it,” he declared, leaning in as though he was the one about to divulge a secret. “So, Querl, tell us, who was your first kiss?”

Everyone loudly oooo’d at that. Everyone except for Nia, who grinned mischievously into her cup. “This is gonna be good,” she muttered, taking a sip.

Brainy, however, looked vaguely wounded at the question posed. Picking up on his discomfort, Nia ditched her cup and took her boyfriend’s hand instead, squeezing his fingers reassuringly.

“Is it too late to change my answer?” Brainy asked.

“Absolutely,” Alex and Kelly said together.

“No take-backs, those are the rules,” Lena reminded him with a wink.

“You’re not even playing!” Kara objected.

“C’mon,” Nia said, bumping Brainy’s shoulder. “You told me, it won’t break the timeline.”

Winn eyed her suspiciously, but Nia only shrugged, offering him a not-so innocent look that very much read wait and see.

Fortunately, they didn’t have to wait for very long. Nia’s guiding touch seemed to be the final element required to sway him, and with an awkward shuffle so that he could gain closer access to the circle, Brainy lowered his voice to them all. “So long as it does not leave this room,” he told his friends with critical seriousness. “Can I count on you to uphold that?”

“Jeez, Brainy, now you have to tell us,” Alex said. “We promise.”

A volley of promises followed Alex’s, and although Winn could confidently say that no one here was sober enough to be believably reliable, it seemed Brainy was just drunk enough to trust in their honesty anyway.

“Very well,” he said, leaning in a little further. Collectively, everyone else did the same. Alex even removed a very disgruntled Kelly from her lap just so she could get a better angle on the action.

Winn scooped up his drink, coddling it close to his chest in anticipation.

Brainy took a deep breath, keeping his eyes trained to the centre of the circle. “The first kiss I ever had was with… Kal-El.”

The reaction was instantaneous.

Kara spat her drink straight back into her glass. Winn damn-near choked on his. He coughed, only to jerk when Alex clapped him so hard on the back that he felt his teeth rattle inside his head.

Up on the sofa, Lena stared on with a coy look of approval.

“Kal-El?” Winn repeated, his voice barely a squeak. When Brainy didn’t even try to elaborate, Winn cleared his throat viciously enough to burn. “Tell me you are not talking about the Kal-El… as-as in Clark Kent, Kara’s cousin, literal Superman?”

“Told you this was gonna be good,” Nia said.

Winn turned to her incredulously. “And you knew about this?”

Nia smirked. “No secrets, remember?” She tapped her cup with Brainy’s whose green skin was quickly beginning to darken into an awkward blush.

Winn shook his head, paused, then drained the last of his drink in one solid gulp. The fire in his lungs at least cleared some of the static in his brain. Or made it worse. At this point, it was hard to tell. “Woo boy,” he gasped out, “first off, I am jea-lous. Second, I have questions.”

“Truth or dare only permits one question per round,” Brainy cautioned, his voice tight.

“Screw that, I want the juicy details!”

“Seconded,” Lena said swiftly.

“Thirded.” Alex tipped her glass towards Brainy.

“Traitor!” Kara cried, shoving her sister playfully on the shoulder.

Alex scoffed, “What? He’s not my cousin!”

“Let’s call this part 1b of a multi-layered question, ‘kay?” Winn said, scootching forward. He’d practically thrown himself into the centre of the circle by now. “How was it? Was it more than once? Oh my god, when did this even happen?”

“A long time ago,” Brainy said, somewhat gravely. “We were both teenagers at the time, Kal—Clark, visited the future on several occasions when he was still learning to utilise his powers. He trained with us, for a time. And… we grew close.”

“So wait, you guys were actually an item? How has no one in the Legion ever mentioned this to me?”

“It didn’t last long,” Brainy said quickly. He lowered his gaze, raising his shoulder in a half shrug. “It couldn’t. Clark belonged in the twenty-first century to ensure the present day of the thirty-first.”

Nia bit her lip. When it was clear Brainy was done explaining, she cleared her throat. “Also… for our present to exist, a lot of Clark’s time in the future had to be erased from his memory.”

