#f: mise en place
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#choices slow burn#everett flynt x mc#Kaila writes things#f: mise en place#I'm so tired of formatting stuff onto tumblr so I'm just going to post the links to AO3 instead#it is the superior fic site anyway
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Mise en Place, Chapter 4
Pairing: Chef!Matt Murdock x F!Journalist!Reader
Rating: M
Story Summary: Here
Warnings/Tags: Hallmark levels of fluffy, cheesy goodness, no use of Y/N, Matt is not a vigilante, things gone get SPICY later 🔥 (aka smut in future chapters)
Word Count: ~2600
A/N: Here we are with another update!
Divider by the phenomenally talented @theradioactivespidergwen!
Tag List: @danzer8705 @shouldbestudying41 @capylore @mattmurdockstateofmind @yarrystyleeza
“New text message.”
Matt finished blending the batch of Daredevil's house salad dressing he was currently preparing and put it in the fridge to set before pulling his phone out of his pocket and tapping at the screen.
He smiled when his phone announced that the text was from you.
“Thank you so much for the flowers,” it read off to him. “They're beautiful. By the way I'm thinking of you too and also can't wait to see you again. Heart emoji.”
Matt's smile widened into a grin. He had spent thirty minutes at the florist this morning trying to choose the perfect bouquet of flowers to send to you and come up with the perfect message to go on the accompanying card.
“Ooh, heart emoji,” Foggy teased good-naturedly from over at the sink. “You two must've had a really good time last night.”
Matt chuckled. “Not in the way you're insinuating, but yeah, we did.”
“And? Tell me all about your evening with your woman.”
“One second.” Matt hit the reply button and dictated, “I'm glad you like them, smile emoji” before sending his response.
He put his phone away and moved back to the prep counter to peel potatoes for the day's batch of gnocchi. “Okay, so…”
He began to recount his evening with you to Foggy, from the hug the two of you had shared when you had first arrived at Matt's apartment, to holding your hand while you went up to the roof and your gasp of delight at the decor, and the long conversation that you two had shared during dinner. “We talked for so long that I almost forgot about dessert, so rather than having her wait upstairs while I finished making it I suggested that we just have dessert downstairs, which she said she was fine with.”
He smiled at the memory. His original plan had been for the two of you to have dessert on the roof then head downstairs to cuddle on Matt's couch, but he had to admit that the alternative had been quite enjoyable as well. “She also said that she likes watching me cook, even if I'm just making whipped cream in a mixer.”
Foggy joined Matt at the prep table to start peeling and chopping some carrots. “Aww, that's sweet, although I think it's more of the fact that it's you making it, buddy.”
Matt grinned. “Anyway, I had been wanting to kiss her all night but hadn't really had the opportunity, so while we were having dessert I told her she had chocolate mousse on her mouth and made my move.”
Foggy huffed out a laugh. “Matthew Murdock, you smooth sonofabitch.”
Matt shrugged. “Turns out I wasn't that smooth, because right after I kissed her she asked how I knew she had something on her face.”
Foggy gasped. “Oh shit, what'd you say? She doesn't know about your freakishly sensitive senses, does she?”
Matt shook his head. Foggy and Karen both knew about how the chemicals that had blinded him had also enhanced his remaining senses far beyond normal human capabilities, but he wasn't comfortable sharing that information with you quite yet. “No, I’ve only told her that my palate became sensitive after the accident and that's how I got into cooking.”
“So then what'd you say?”
“She didn't really have any chocolate mousse on her mouth, so I told her that I didn't actually know and had just wanted to kiss her.” Matt grinned. “She said I didn't need to make up a reason to try to kiss her, so I took that as permission to kiss her again and we wound up making out like teenagers in my kitchen.”
Foggy lightly bumped Matt with his shoulder. “Yeah, go Matty.”
Matt shook his head. “Anyway, needless to say that the evening turned out really well, so I told her in no uncertain terms that I wanted to see her again then walked her home and kissed her good night.”
“And bought her flowers this morning.”
“Yeah.”
Foggy stopped chopping. “You know, I know things haven't been easy for you since She-Who-Shall-Not-Be-Named, but I'm honestly really glad to see you happy.”
Matt nodded. “Thanks, Fog.”
While you genuinely seemed to enjoy watching Matt cook and didn't mind having to wait while he finished preparing and plating your meals, Elektra had never been one to be willing to wait for her food or hang around the kitchen -- she had always wanted her meals fully prepared and ready to eat before she sat down for a dinner date and refused to be Matt's taste-tester whenever he was experimenting with new recipes. “Honestly, Matthew,” she had said the first and only time he had asked her to taste-test for him. “I have much better things to do with my time than to sit there and watch you play around in the kitchen.”
In hindsight, Matt should've realized that Elektra had been using him. You, however…
You were genuine. I don't want to have to wait until later to ask her out again.
He set his vegetable peeler down. “I'll be right back.”
Foggy huffed out a laugh. “Tell her hi for me.”
Matt grinned and headed to the office, pulling his phone out of his pocket in order to call you.
“... Anonymous sources tell the Bulletin that the surprise inspection stemmed from a report of food poisoning originating at the restaurant. Requests for comment from owner and executive chef Wilson Fisk were not returned by press time.”
Skyler huffed out a laugh as you finished reading your story about Kingpin's closure out loud. “Pretty easy to fact-check when we're the ‘anonymous sources’, isn't it?”
You grinned. “Plus we got an exclusive.”
You paused as your phone rang, Matt's name flashing across the screen. “Oh, hold on a second. It's Matt.”
You answered. “Hello?”
Matt said your name. “Hi.”
You couldn't help but smile at the sound of his voice. “Hi, Matt.”
“Is this a bad time?”
“No, not at all. I'm just finishing up an article to send to my boss for approval.”
Skyler lightly tapped on your desk and mouthed, “I'll talk to you later.”
You nodded. “Okay.”
“So what's your article about?” Matt asked.
“Kingpin's closure,” you replied. “It's just a short thing for the online edition since we weren't able to make the print one this morning. We're late reporting about it but at least we have information that the other publications don't about what triggered the closure.”
“Ah, yeah, Foggy did say that Skyler mentioned that the Bulletin was covering that.” Matt paused. “Hey, um, speaking of Kingpin, I don't know if you can mostly write about whatever you want or if your boss assigns all of your articles, but major violations like the ones that got Kingpin shut down don't just happen overnight, so if you're able and have time you might want to dig into their past health inspection records and see if anything looks funny to you.”
Your eyes widened. Matt could possibly be handing you a major scoop. “Are you saying that you think they were falsified?”
“I honestly can't say for certain,” Matt replied hesitantly. “ But there's been rumblings within the industry for years about Fisk being involved in a lot of shady and underhanded dealings, so it really wouldn't surprise me if it turned out that he had someone at the Health Department on his payroll.”