Kara’s face fell suddenly. “Oh, Brainy…”

Unperturbed, Winn raised an eyebrow. “So how far did it go? Are we talking just kissing or did you find out how hard the Man of Steel really is?”

“Oh Rao,” Kara groaned, throwing herself onto her feet. “That’s it, I’m going out to get more snacks.”

“It’s nearly two in the morning,” Alex said, frowning down at her watch as though this was news to her, too.

“Not in Paris it isn’t,” Kara announced with forced cheer. “At least from there, I won’t be able to hear any more of this conversation.”

“Can I get a croissant?” Winn asked, batting his eyelashes.

“Croissants aren’t for traitors,” Kara said, ruffling his hair. She patted Brainy’s shoulder as she crossed to the door, offering him a gentle smile before she sped out of the room.

In the awkward silence that followed, Kelly cleared her throat, looking over to Nia with a wince. “Sorry, is this whole thing weird for you, too?”

Nia laughed abruptly, shaking her head. “What? No way, I literally asked the exact same questions when he first told me. Believe me, you’re gonna have to try a lot harder before I start hearing anything new.”

“Well in that case,” Winn said, turning his grin back on Brainy. “What was Supes like in the sheets?”

Brainy only offered a strained smile in response, leaning helplessly towards Nia. “It appears we have opened a can of worms,” he muttered.

Nia wound her arm around his back sympathetically. “Only answer what you want,” she said, resting her head against his shoulder. “I’ll put them all to sleep if they get too nosy.”

“Uh, you know we can hear you, right?” Winn said.

Nia raised her free hand in warning, vibrant springs of dream energy already coiling around her fingers. “You know that was a threat, right?”

Winn lifted his hands in surrender. “Okay, okay, well received. But seriously, Brainy, what was it like dating Superman?”

Brainy rolled his eyes, reaching for the nearest bottle and taking a lengthy swig from it.

Winn’s grin widened. It looked like things really were about to get juicy.

Thank God they had the rest of the night. Something told him this was going to be a long story.

And it would require an even longer recovery.

#supergirl #brainysupes #brainia #brainiac 5 #nia nal #kara zor el #winn schott jr #alex danvers #lena luthor #kelly olsen #clark kent #my writing #you have no idea how long this dialogue has been in my drafts for. i actually lost it and then had to rewrite it.#it's silly. it's fun. it's silly fun. i was just in a brainysupes sorta mood #why not make it canon in a silly fic?#you can't stop me #and yes i just added some angst factor with the memory wipe what do you take me for #ya'll know the drill by now

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actual-changeling · 10 months

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It is not until they return to Jackson that her past starts catching up to her.

Ellie expected the Silver Lake nightmares, the faces of Tess and Sam, of Henry and Riley, and everyone else she should have saved but didn't, to haunt her, but despite all the recent chaos, she never gave any thought to the cruelties of her childhood. They're safe here, something they both have to get used to, however, logically knowing that no one in Jackson will try to hurt her is, after all, very different from getting her gut instinct to believe the same; her trust has never been freely given, and for good reason.

She can deal with the constant paranoid itch in the back of her neck and the urge to settle in the corner of every room she is in with the door in clear sight, and adjusting to the constant influx of sudden, unexpected noises is deeply uncomfortable but doable, although it makes her miss the wide stretches of quiet forest filled with nothing but their soft bickering. Every adult gets cataloged as a potential danger, a threat to her, to those she cares about, and not flinching back from every loud voice is harder than it should be.

Unsurprisingly, everything is easier when Joel is around.

There is comfort in his rage the same way she finds comfort in the feeling of her blade or the weight of a gun in her hand. It is a promise of protection, of security, and it offers her a kind of control she seldomly had as a child - not that she has too much of it now either. On the road, the world was a coherent stretch of all-encompassing fear surrounding them, and Joel put himself between her and the hands trying to tear her apart more times than she can count.

Her gut instinct is harder to convince sometimes, and so she watches his hands, not necessarily with distrust but with a mild curiosity, and it makes her notice a lot of things. Like the fact that the very first thing he always does is take a deep breath, sometimes several if he needs to, and only faces the problem or person once he can talk without shaking. He curls his hands into fists and then unfurls them in the same second, more of a nervous tick than the desire to use them, and after watching him do it for a while, the tension snapping into her heart like a rubberband loosens as her brain stops recognizing hands as a potential source of pain. They're Joel's hands, safe hands, and he has never once used them to hurt her, and he never would.

She has seen them with bruised knuckles and bloodied skin, has seen them take lives and cause harm to people who very much deserved it, yet it feels impossible to believe sometimes when he tucks a strand of her hair back with fingertips barely grazing her temple, his movements slow and deliberate. There is an intrinsic gentleness with which he reaches out to her, hands carefully wrapping around hers, squeezing with enough pressure to be grounding without getting anywhere near painful, and when he cups her face with burning palms to press a kiss to her forehead, she lays hers on top of them to keep them in place.

Ellie intertwines their fingers to pull him closer whenever she can, mindful of his right one and the jolts of distant pain he sometimes gets, and Joel rubs circles into the back of her hand like he always does; her safety is in his hands, and nothing could ever make her let go.

#alex writes tlou #the last of us #tlou #joel and ellie #joel miller #ellie williams #ficlet #idk if i like this one at all it feels bad to post but also i really want to and have been rewriting the same 300 words for days now so #i hope y'all enjoy it

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authoralexharvey · 4 months

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Question for those who beta read/have gotten beta readers...

#If Rewrites Keep Going Well I May Be Able to Announce Beta Signups Earlier Which Would Be Cool!!#polls #alex has the floor

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theconfusedartist · 10 months

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anyways this is tumblr and I actually do live in the wild west of America. I WILL talk about my protocreed au

So, to start off, Alex sees Desmond and Elijah while he's grabbing something at the university of New York in Manhattan, and actually catches a glimpse of Desmond eating a glass plate and a metal cup. He's so fucking confused and fascinated that he starts stalking him out of a scientific desire to study him.

Why is Desmond eating glass and metal you may ask? He is a piece of eden and his body needs nutrients in order to sustain itself. More specifically, he's three apples. Altaïr's apple was his 'body' which is why he looks so much like him, Ezio's apple was the 'voice' that allows him to properly speak to people through time, Connor and Aveline had the 'brain' apple which allows them to directly configure and control his abilities and memory.

Yes, Aveline and Connor get married in this AU. It should've happened in canon, and just bc ubi decided to drop their storyline, it doesn't mean I have to.

So, back on track, Elijah and Desmond are traveling together bc Desmond was absolutely ecstatic to learn he was having a child, and they decided to go to Manhattan after the 'Daniel incident' in Vermont. Alex manages to track Desmond down after two months working at Bad Weather and decides to just. Watch him.

And also get into a shit ton of bar fights, bc you can't tell me that Alex wasn't using his fighting moves in game before everything happened, you can't.

Most of the other employees that work at Bad Weather don't want to deal with Alex because, as previously stated he gets into a lot a bar fights and actually manages to win them, and Desmond is a good enough fighter that he can handle him. The interesting part is that Alex never tries to involve Desmond in his fights but he does let him pull him off people without attacking, like he would attack other bartenders, so they just let Desmond handle him.

Desmond is...conflicted on Alex bc on one hand, the man is stalking him and is persistent about it too, but also doesn't run away screaming when he realizes that Alex has seen him eating food that shouldn't be consumable by humans and will break a bunch of shit so people don't realize why so many dishes go missing in a week. But on the other hand, Alex is quite open about wanting to pin him to a lab table and seeing what makes him tick, which is fucking creepy. But he also??? Fights off any Abstergo agents when they're watching him in the bar (and later on he discreetly kills them) so its a really fucking mixed bag for Desmond.

This is kinda long. I'll stop here, but like I wanted there to be a reason Alex is so interested in Desmond before and after his death and rebirth, and I kinda wanted to lean into the fact that Dr. Mercer was absolutely a freak.