You were pretty sure that the health department’s inspection records were publicly available, but even if they weren't you would easily be able to file a request through the Bulletin . “My boss does assign some of my articles, but he gives me enough autonomy to where I can at least look into it.”
“Okay, thanks.” Matt paused. “Anyway, that's not actually why I called. I was wondering if maybe we could meet for lunch tomorrow? Say around noon?”
Your heart fluttered at the thought of getting to see Matt again so soon -- you honestly hadn't expected him to have time for you until the weekend at the very least. “Yeah. Yeah, I'd love to.”
“Great! I thought maybe we could go to that little park near the Bulletin , have a picnic then take a quick walk together if there's time?”
You knew which park Matt was referring to -- you occasionally took walks along the walking path there on your lunch break when you needed to escape from the chaos of the office for a bit. “That sounds wonderful.”
“Oh, and one other thing. I wanted to let you know that business at the restaurant has already picked up thanks to your article -- we got 12 reservations overnight just for this evening alone, and I'm sure at least a few more have come in since Foggy checked the reservation system this morning.”
You grinned. You had hoped that your article would help get the word out about Daredevil. “Oh my gosh, Matt, that's amazing! I'm so happy for you.”
“Thanks. And actually I have to run so I can get back to helping Foggy with prep since we know we'll be busier than usual, but I'll see you tomorrow?”
“Yeah, see you tomorrow. And I'll let you know if I find anything that seems suspicious about Kingpin's health inspection records.”
“Okay. Sounds good.”
“Talk to you later. Bye, Matt.”
“Bye.”
You hung up, a smile on your face.
You read over your Kingpin article one more time before emailing it to Ellison, then got up and headed to his office.
You knocked on his open door. “Hey, Mitch, you got a second?”
Ellison looked up from an article he was proofreading. “Yeah, what's up?”
“I wanted to let you know that I just sent you the article on the Kingpin shutdown, but I also received a tip that Wilson Fisk may have been bribing employees at the health department to falsify their inspection reports.”
Ellison's eyebrows raised. “Holy shit, really?”
You nodded. “Chef Murdock told me that there's been talk in the culinary industry for years about Fisk engaging in shady business practices and that the health code violations that triggered Kingpin's shutdown don't just happen overnight, so he suspects that Fisk had people from the health department on his payroll. It seems like it's worth at least looking into, so I figured I could submit a public records request for Kingpin's health inspection reports to see if I notice any kind of discrepancies.”
Ellison thought for a moment, then nodded. “Yeah, go ahead. Let me know what you find and we'll proceed from there.”
“Okay, thanks. I will.”
You returned to your desk and pulled up the website for the New York Health Department, then submitted an online request for hardcopies of Kingpin's health inspection records.
You smiled as the bouquet of roses Matt had sent you caught your eye once again.
It had been an incredibly kind and sweet gesture and needless to say that you were definitely looking forward to your lunch date with Matt the next day. Yeah, he's nothing like Kelsie had made him out to be.
“Hey, so what did Chef Hottie want?” Skyler said as she stopped by your desk. “Did he ask you out on another date?”
You shook your head with a grin. “Okay, first off, can you please start calling him Matt? I don't know how Foggy would feel hearing the woman he's dating referring to his best friend-slash-business partner as ‘Chef Hottie’.”
Skyler laughed. “Okay, fine. Did Matt ask you out on another date?”
You nodded. “As a matter of fact, he did. We're having lunch together at the park down the street tomorrow.”
Skyler wiggled her eyebrows. “Ooh, a picnic lunch. How romantic.”
“He also said that the restaurant got a boost in reservations yesterday.”
Skyler huffed out a relieved breath. “Oh, good. I know Foggy had been worried about that.”
“Matt too.” You thought about telling Skyler what Matt had suspected regarding Kingpin's health inspection records, but decided to keep it to yourself until you knew if there was actually any weight to it. “I was thinking about picking up some dinner from Daredevil tonight but I don't want to bother him, especially if they're extra busy.”
Skyler shrugged. “How about drinks after work instead? We can hit up happy hour at that new library-themed bar near my place, fill up on wine and appetizers, gossip about our guys.”
You nodded. “Yeah, that sounds like fun.”
“Okay, great. I've got to go cover the Rotary Club’s monthly luncheon, but I'll be back in a few hours.”
“Okay.” You winked. “Don’t have too much fun.”
Skyler shook her head with a smile. “It’ll be a struggle, but I’ll try.”
You grinned as Skyler headed out on assignment. Last week may have been a shit show, but this one was definitely looking up.
#lotmf writes#Mise en Place masterlist#Chef! Matt Murdock x Reader#matt murdock x f!reader#matt murdock x fem!reader#matt murdock x female reader#matt murdock x reader#matt murdock x you
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Okay, time to get on with this Nutella and crushed-hazelnut roll cake I've been plotting for the last couple of weeks. (One of our neighbors did us a favor just now and I want to bring them some of this to say Thank You.)
The recipe looks quite sound—no surprise, as this lady's website is full of great stuff. But I'm going to have to spoof it somewhat, as it's predicated on the use of a sheet pan size that wouldn't fit into our oven (the usual US-size-vs-European-size hardware- and appliance-size issue). Probably I'll wind up baking about 75% of the batter in the 10x15-inch pan I've got and the rest in a smaller 9x7-inch, so that the sheet cake doesn't come out so thick that it refuses to roll correctly.
...Got to toast the hazelnuts first, anyway. I'll add pics to this post as I go along.
ETA 1: The hazelnuts, just out of the oven. The aroma in the kitchen is fabulous. :) (We've got a tabletop microwave-cum-fan oven that has about a hundred custom cooking/baking programs built into it, and one of them is for toasting nuts.) (Oh look, @petermorwood got a shot of one of the special menus from the manual when he was posting about the microwave sponge cake.)
...Had I not had the fancy gadget, I'd have just put the hazelnuts on a baking sheet and toasted them at 180C/375ish F for ten or fifteen minutes, stirring the nuts around every five minutes or so until the outsides went nice and brown. The skins rub right off when the nuts cool down, if you don't want them. But I left some in so they'd keep their toastier flavor. These are a soft nut after toasting/roasting, so they crush really easily.
Meanwhile, while sitting still a moment before getting the mise en place together for the cake, and idly scrolling down through the menu on Sky Movies: wow, I really do need new glasses in a hurry. Saw the movie title "Fred Claus" and read it as "Fried Clams." (sigh) After the holidays, for sure. (It's the usual problem. These glasses are trifocals, you have to point-and-steer them to get the right results depending on what you're looking at, and sometimes you're distracted or in a hurry and can not be bothered to do the hunting-for-focus thing, and as a result you get comical results.) (sigh)
Now the mise en place:
...So typical. You're trying to have it be pretty for the photo and one of the egg yolks breaks. (eyeroll)
Anyway. Not shown here: running off to give the stand mixer's bowl an extra wash to make sure it's absolutely clean, because any grease getting into egg whites being beaten will inhibit how well they fluff up.