#prototype #[prototype]#alex j. mercer #alex mercer #alex and desmond #protocreed #assassin's creed #assassin's creed rewrite #desmond miles #please ask me about this au #someone asked me about it in another post and i was gonna reply #but then i realized I wrote like 7 pages on this au and why I think alex is the way he is #and i was like this is a fucking long ass reblog #and demoted it to the drafts

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slf-cntrl · 7 months

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M E R • D E R | REWRITE

“i see my world in your eyes,”

“our world…”

••

a little glimpse into my rewrite that’s in the works. despite what everyone says about merder, they are my favorite greys couple. in the show derek’s a grade-A ass and his behavior really turns you off of their love story but in my rewrite we see a completely different version of the derek we’ve come to know. merder is a slow burn friends to lovers trope in the best way, giving meredith a true fairytale.

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vampyrsm · 3 months

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dw guys i'm going to re-write jjk if i ever make a sequel to cor unum, i'll do us all a favour

#— alex rambles #rewriting from shibuya anyway ... sorry nanami fans :/

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thegrimdog13 · 7 months

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Creepypasta x Marble Hornets Vampire au

Yes this might just be an excuse to draw cool clothes and fangs. Don’t you dare judge me you know you want to too 🤭. Anyyyy how. If you want some headcannons just tell me. Or if you have any suggestions or just anything else let me know! Also this is mostly vampires but there will be other types of monsters and stuff.Anyhow love you all❤️

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Vampires:

•Jeff ( you already knewwww lol)

•Liu ( hates his own kind and only eats animals cough cough interview with a vampire)

•Clockwork

•Sally ( she is definitely like Claudia from interview with a vampire and is always hungry)

•Ben

•Lulu

•Nurse Ann ( she totally poses as a nurse to drink people’s blood)

•Bloody Painter ( ummm I’d don’t think I need to explain)

•Zalgo

•Lazari

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Humans:

•Nina ( because she is definitely one of those girls who falls in love with a vampire and is like turn meeeeee)

•Ticci Toby ( because)

•Eyeless Jack ( everyone is town thinks he is a vampire.poor Jack 🥺)

•Jane

•Tim/Masky

•Brian/hoodie

•Jay

•Alex

•Judge Angel ( I wannnt herrrr to be the town or city judge but back then they were so sexist… So instead I think the real judge would get advice from her without telling anyone. She would be like the cleaning lady and like be behind the stand tell him what to do lol)

•Puppeteer ( you can’t tell me he wouldn’t do puppet shows for people on the streets for money and for his own enjoyment)

•Jason the toy maker ( a toymaker 😱)

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Vampire Hunters:

•Jane

•Tim/Masky

•Brian/Hoodie

•Jay

•Alex

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Other monsters:

•Slender- ancient demon

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Okay so I’m not sure what to do for LJ or Candypop

Maybe Candypop could be like the local candy maker and LJ like the local clown buuttt Idk.

You can give me some suggestions on characters that should be added if you want! Also I’d you think I should change something. But I’m pretty alright with what I have. If you want more just tell me! Love you all again ❤️ Also is this because I like vampires and I just watched sleep hollow so I wanna draw 18th century clothes yesss maybe…….

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theageoftheunderstatement · 2 years

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Alex Turner’s Interview with Rumore Magazine, October Issue 2022

Written by Stefania Ianne, translated by PaoloMasia4 on Twitter

I stand before Alex Turner, smartly casual, in a hotel suite in East London. The place has a retro charm, is filled with memorabilia, and, in the context of a city full of contradictions, is positioned in the midst of the tenements that characterize a historically working-class neighborhood. This is the first time I've interviewed Alex, and even though the Arctic Monkeys are at the height of their career, it's comforting to discover him full of enthusiasm for his work, focused on his musical world, a guy who hasn't lost his northern identity - the Sheffield accent still shines through in his cadence - or his sense of humor. Nor has he lost the little boy still in him or, at first glance, himself, despite the fame he has achieved (fellow citizen Jarvis Cocker is the obvious comparison: both achieved success previously unimaginable for someone from that city). I am summoned for the interview somewhat cryptically, like "be ready for that day, you can't talk to anyone about it until we tell you." The Arctic Monkeys have been preparing a new record in great secrecy, and by mid July very few of us know about it. The title is not even known. No one knows that the band is rehearsing for the tour within walking distance of the hotel where I meet Alex. I get my third day of interviews: only a couple of journalists each morning, so it doesn't get too nervous.

The Car, the record at that time still secret, is being announced now as I write these words, at the end of August. The only new notes, those of I Ain't Quite Where I Think I Am, could be heard at a concert in Istanbul a few days ago. Fans either suspected something, or prayed for something to happen, and eventually someone must have spoken, rumors must have circulated until they became deafening, so the band broke the silence. The album comes out on October 21, all the songs were written by Alex and produced by James Ford. On only a couple of tracks the credits are shared: with Jamie Cook for Sculptures Of Anything Goes, and with Tom Rowley, Sheffield musician and longtime friend, for Jet Skies On the Moat and Mr. Schwartz.

Just before the interview, they show me a preview of the cover image and video for the first single, directed by Alex himself, There'd Better Be A Mirrorball. This is the only information released by management. It is not much, but they allow us to listen to the record in full. The working title? Suffolk Punch. Of course, it was recorded half in Suffolk, on a historic estate, and half at La Frette, a studio near Paris where the Arctic Monkeys had completed Tranquillity Base Hotel & Casino, also frequented by such sacred monsters as Nick Cave and Marianne Faithfull. The Car has a retro feel to it, even the video has a flou effect. Alex appears as Alain Delon. The music has funky overtones and is imbued with a cinematic vein; much irony in the words, unexpected orchestral arrangement, the guitars scratching in the few moments when they surface. Is it perhaps a result of maturity? Trying to solve the puzzle that seems to be building Alex's personality is challenging.

From what transpires in online interviews he always has a sardonic expression on his face, as if he studies his interlocutors with a hint of skepticism. This is how he looks at me as I set up two microphones on the coffee table, asking him if he minds, terrified that the first one will act up. It's not a problem, he tells me of hearing about a reporter who compromised an interview with Altman because of a problem with the recorder. 'Imagine', he tells me, 'Robert Altman.' And so we start with the interview, quietly, with a bit of small talk to break the ice. As he answers my questions Alex seems almost possessed by what might be called an ocean of words. His answers are always precise and to the point, though I manage to wring at least a couple of spontaneous smiles out of him. Alex chooses his words carefully, you get the impression you can hear him thinking, often seeming to get lost in his thoughts, trying to put into words and stem the maze of ideas, thoughts and sounds that populates his mind. As we begin, Alex seems fascinated by the locked windows overlooking the tenements: 'it's all very English,' he tells me. 'It's locked but if you can still get out on the balcony you don't disturb the neighbors.'

Yes, perhaps they mean: don't do anything obscene! It's typically London, the juxtaposition between the luxury hotel and the surrounding tenements.

That's right, and then within walking distance you have a park, a huge outdoor space where you have a chance to create a mental space that can make you forget you're in the city. I started to appreciate parks recently, I used to underestimate them. But actually all that space, all those trees, give you the feeling that you can reset everything. Apparently it's the color, the green, that has this great calming power.

I read that all the greenery in London is due to William Morris, a Victorian design genius. Today not everyone remembers his struggle to take parks out of the clutches of speculators who wanted to build everywhere. Sorry I'm digressing. Let's talk about you instead.

If we must!

Your new record is ready, at this very moment it has not yet been announced, there is a lot of secrecy. Do you feel ready? How do you feel about the new songs?

It is very strange for me, the main feeling is that it is finally happening, and I am very slowly losing control, I am letting go. I feel like I’ve been working on this for an infinite amount of time, and now we’re almost ready to play on a stage again, we’re trying to figure out how to play these new songs live, and it’s only now that I'm starting to talk about them with other people that I’m realizing that I can understand them more deeply, I’m learning them. In a general sense I am very positive, but it is very difficult to let go.

I know you are a perfectionist, you work a lot on your lyrics and music, you write and rewrite, it is never good the first time. Do you fit into this description? And how much does your immediate musical instinct count when you compose?

It is true that I am constantly rewriting and modifying the initial idea several times, but although the process is long and laborious, at first instinct is essential to preserve the original idea. Instinct guides me when I have to decide whether to rewrite a part or it tells me not to be too cerebral, not to overthink it.

You have to try to find a balance between the two components.

Yes, but maybe it is not possible to do that, you can only try. At the same time I like the idea of doing something that can be completed within a week. A project, something you can experiment on.