So, time to get on with that.
First thing, though: the baking pans need to be prepared while the egg whites and so forth are beating.
So the recipe suggests that you should butter both the pans and the parchment paper used to line them. And speaking as one who's writing this after rolling the cakes up, I can speak directly to its effectiveness. The cake sheets pretty much leapt out of the pans. As I can imagine all too clearly what having to convince them out would be like, better to go overboard with the butter at this stage. I buttered the pans with solid butter and then melted a couple of tablespoonsful and brushed the baking-parchment liners with them.
Lining the pans with the paper, btw, is much assisted by having buttered them first. You just press the paper down and it sticks. Then you go get the scissors and cut off whatever's hanging out.
And now comes the part where you make the cake batter.
First you beat the egg whites and half the granulated sugar to the stiff-peak stage. (Took my mixer about five minutes.)
Then in a different bowl you beat the egg yolks and the rest of that sugar together. Somehow I missed getting a pic of this: apologies. It's the usual "beat together until pale, light, and fluffy." Took about seven minutes for that.
Then: sift together the flour, cocoa, salt and baking powder, The logistics of the original recipe get a little complicated at this point—it sounds like a third bowl is being called for. But at that point I'd decided that I already had more than the usual number of bowls to deal with, not to mention the one I'd just sifted the dry ingredients into. And we don't have a dishwasher. So I just said "The hell with that", added the coffee and vanilla to the egg yolk mixture, and mixed it a bit more: then spooned about half the sifted dry ingredients in, and pulsed the mixer a few times: then added the rest of the dry stuff and mixed again, very slow, just wanting to make sure that everything was completely combined. (As usual with cakes at this point, the idea is to get everything well mixed without doing anything to develop the gluten in the flour. I never let the mixer go very fast.)
...Then comes the "folding in the egg whites" part of the operation. Always use the biggest spatula you've got for this.
Then, when you finish this stage (again, sorry, no pic, I was busy racking my brains over what tool would be best for this job) you spread the batter in the pans.
When I finished with this task I was very glad that I had an offset spatula, because if I'd attempted this with a regular mixing spatula, I don't think the result would have been anything like this even. This batter is light but it's also moderately firm... and with the best will in the world, no amount of shimmying the pans around on the work surface is ever going to even that batter out. As for its thickness in the pans: we're talking about a centimeter at the most.
And then: into the oven for ten minutes, while setting up the pieces of cocoa-powder-dusted baking parchment meant to receive them. I don't have pics of them in the pans when they came out, because the get-them-out-of-the-pans stage is kind of a time-sensitive thing (like immediately). So I got on with it.
They fell straight out onto the prepared sheets with no trouble at all. The small one fell out by itself: the large one fell out with the baking parchment still clinging to it, but not so desperately that it took more than gently lifting it away between finger and thumb to get rid of it.
And then came the rolling. I did the little one by myself, to get a sense of the technique: then asked @petermorwood to video the rolling of the larger one.
youtube
...So now they get left to their own devices until, oh, tomorrow morning, I guess. That's when I'll move on to the next stages.
My plan is to unroll the little cake as a test: brush it inside with warmed/semi-liquid Nutella: sprinkle the Nutella with crushed hazelnuts, which theoretically/please gods will stick to it if gently assisted; and then contrive a filling that will taste at least somewhat of Nutella but not be too sweet to bear. Then the ganache will be made using that fabulous Belgian chocolate that came in a couple of weeks back, and when the whole cake's put together and has had a little time to rest, Peter and I will test it and see if it's something we feel confident enough to offer to other people.
So we'll see how it all goes. Tune in again tomorrow for more hijinks... :)
ETA 2, December 23: When we last saw our cake rolls, the two of them (the one baked in the Euro-size pan, and the smaller one where the spare batter went) were sitting innocently on the counter, waiting to settle enough to be unrolled.
Now's the time. And guess what?
DIsaster! (-Ish. As you'll see.)
The first small sheet of cake was just too small to deal with this treatment without immediately cracking into one-inch slices upon unrolling. I therefore won't waste your time with that video. Instead, you should have a look at the video of the bigger-baked sheet as it gets unrolled, and watch it crack in pieces! (This was either due to the baked sheet being too thick, or too thin. More diagnostics are needed before we come to a verdict.)
But first: the buttercream filling, which worked just fine.
This is the recipe I used:
This recipe worked perfectly. There's zero reason to inflict a long video about this on you, as I was working in a cold kitchen (with three stone walls, two external...) and the butter and sugar took something like half an hour to get friendly enough so that the Nutella could finally be added.
One thing I will show you, though. It's been a long time since I bothered buying confectioners' sugar / icing sugar, because when I need it, I make it myself... in the (very old and beat up-looking) coffee grinder. The sugar's grind comes up finer than that of a lot of commercially made icing sugars... and unlike too many confectioners' sugars in North America, there's no cornstarch in it (which they put in to keep it from caking with storage).
If you try this, make sure not to forget to brush the grinder out well afterwards, and wipe it clean with a damp paper towel. Otherwise the sugar, which is very hygroscopic, will go solid, glue the blade to its spindle, and be a real nuisance to clean out after the fact.
youtube
Meanwhile, here's the Nutella buttercream frosting after it's done. Just a very quick clip here, so you can see what the texture should be like when you pull the beater out of the mixture. (Volume down on this, please: it's really noisy.) If it's not soft enough, do as the recipe recommends: add a tablespoonful of milk or so and beat well until things soften up a bit. Add another, and do the same again, if you need to.
youtube
So now we come to the baked-cake unrolling. (Apologies for the black bars at the top and bottom of the video. For reasons best known to itself the phone insisted on recording in 9:16/portrait format, and the bars are an artifact of flipping it back into landscape...)
youtube
...So after all that, both cakes, the big and the small, are in the fridge now, stabilizing. And there we'll leave matters until tomorrow.
#cake#baking#Nutella#chocolate#hazelnuts#experimentation#FOR SCIENCE#that's the excuse anyway#Youtube
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Juxtaposing arguments Roy/Keeley & Jack/Keeley
Ted Lasso does parallels extremely well using the mise en scène - the physical aspects - the position of actors, the lighting, the music, to parallel or juxtapose two similar situations, physically manifesting the emotional response expected from the scene.
The fight between Jack & Keeley in her house last week was such a parallel to the one Roy & Keeley had in S2E7 Headspace & it showed the difference in their relationships.
Other than when they are standing, I’ve noticed that Roy is often lower than Keeley. We see him kneeling before her several times in S2, for example.
In S2E7 where they fight, Roy comes into the room and sits on the floor beneath Keeley so that when Keeley erupts, she’s higher than him. In fact, she stands on the sofa so that physically she is still higher than him when they fight.