And have you ever done that?

No, although.... no, I don't think so. Maybe there is some song among all the ones recorded in the last 15 years that somehow came instinctively, no famous songs though.

I don't think there is a mathematical formula for creating hits. You guys have never limited yourselves to the formula that brought you success, you have never repeated yourselves, you are constantly evolving. It seems to me that this is something natural, not forced. You started very young and are still growing as a band. And is your audience growing with you?

That remains to be seen. I guess I'm reluctant at the thought of having to admit that I’m growing up (he laughs, nda). But I guess sooner or later I will be forced to accept it. It may even be fun as an idea. There’s a lot of irony in the new record, there’s an unserious element to it, I like to think that our records communicate the idea of maturation but I hope that doesn’t mean we’ve become difficult to listen to. Maybe this process of evolution, this maturation, is helping me understand when I need to listen to my instincts. It’s helping me understand when I’ve created tunes in more to my mood of the moment, allowing me to explore. If it didn’t, we would probably go back. But even if I wanted to do that, even if I wanted to make a record that sounds like the ones we were making ten years ago, I don’t think I could. And even if sometimes, maybe on a free afternoon, I tried, I perceive the same invariable trajectory in me: after the initial excitement, due to the fact that I’m reminded of that period of my life, the excitement fades very quickly, like a soap bubble, and all that’s left is a guitar riff that sounds like a caricature, an imitation. After that there is nothing else, nothing left to work on, nothing left to process. Whereas the sound we create in the moment speaks to me, conveys something, fills me with possibilities.

It is a familiar feeling that you describe, but if it helps I can assure you that your last two records, although musically more complex than your beginnings, are still enjoyable. Let's talk about rock'n'roll instead. Are you still a rock band? What does it mean to be a rock band in the second decade of the 21st century?

Yes, there is no doubt about it. I'm half serious right now.

I was wondering how you would respond because certainly many people consider you a typical rock band, and perhaps consider Tranquility Base & Casino, your previous record...

... a mistake!

I would say more of a fluke, a temporary detour. Many are probably hoping with the new record to finally have the real Arctic Monkeys. For me, however, it is an evolution, and after listening to The Car it seems to me, as you said, that there is no turning back.

I definitely haven't found a way back yet. You see, I've spent the last few weeks rehearsing with the band, we are preparing for new concerts, and I can assure you that when we play together live we are definitely a rock band. So on the one hand there's definitely this live power, and on the other hand there's what I want to do on the records.

Are you editing the songs from a live perspective? How are you integrating them into the rest of the set?

I think they're going to work, we're rehearsing two songs. This question was discussed on the previous record, we were wondering how we could integrate the new songs into the set list. At first it was difficult to transpose the songs for the stage.... I say stage like you're doing a damn Broadway show (laughs, nda).

Why not?

Yes, indeed. That would be a surprise. I was saying, at the end of the tour of the last record, after going through that whole process, we realized that the songs we were playing live had leveled out, had equalized, and had integrated harmoniously into the show. Because when you go through the filter of the live show, especially if you’ve been doing it for such a long period of your life, 15 years or something, you can't play I Bet You Look Good On The Dancefloor the same way you did when you were a 17-year-old novice anymore: the vocals don’t sound the same anymore, and my arms would get tired doing the song that way. But really you don’t even notice the change, you don’t wake up one morning and say ‘we’re going to play it that way now,’ although maybe in some cases the choice is conscious. It is a gradual process. In the end, however, the songs have a life of their own after the record is released, they continue to evolve over time with millimeter adjustments. In short, it happens with all songs, and as it happened with the songs on the previous record, the same will naturally happen with the new songs.

You are preparing for the new tour, I know you are starting with some festivals around the world before releasing the record. What will you do with the new songs, will you still keep them secret or will you start playing some of them?

Maybe we will try to play a couple of them, but for the most part we will play old songs.

Matt Helders, your drummer, had announced more than a year ago that you were busy with the beginning stages of writing a new album. Did you start working on it at that time then?

Maybe the year before, in fact the first song I wrote for this album was probably in 2018, it was summer. I'm talking about the very first musical ideas.