At the time, I thought this was a clever way to diffuse Roy’s physical dominance in an argument with her because Keeley is so petite. It would “calm” the audience so that even if Roy raised his voice, they wouldn’t worry for Keeley.
Now juxtaposition Keeley’s fight with Jack last week. It’s Keeley in the lower position on the couch. Jack is standing for almost the whole time until she sits and turns off the show Keeley was watching. Keeley is already feeling small because of her situation. Jack is wearing the colour red. She is aggressive and negative. (Note, it's not the only time that Jack is "above" Keeley in scenes.)
When Roy was upset in Headspace, he looked away from Keeley before he said, “F%ck this” - not “f%ck you”. His language to her has always been purposeful. He was angry and disparaged the situation, not her, before leaving.
Whereas Jack belittled her telling her what she did was a "porno” and maybe she shouldn’t have done it in the first place.
Another small parallel is that Keeley was watching Sex and the City in both instances. I don't know if the scenes were also parallels because I never watched the show. I'll leave that to experts :)
I don't think Jack will come back, but Roy did in that instance and came back in a way that Keeley's character needed. I have a whole other theory of why the bath scene is sooooo important to Keeley - but that's for another day. ;)
I've also found that Keeley's house has been lit darker this season overall as if to reflect her mood. I'm sure there are a million other parallels but these are the ones that jump out at me.
I would also say that Roy & Keeley's discussion in the parking lot was shot at an angle to again, ensure that Roy didn't loom largely over the petite Keeley. And in my heart? His question has to be a misdirect from the show. They've written Roy all season to be dark and for us to think he's a lost cause, so that when Jamie comes to her you think things might be rekindled. I don't think that's the case. I don't think it ever was.
I also refuse to believe Roy would ask that question at that moment unless it had a different meaning than the obvious one. As mentioned, Roy's language, his choice of words to Keeley has always been purposeful, and never disparaging. A question like that is too self-absorbed and would obviously hurt Keeley. I think Roy's redemption will begin in S3E9. If it's not, it's been character assassination for no real reason, and I just don't think that's the show's intention.
#roy x keeley#roy kent#keeley jones#roy kent keeley jones#keeley/roy#roy and keeley#keeley x roy#ted lasso#brett goldstein#roykeeley#reeley#roy & keeley#jack danvers#parallels#mise en scène#juxtaposition#camera angles
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Roronoa Zoro X CisFem Reader
3
You sat on the bench swing that hung on the back porch with your feet tucked up and a fresh cup of coffee in hand. It was just passed noon but the sun had yet to make an appearance on this gray autumn day. Ace and Sabo worked setting up chairs and tables even clearing a place near the fire pit for a small dance floor.
"You could help a little." Ace scoffed wiping his brow.
"I thought this party was for me, Freckles. The honoree doesn't set up the banquet." You chuckled adjusting your sweater.
"Don't call me that, stupid." he crossed his arms.
"Oh sweet come back, Spot."
"Seriously F/N?" Sabo deadpanned while Ace fumed.
"Nobody put a quarter in you, Blondie."
"That reference is so old, the only reason we know it is from growing up around you." Sabo quipped.
"Back in my day there was this thing called a payphone..." Ace mocked in an old lady voice.
"You little shits. I'm gonna tell Pops." you warned.
"Tell me what, lass?" the old man pipped ducking through the doorway with his o2 tank.
"Nothing." you muttered shifting on the swing to make room for your father.
"You brats stop harassing your sister." he scolded as both men scoffed.
You stuck out your tongue.
"And you, F/N, let your babies be."
You couldn't help but laugh though you'd been caught as well.
"Sorry babies!" you called earning more pointed looks.
"Some things never change." Pops laughed, "Thatch just got back, why don't you go inside and see if he needs help?"
You stood with a sigh, "Aye captain."
It was noisy in the house again as you could hear all of the guys in the kitchen chatting while they unloaded groceries. Your stomach fluttered hearing the low voice of the bartender. All sounds ceased when you pushed the door open.
Thatch was bent into the refrigerator while Luffy placed cans and produce on the counter. The greenette watched you enter quietly averting his eye as you briefly met his gaze.
"You must be F/N!" a blond you hadn't met before chimed from the opposite entry that led to the front of the house.
"Uh.. Yes." you mumbled suddenly feeling a little self-conscious under his sparkling blue stare.
"I'm Sanji, it's so lovely to finally meet you. We've heard so much about you," he gushed swiftly taking your hand and placing a kiss on your knuckles, "you're even more beautiful in person!"
You blushed.
The bartender cleared his throat.
"Sanji, lay off." Thatch grumbled.
"He's fine," you nodded to your older brother, "nice to meet you too."
The blond smiled brightly a soft rosy flush rising to his cheeks.
"That's Zoro," Luffy interjected pointing at the green haired man.
"Nice to have a name to the face," you chuckled nervously extending your right hand.
His hand slipped over yours as his gaze swayed back to you effectively stifling your breath.
Why did he make you feel this way?
"You've met before?" Sanji asked.
"F/N?" Luffy called after a few seconds of silence.
"Ah, yeah ... Kind of. Shanks and I met at the pub where he works the other night. And he did wander into my room this morning." you reluctantly pulled away from his grasp.
"Well now that introductions are done, it's time to put you guys to work!" Thatch clapped his hands, "F/N - mise en place , Sanji trim the meat, Zoro the dry rub is in the pantry behind you, Luffy you're washing dishes as we go."
Everyone began to shuffle around the kitchen. You began chopping vegetables and placing them in separate containers as requested. Sanji stepped next to you eyeing your knife work. It was obvious you'd been taught by your brother, but some of your cuts were a little shaky. Slowly he reached over to adjust your grip.
"Oh..." you breathed, surprised by the sudden contact.
"If you hold it from the base of the blade you'll have better control." he murmured lowly.
Someone sighed behind you.
"Awe Zoro is here? Why didn't anyone tell us?" your freckled brother stepped into the room, "You could help us move some of this shit around."
"Sure." Zoro muttered, "If it's ok with Thatch?"
"Yeah yeah," the brunette replied, "We can handle this."
The afternoon passed quickly as eventually only you and Sanji stayed in the kitchen to help Thatch. Luffy ended up creating more work than really helping. Marco got the grill ready and had food cooking by the time guests started to arrive.
There were so many faces that you recognized, and also quite a few that you didn't, like all of Luffy's friends. They were a particularly interesting group and quite diverse you might add. The two women, Nami and Robin were very sweet, but you could tell not much got passed them. Nami actually seemed to hold Luffy's attention and keep him from being too disruptive. It was quite amazing to witness.
A few drinks in and you'd been sucked into the dance floor by your brothers, even Luffy had a turn - stepping on your feet all the way. You never did get a chance to actually teach the youngest to dance. Shanks stepped in shortly after, tugging you around expertly, hand slipping to the small of your back.
"Like old times wouldn't you say?" he chuckled.
"I don't know how you're still so nimble after all those sake bombs."
"I'm always better after a shot or two." he spun you an reeled you back in, "Looks like you have a couple of admirers this evening, aside from myself of course."
You failed to fight a flush, "I don't know what you're talking about."
"The blond with Luffy, which I'm sure you noticed. He's been quite obvious about it." He nodded toward Sanji having a smoke near the fire pit.
"And the other?" you asked almost hopefully.
He searched the yard for a moment before thumbing toward a slender raven haired male with rather dark circles under his eyes. Your heart sank a little.
"I haven't even met that guy."
"Were you disappointed? I think plenty of ladies would like to have a promising surgeon checking them out." he teased.
You rolled your eyes, "You don't have to make fun. There's no way that guy was checking me out."
"Suit yourself." he shrugged.
Finally the song came to an end and you made a quick exit. Between the alcohol and cardio you needed to find a quiet place to cool off. You were stopped a few times to chat on your way to the front porch where you claimed one of the three rocking chairs and let out a sigh letting the night breeze cool you down. You rocked slowly enjoying the peace when you heard someone slowly approach.
"Is this seat taken?"
#the one#roronoa zoro#roronoa zoro x reader#one piece#whitebeard pirates#marco the phoenix#x reader#mdni#18+ content#lyndsyh24
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— ✮ ( 𝐀 𝐋𝐈𝐍𝐆𝐄𝐑𝐈𝐍𝐆 𝐅𝐀𝐍𝐓𝐀𝐒𝐘 )
content warning; fem reader. sfw ! — lowercase writing intended, suggestive themes, fluffy fluff, widow might be a little ooc, mention of bullets, injuries, brief mention of previous relationship, blackwatch
moss' notes; this is for @overwatchfics and only them, be grateful moss lets you read it- also this has been a long-time fake scenario of moss' so enjoy !!! <3
⠀⠀( pairings . . . ) — amélie 'widowmaker' lacroix + f! reader
you proceeded to let a sigh out, dreading that you had to get up from bed and begin making coffee for yourself. but just as you were about to pull the covers off of yourself the cold touch of your lover froze your motions.
you proceeded to let a sigh out, dreading that you had to get up from bed and begin making coffee for yourself. but just as you were about to pull the covers off of yourself the cold touch of your lover froze your motions.
you proceeded to let a sigh out, dreading that you had to get up from bed and begin making coffee for yourself. but just as you were about to pull the covers off of yourself the cold touch of your lover froze your motions.
"chérie, are we trying to escape the spider's den?" the assassin asked with a hushed tone, nuzzling her face into the crook of your chest and wrapping her arms around your waist. the cold of her purple skin once again stiffened you up, your spine fusing to arch into her body as the tingling sensation ran across your body. a small smile pulled on your face as you felt her lips curve into somewhat of a smile, but more of a smirk if you had to guess.
amélie was the one who took a hold of you, cradling you like you were hopeless and in need of her aid, to be taken care of and be protected. widowmaker wanted to continue, to speak all her witty lines out on you, to have one more passionate encounter with you before amélie tucked her way into the back burner.
you truly were surprised by her presence, usually, she is either already up or has left a note stuck to something about leaving- 'duty calls' or whatever. "no... i just thought you were gone already. was on my way to make coffee but I'll change it to tea." there was no point in lying, widowmaker could make out any of it by just touching your hot spots, looking for arteries, for the dummy's lie detector.
the tall woman let out a low chuckle, pulling herself away from you but not before pressing a chaste kiss on your chest, right above your cleavage before sitting up.
the silky sheets fell from her body like waves of water, revealing the spider tattoo on her spine and the muscles she gained all those years ago when she was a ballet dancer. you were tempted to reach out and caress them, to feel them up a little and trace the legs of the inked spider. but you corrected your posture that was already leaning towards her, instead sitting up yourself while pulling the covers along.
she turned back around with a tray in her hand, two smaller tea cups with their plates, a small ramekin with sugar, and a few slices of lemon sitting on a separate plate with a small jug of milk. "mise en place, chérie- however you like it."
the two of you have spent countless nights and days together, yet she didn't know your way of taking tea. but you knew how she liked her tea- no sweetener, no lemon, no sugar, steeped in hot water for nine minutes before pulling the bag filled with the tea leafs out and offering it to her in her favorite cup with its tea plate under it.
you gave her a warm smile before taking the small tray from her, the rattling of the glazed porcelain cups and silver spoon oddly sharp in your ear. placing it down in your lap you took the spoon and put in whatever you liked, stirring the steaming cup.
"i could have done it myself." you murmured, eyes stuck in the cup on the whirlpool you created then they flickered up to look out on the tall window set in front of the bed. you sipped the tea, tracing the outlines of the eiffel tower.
"not with that odious wound, mon coeur." the chilly arms of amélie's sneaked their way around your body once again, her chin resting on your shoulder. one of your hands unwrapped itself from around the cup and reached to push between her interviewed hands on your lap.
a laugh escaped through amélie's nose, her head falling against yours. "it's nothing, that bullet barely grazed me." you noted, taking a glance at her from the corner of your eye and then at the wound on your shoulder, that she stitched up last night before putting a giant bandaid on it.
"please, you were crying like a baby!" she bursts out laughing, her face burning in the crook of your neck as you lean forward to put the cup down. "don't laugh like that! i tried my best there, it is hard to be the eyes on the ground." you huffed, pulling your hand away from hers and crossing your arms on your chest.
"don't worry, next time you can give the widow a kiss." she whispered against your ears after successfully trapping you to herself, your head resting on her chest just low enough for her to comfortably lean down and give you a kiss that left the lingering taste of chamomile on your tongue.
the rest of the morning went down quietly, the two of you just starting out on the window that faced the center of paris, watching as the snow fell gracefully on the white tiles of the balcony. amélie's fingertips run up and down on your skin, ghosting over it and leaving goosebumps trailing behind.
you remembered the first time you had met amélie at the london headquarters, she and you shared a cup of coffee and chatted about work. you laughed when she asked if you had ever been to france, disappointing her when mentioning that a young agent like yourself was lucky to be even bouncy between a few offices as a protective detail. she promised that she will take you there when the murky water with her husband's task force clears, get you front row seat to her ballet performance then take you out to her favorite dinner spot.
she kept her promise, no matter how long it took the lingering fantasy of the city of lovers now a reality.
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Notes de mise à jour
🌟 Nouveautés
Sur le Web, vous pouvez dès à présent vous laisser tenter par le badge Mécène Tumblr. Symbole vibrant de votre soutien financier direct à notre plateforme, ce dernier évolue au fil du temps et de votre fidélité. Vous en apprendrez davantage dans un billet détaillé à venir.
La fonction "Mettre en veille Tumblr Live sur le TdB" continue à masquer Tumblr Live du tableau de bord, mais conserve désormais son icône dans la barre de navigation, évitant ainsi d'avoir à désactiver la mise en veille pour assister à un live. La période de mise en veille a également été rallongée, passant de 7 à 30 jours.