So they are not the result of the pandemic.

Not entirely, no. I think the pandemic period mostly gave me time to think thoughtfully, I allowed myself a moment of reflection, but the composition of the pieces was well underway by the time... (pauses to think about it, nda).

Everything stopped.

Yes, exactly.

It seems to me that all the creative people spent the pandemic writing and composing, and quite a few records are coming out now because many people preferred to wait until things normalized a little bit. In your case, how did it go? Did the forced hiatus or the distance between the various band members affect the final result?

We have actually been living in distant places for a long time. But when we get together we stay together. This time it was not possible to meet up until last summer, when we started playing together in the middle of the English countryside, in Butley Priory, in Suffolk. Almost all the parts of the band were recorded there, I then recorded my vocal parts and some overdubs in France, in La Frette, but I had been working on the composition much earlier. I think that long break gave us time to experiment and explore all the possibilities and then realize that maybe it would be better to go back to the initial idea, however, it left us more time to figure out what was the most natural path.

And where did the concept of The Car come from? How did the car become the dominant theme of the record?

Yes, this time it is the car, in the previous disk the moon... The decision to give that title came from a couple of considerations: first of all, I realized that the automobile recurred in the lyrics, but more importantly there was this image, which then became the cover of the record. It’s a photograph taken by Matt, our drummer. When I saw it we are talking about a few years ago, I had a very strong feeling that it would become the cover of one of our albums. And The Car was the perfect title for the photograph as well. I saw a lot of things in that image, an expression of Matt’s creativity as well. I can’t say why such a thing moves us or affects us in such a special way, but that one affected me so much, and I don’t think it’s because I know Matt. And from a technical point of view it is perfect, Matt is very talented and photography is an art that he has been exploring over the last ten years. I think he’s very good at it, and that image conveys something deep to me. Somehow I see Matt in that picture.

So it was the image that inspired the record, the initial starting point?

I think so, in some ways it was. If you already have an idea of the way you are going to present something visually you feel better, you feel freer because you got what you wanted in the initial stages instead of reducing to the last minute. For example in the case of the previous record I found myself right up to the last minute trying to improvise cardboard models for the record cover. But probably getting something concluded in itself in the early stages of the record gave me the freedom to explore that concept.

Speaking of the visual part of the project the first video clip you directed, that was your first experience as a director, wasn't it? How did it go? I must say that your music and the whole record are very cinematic. And the video is very melancholic.

Yes, I spent most of the sessions, last summer, with the camera in my hand.

Is that the same camera that we see in the video for Four Out Of Five?

It's very similar, that was a Bolex and it belonged to the cinematographer who shot the video. I don't have a Bolex but mine is a 16 mm as well. To get back to your question, I have to say that in a way I spent a lot of time thinking about the songs before I got into sessions with the band. It is not as simple as I am about to describe it.... Or maybe it is as simple as that, I don’t know. But thinking back on it now, after working on the songs, after continuing to write and rewrite, chiseling until the last minute, until it was time to go into the studio, as soon as we started the sessions I picked up the video camera and started filming everybody. Then they all left and I went to La Frette to work on the music again, to record parts. But the time with the group I feel like I spent most of it with the camera in my hand. And it's not because I had just recently become interested in video; in fact, it’s been quite a while since I started using Super 8. It probably became one of my obsessions. And I didn’t start filming with any specific intention, it just seemed like a natural thing to do the moment we all saw each other again, I started filming everyday trivialities, us leaving a room, things like that. And then it all turned into something else again, the video clip of the song.

You seem to be fascinated with analog technology. Maybe because digital sound gives the impression of flattening the music a bit? How do you approach technology, are you looking for a somewhat retro sound? Or are you fascinated by the environment in which you record, its history? What is your reason for returning to La Frette?

As far as La Frette is concerned, certainly I am fascinated by the place. They have a nice set up but it's not about the technology they provide that you return there, it's mostly about the place, the people and the vibe it gives off. If we talk about instrumentation, when I record solo, yes, I am very attracted to the analog format.

When you start composing from a piano or an acoustic guitar for example?