En ce qui concerne la phase expérimentale introduisant des changements dans les en-têtes de billets sur le Web, nous avons décidé de suivre vos nombreux retours et de réintroduire l'avatar de l'auteur du billet. Nous vous remercions d'avoir ainsi partagé vos impressions avec nos équipes !
Une nouvelle version majeure du client JavaScript "tumblr.js" de notre API a été déployée. Ce client permet d'accéder au contenu Tumblr via notre API publique. Vous pouvez en apprendre plus à son sujet par ici (en anglais).
Tumblr Live est maintenant disponible dans davantage de pays de l'Union européenne.
🛠️ Correctifs
Les recommandations "D'après vos coups de cœur" et "Aimé par…" ont été ajustées afin de ne plus proposer des billets que vous auriez déjà reblogués.
Pour les utilisateurs germanophones expérimentant le nouveau design des en-têtes de billets, divers couacs visuels ont été corrigés dans le texte de la section "reblogué par".
Correction dans la version Web mobile d'un bug qui pouvait bloquer les utilisateurs sur la page Messagerie lorsqu'elle était ouverte à partir de certains endroits (telle que la vue intégrée des blogs, par exemple).
Pour les utilisateurs sur le Web qui voient toujours s'afficher les avatars flottants sur le côté des billets, nous avons corrigé un bug qui pouvait faire recouvrir une partie des avatars par la barre d'onglets du tableau de bord. Nous avons également corrigé une anomalie qui ne respectait pas l'ordre des billets lorsque les raccourcis clavier "J" et "K" étaient utilisés pour naviguer.
Pour les utilisateurs ayant accès au nouveau bouton de configuration des onglets du tableau de bord sur le Web, nous avons ajouté un peu d'espace sur la gauche de ce dernier afin que les onglets soient moins susceptibles de déborder dessus. De plus, les onglets proposant du contenu sponsorisé sont maintenant ornés d'une étiquette "Sponsorisé" dans l'écran de configuration des onglets.
🚧 En cours
Si vous avez franchi le pas et décidé de nous soutenir à partir du Web (MERCI !), sachez que les différentes versions du badge Mécène Tumblr ne sont pas encore visibles dans l'application. Les prochaines mises à jour pour Android et iOS corrigeront très vite cela !
Certains utilisateurs voient apparaître un indicateur "Nouveau" mettant en avant l'icône Tumblr Live dans la barre de navigation alors que cette fonctionnalité ne leur est pourtant pas étrangère. Un correctif sera prochainement déployé.
Nos équipes expérimentent toujours des solutions améliorant considérablement l'affichage du contenu sur le Web. Le revers de la médaille ? Utiliser la fonction CMD/CTRL + F pour rechercher un texte sur la page ne permet plus l'accès au contenu rendu invisible par le défilement de l'écran. Nos équipes ont travaillé d'arrache-pied pour améliorer cette situation et ont même d'ores et déjà mis en place un premier correctif. Vous pouvez retenter votre recherche, si vous aviez rencontré le problème !
🌱 Prochainement
Rien de particulier à signaler.
Vous rencontrez un problème ? Écrivez-nous (en anglais) et nous reviendrons vers vous aussi vite que possible !
Vous souhaitez nous faire part de vos commentaires ? Rendez-nous visite sur le blog Work in Progress et participez aux discussions de la Communauté !
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Vous songez à rejoindre Only by the Night mais vous aimeriez commencer avec une base de lien? Ce post est fait pour vous! Retrouvez ci-dessous notre sélection de pré-liens, en attente de trouver preneureuse.
LIENS FAMILIAUX
(m/f, entre 21 et 35 ans) ⋅ Hartley et Jagger recherchent les trois autres membres de leur famille, autrefois unie.
(m/f, entre 20 et 25 ans) ⋅ Hesna patiente en attendant l'arrivée de sa famille d'enfants abandonnés, unis entre eux.
(m/f, entre 26 et 55 ans) ⋅ Cain recherche sa famille, déchirée par le divorce, les doutes, les infidélités et les secrets.
LIENS AMBIGUËS
(m/f, 50+ ans) ⋅ Une actrice célèbre, un.e détective privé.e, une tutelle mise en place par le père de la première. Louise attend l'arrivée de James, avec impatience.
LIENS AMICAUX
(f, entre 28 et 33 ans) ⋅ L'Underworld, cabaret de Nowhere, attend sa dance captain pour compléter cette famille choisie d'âmes esseulées.
(m/f, la quarantaine) ⋅ Le groupe d'ami d'Alvaro a besoin de ses membres manquant pour former cette bande de mousquetaires inséparables, plongés dans le désert.
(f, entre 26 et 28 ans) ⋅ Lynn attend avec impatience sa meilleure amie, sa ride or die, pour des retrouvailles après un an de séparation.
(m/f, la quarantaine) ⋅ Sheridan et Ira espèrent voir arriver rapidement les membres de leur groupe d'amis, ces gamins de Nowhere ayant grandi.
LIENS DIVERS
(genres et âges libres) ⋅ Milo et Leon recherchent les musiciens les accompagnant et partageant leur passion pour la musique.
PRE-LIENS EN COURS DE REDACTION
Ils ne sont pas complètement finis, mais valent quand même le coup d'oeil! N'hésitez pas à poke les créateurices dans la partie invités pour avoir plus d'informations s'ils vous intéressent.
(genre au choix, entre 18 et 65 ans) ⋅ Ira est en recherche du staff de son cinéma! Projectionnistes, vendeurs, six vies qui se sont trouvés et s'entremêlent depuis.
(m/f, entre 36 et 38 ans) ⋅ Après un drame tragique, Ezeckiel est venu à Nowhere sous une autre identité. Iels sont ces ami.e.s trouvé.e.s en chemin.
(m/f, entre 30 et 40 ans) ⋅ Ezeckiel recherche ses partenaires de poker, pour des soirées à partager autour d'un jeu de cartes.
(f, 30+ ans) ⋅ Après un retour récent à Nowhere suite à un voyage de quatre mois, Cameron revient avec une surprise : une épouse, à son bras. Un mariage blanc sous couvert de l'amour éprouvé par Ella pour un.e autre.
#forum city#french rpg#rpg francophone#rpg français#forum francophone#the devil all the time#lost river#twin peaks#pré-liens#scénarios
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SNU. LA DERIVE GUERRIERE
15 ans et un fusil entre les mains. La photo ne nous vient pas d'un organe de propagande de la Russie de Poutine mais bien de France. L'armée de terre a publié sur twitter et sur son site un reportage montrant 26 enfants âgés de 15 à 17 ans, ayant participé, de façon volontaire, à une préparation militaire dans le cadre de leur service national universel.
Les enfants ont notamment appris à démonter puis et remonter des fusils d’assaut HK 416 F !
On rappelle que ce SNU, initialement basé sur le volontariat, va se généraliser et devenir obligatoire. La dernière version en date du texte du gouvernement envisage la mise en place dès la rentrée de septembre d'un stage de cohésion de 12 jours sur le temps scolaire, pour les élèves de seconde.
Macron nous construit une société autoritaire où la jeunesse va grandir et se construire dans des logiques de guerre et de mort.
Stopper ce monde devient vital.
Cerveaux non disponibles
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mise en place | chapter two | everett flynt x mc
Book: Slow Burn
Pairing: Everett Flynt x f!MC
Rating: General
Word count: 2.1k
Start from the beginning or read on AO3
The next day, while the renovation team was hard at work and Julian was going over the business side of things with Delia and Collins, Everett and Jules made their way over to the farmers market. While the camera crew shot B-roll of the crowd and the rainy city, they criss-crossed their way through the main building and the open-air market. Banjo music floated through the space, courtesy of a busker; Jules thought she caught the first few notes of “Wonderwall” at one point. They talked shop with a few vendors and picked up an assortment of jams to go with Birdie’s homemade biscuits. Over a plate of hot chicken, they discussed streamlining the menu for the cameras.
When the crew departed for Vivian’s trip to the flea market, Everett and Jules stayed behind. Not needed back at the deli until late afternoon, they meandered through the spacious garden center. The humid air was thick with the smell of soil and ozone. Glossy, green blades hung down from baskets above their heads. Nursery pots, some filled with buttery marigold, fiery zinnia, and trailing verbena lined shelf after shelf. The sheer amount of tags and instructions and sunlight recommendations was enough to overwhelm Jules.
“I’m jealous of people that manage to do this.”
Everett let out a soft snort. “Grow plants?”
“Yes.” She brushed her fingertips across the ruffled petals of a hibiscus. “I come by it naturally, too. My grandfather wouldn’t let my grandmother anywhere near his garden. What’s the furthest color from green? Because that’s what color my thumbs are.”
“Well, you have talent in other areas.”
“Hmm, such as?” she inquired, squeezing close to share his umbrella when they exited the canopied area. The rain was a downpour now, pounding against the pavement – a brief reprieve from the muggy blanket covering the city.
“Such as saying you’re going to work on your cookbook and then watching Dodie Aukai’s test kitchen videos instead.”
And to think she was expecting a genuine compliment.
“I would consider that research.”
“Others would call it procrastinating,” he teased as they ducked into a nearby parking garage and made their way to the rental car.
“Oh, no. That would be what we did when you insisted on pausing the video. And if I put that in the book, it would be a very, very different genre.” Jules glanced across the sedan’s roof and laughed at the smug look on his face.
To say that the evening festivities were going poorly would be an understatement. At Zara’s behest, Julian and Jules were forced to bar hop their way down Lower Broadway. It was touted as a way to show the city’s two sides: the tourist-clogged honky-tonks versus the diverse, historical locale. If Jules had to endure another song about beer and bare-legged ladies on tailgates, she would combust. To make matters worse, the boots that Vivian goaded her into buying were pinching her feet. Julian, of course, had made friends with anyone and everyone that walked in the door. He was currently on his eleventh spin around the dance floor, this time with a very gorgeous cowgirl.
With the camera crew more interested in him, Jules seized an opportunity to grab some fresh air out on the rooftop. Made worse by the day’s rain, the muggy night air kept most of the patrons inside and allowed her a spot by the railing. Looking out over the street, it seemed every square inch was covered in a neon guitar. Party tractors and pedal taverns moseyed down the street, blaring the latest country chart-toppers or radio edits of twenty-teens hip-hop. Large groups loped along the sidewalks, some popping into the endless stretch of bars and some cutting down the avenue towards the less flashy Printers Alley.
Pulling out her phone, Jules snapped a photo of the spectacle. One message went to Everett and the other went to Robin, her grandmother’s longtime caregiver. The reply from the latter came within seconds.
Robin: So pretty… reminds me of Las Vegas… I hope you are enjoying yourself 😊 ...
Jules: I am, thanks! Wanted to check in on how she’s doing?
Robin: still having trouble with meals… but we are doing our best. She is watching her telenovela 📺 before she has her bath 🛁
Robin: have fun and enjoy your time out with that handsome chef of yours 😉 ... Bring him by sometime soon so I can meet him…
Jules: Haha I’ll try
“I knew we would find you up here.”
Looking up from her phone, Jules spotted Vivian and Hudson making their way towards her from the bar. She took an eager swig of the colorful cocktail Hudson handed her when Vivian asked her to dance. A crowd had formed on the dance floor up here while her nose was stuck in her phone.
“I’m not the boot, scoot, or boogie type.”
“You’ll never break in those boots if you don’t.”
Vivian held a hand out and wiggled her fingers, grinning in triumph when Jules gave in with a dramatic sigh. They tried their best to match the other dancers, ending up with a half-assed box step to an upbeat song about a freight train. Jules was saved from stumbling through another song when Julian appeared. She passed Vivian onto him, and joined Hudson and the rest of the off-duty crew by the railing, enjoying his running commentary.
“How’s the reno coming?” she asked when Vivian and Julian stopped for a break.
“Is it sacrilegious of me to do a chef’s kiss? Because if not…” With a dramatic flutter of her hand, Vivian pressed her fingers to her lips and kissed them. “The flea market was a literal goldmine. One lady had an entire stall of vintage wallpaper. Every roll was pristine .”
“It looks great,” Hudson chimed in. “And Chase pulled off a miracle with that parquet floor. It takes more work because of the pattern, but once the finish sets it’ll be so worth it. And so will Viv’s super secret surprise.”
Jules lifted her brows and waited for her friend to say more, but Vivian shook her head.
“No spoilers shall pass these lips. You and everyone else can experience the reveal tomorrow.” Pausing to take a drink, she waved her hand and quickly added, “Which will be in a little over sixteen hours, since the floors need time to dry. So no trips to the deli until then.”
The severity of her tone told Jules she meant business. When the crew moved onto another topic, Vivian nudged her with her elbow and leaned close. “But enough about my secret project, what about yours?”
Julian and Vivian were the only ones who knew about it. The former because he had experience with everything Jules was going through, and the latter because she needed reassurance that what she was doing wasn’t stupid or crazy or insensitive.
“I’m waiting on an email.”
“Ugh. The worst.”
Jules thought about what exactly the email would entail and downed the rest of her beverage.
Returning to the hotel sometime around ten, Jules was surprised to see Everett’s light still on when she passed. After entering her own room, she dumped her things onto the table by the door and wiped off her makeup. Taking a seat on the bed, she reached down to yank off the boots. Then tried once more, and again, swore loudly, and tried again.