Yes yes, or bass guitar, although actually it is the drums that is the instrument that helps me the most. I like to sit at the drums and think about the words, which may sound strange. But sometimes the distraction triggered by randomly playing the instrument, or the sound of the tape rewinding in the tape machine ... I feel that in the moment you wait for the tape to rewind, in that very important little analog time window, you can process it. At the same time when we composed the string parts we used a midi controller, a Midi Grid, and spent a lot of time on the computer. At one point in the past I said to myself that everything should absolutely be analog, but today I realize that things have changed. I’m definitely not analog when it comes to editing video. I haven’t yet gotten tangled up with cutting and pasting reels, although I really like the idea.

I guess technology gives us the freedom to choose the technique or medium that allows us to focus on the process in order to achieve the desired effect.

Yes, I think it does. And as far as the flatness of digital sound compared to analog sound, I think it all depends on the instrumentation and who processes the sound. Some people produce incredible sounds on the computer.

And how do you listen to the music you like?

Let’s say I've been taking a break, but now that we're going back to traveling I think I'll be able to carve out the space and time to put my headphones on and listen to some music digitally. When I'm at home I listen to records.

It seems to me that The Car continues the discourse of Tranquillity Base Hotel & Casino. The sound on the surface seems controlled, measured, restrained, and at the same time there are orchestral arrangements that seem to go in an opposite direction. Were there specific musical or cinematic influences in that regard? There is something that brings to mind 70′ TV series on the one hand, and on the other hand there is an almost Beatlesque classicism.

Yes, of course. I’ve definitely brought up David Axelrod in the past, I've often talked about his influence on my music, and it shines through here as well. As far as classics go, there’s a Nat King Cole song, Where Did Everybody Go, that seems perfect for film, even though I don’t think it’s part of any soundtrack, and it has this element of theatricality, of drama, literally, that I really like, I think in addition to echoing in the lyrics this thing also comes through in our sound. The idea is kind of to have a narrator who is aware of his own role, aware of the fact that he is on a record. Take the movie ‘8 e mezzo’ by Fellini, that movie is about a director looking for inspiration, and a theme for the movie he has to make. That idea has always fascinated me. Actually the film is not really about that, it’s a bit of an excuse that allows Fellini to explore other ideas. I think there is a little bit of that in our album, though.

So you're telling me that this idea of ‘record within a record,’ this Fellinian element, implies the presence of an external narrator's point? Or is it actually a personal record?

I think it's a little bit of both.

Or maybe you prefer to leave it to the interpretation of the listener?

I think it has to be that way, there is no choice. But at the same time I’m not trying to hide: you can be in tune with your emotions and what you’re trying to express without the record necessarily becoming a diary. Yes, a record can be both, you can separate yourself from your idea. The presence of a narrative voice probably allows you to reveal yourself more than you imagine. It is possible.

And to what extent do you think success, being famous, is changing you? In what ways do you try to protect yourself and your friends - the band was born from a group of very close friends, right? - from the more toxic consequences of notoriety?

I think the fact that we are such close friends, in a way we are family, helps me cope with everything.

It is a relationship that has remained unchanged over time, therefore.

Yes I think so, without a doubt, and not only that: it gives me the confidence, the security and the encouragement I need to grow artistically, creatively.

Even though you live mostly in the United States, are you still in touch with your place of origin, Sheffield? I know that during the worst phase of the pandemic you were very active raising funds to help small venues like the Leadmill. I guess you know that it is in danger of closing permanently; it must have been a very important place for the city.

I haven't been to Sheffield for a long time, but I'm going back there just in these days, I'm looking forward to it. I had heard about the Leadmill, yes. Absolutely yes, it was a key place, we saw an endless number of bands there as teenagers. It was the first place I crowdsurfed, as a spectator or maybe even from the stage.

#interview #translation #arctic monkeys #alex turner #the car era #rumore magazine 2022 #saving the full text here because i love this interview a lot #his thoughts about songwriting and performing in all the recent interviews are enjoyable to read #and i love how he talked about finding the balance between following the instinct and constantly rewriting here #also it's the first interview where he talked about the name and cover of the new album in detail #and the fact that he had the feeling that matt's photo would become the cover of one of their albums a few years ago is lovely

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