Everett answered the door after her second knock. Whatever greeting he prepared died on his lips when he took in her state: hair pulled into a messy bun, face slightly damp from washing, and wearing an oversized La Nueva Religión Tour T-shirt (her pajamas) over a pair of bell-bottom jeans and boots (not her pajamas).
“What’s wrong?” he asked.
“Nothing, except I can’t get these damn things off.” Jules raised her booted foot and shook it for emphasis.
His knitted brows of concern eased up in surprise. Chuckling at her expense, he stepped back to let her inside. Torn from his trusty legal pad, sheets of yellow paper covered the bedspread. A soccer game played on the television, the sound on low. Jules settled onto the bed, her booted feet swinging as she glanced over his illegible scribbles.
“You should’ve told me you were finalizing the menu. I would’ve helped you.”
“You deserved to have some fun.” Everett motioned for her to lift her leg, grabbing hold of her boot and yanking it. The damned thing came off with ease, as did the second one. He dropped them to the floor before sitting across from her. Jules sighed with relief and wiggled her socked toes.
“Did you have fun?” he asked.
“Yes,” she admitted. “But my feet did not.”
He leaned down and swung them into his lap to knead at the aching soles. She bit back a moan and nestled into the mountain of pillows, enjoying the impromptu massage. After a few blissful moments, she asked, “What’s on the chopping block, then?”
“We don’t have to talk shop.”
“I like talking shop with you.”
Everett relented as his hands worked their magic. “We’re cutting all of the fad items out, obviously. The specialty milkshakes aren't original – it’s a deli, not a diner, and keeping all those ingredients on hand is too expensive. Julian gave me a list of the least popular dishes, so the bottom five are going, as well.”
Grabbing the paper he gestured at, she considered the list and the marginal cost of each.
“What about keeping one or two as part of a seasonal menu? The country-style ribs would do well in the summer, especially around the Fourth.”
He hummed in consideration, his thumbs making gentle sweeps across her foot as his mind wandered to building a separate, rotating menu.
“She does have her grandmother’s recipe for sweet corn fritters that I’ve been trying to work in. They’d pair well together.”
Jules sat up and grabbed the laptop, researching the local food costs as Everett jotted their ideas down onto his notepad. They spent the next hour sprawled across the bed as they created and debated dishes, factoring in the current customers and the potential ones, what with Birdie’s situated between prime spots like Vanderbilt University and Music Row. Eventually, their discussion became a contest in who could create the more outlandish recipe. It ended with her Poptart-crusted Beanie Weenie pot pie, to which Everett’s look of abject horror told her that she had won.
“I’m genuinely frightened of you,” he told her with a chuckle that gave way to a yawn.
She glanced at the clock and swore her eyelids felt heavier with the realization that it was well past midnight.
“It’s late. I should probably head back to my room.”
But the prospect of getting up and trudging fifteen feet down the hall felt daunting. Everett’s bed was much comfier than her own, she was sure of it. He took the laptop from her and gathered the papers on top of it, before depositing them all on top of the dresser. Returning to the bed, his gaze softened as he took her in – hair falling out of her messy updo and bell-bottom jeans already in a pile on the floor – before he climbed back in beside her.
“You can stay here.” He lifted his arm and she snuggled closer. Tucking her into his chest, he pressed a kiss to the crown of her head. She hummed with contentment and sighed.
“Okay, but just this once,” she said, her tone serious and stern. The whole charade was broken by the grin that threatened to appear. “And only because you put up such a compelling argument.”
“Of course. No other reason.”
“Nope.”
Though there were a few hiccups, the relaunch of Birdie’s was considered to be a success – by the show’s team, the owners, and the community.
Tens of people crowded into the small deli and spilled out into the parking lot. Inside, white subway tile walls complemented the checkerboard parquet flooring. New banquette seating ran along the front wall, the vinyl sparkling under the retrofitted pendant lights. The revamped menu held onto its roots, but made room for fresh takes on southern classics. The Tennessean and Music City Rag’s food critics agreed, if their five-star reviews in their articles were anything to go by.
Zara got her emotional moment when Vivian unveiled her surprise: the deli’s new sign, which was an exact replica of the old one, right down to the slanted, cursive lettering and the electric-blue neon. Delia held back her tears long enough to get a picture underneath it with her wife. After a rush order at the print shop down the block, Vivian and Jules presented them with the framed photo. With Collins’s help, Delia hung the frame in its rightful place on the back wall, beside her family’s photographs.
Go on to chapter three (link to be added)
#choices slow burn#everett flynt x mc#choices slow burn fic#Kaila writes things#f: mise en place#c: jules santos
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Mise en Place, Chapter 2
Pairing: Chef!Matt Murdock x F!Journalist!Reader
Rating: M
Story Summary: Follows the development of Chef!Matt & Reader's relationship after the events of Cooking Up Love.
Story Warnings/Tags: Hallmark levels of fluffy, cheesy goodness, no use of Y/N, Matt is not a vigilante, developing relationship, things gone get SPICY later 🔥 (aka smut in future chapters), more tags to come as the story progresses
Chapter Word Count: ~2500
A/N: Hope everyone enjoys Chef Matt & Reader's first official date! 🥰
Divider by @theradioactivespidergwen
Tag List: @danzer8705 @capylore @shouldbestudying41
Matt ran through his mental checklist as he waited for you to arrive. Okay, table is set, wine is open and breathing, salad dressing is made, garlic bread is warming in the oven, pasta is ready to boil, sauce is finished, chicken is ready… Should I have lit some candles?
He was contemplating changing his shirt when he heard a car slow down to a stop in front of his building. She's here.
He heard you thank your cab driver and shut the door, then take a deep breath before you walked inside Matt's apartment building.
Matt waited until you had made your way upstairs before heading to answer the door, resisting the urge to just throw it open before you had even reached his apartment.
He took a deep breath of his own as you knocked. Here we go.
He opened the door, the slight uptick in your heartbeat surprisingly calming his own nerves somewhat. “Hi.”
“Hi,” you replied.
Matt moved out of the doorway. “Come on in.”
He waited as you stepped inside then closed the door behind you.
You wrapped your arms around him in a hug. “How are you?”
Matt briefly tucked his face into your neck as he hugged you back. “I'm good,” he replied. “How was the rest of your day?”
You gave him a quick squeeze before stepping back. “It was good. I stayed busy, made some notes for my next assignment. How was yours?”
“Mine was good too. I went to the market then started prepping everything for dinner tonight.”
You hummed. “It smells amazing in here, by the way.”
Matt smiled. “Thanks. And actually, everything is ready if you're ready to eat.”
“Yeah, sure.”
“Great.” Matt held a hand out to you. “Then follow me.”
You took his hand and he led you up the stairs to the roof. “I figured since it was fairly warm tonight we could have dinner up here.”
You let out a light gasp as the two of you stepped out onto the roof. “Matt, this is beautiful.”
Matt grinned. Foggy had helped him set everything up -- they had put twinkle lights up around the perimeter of the rooftop and had spruced up the space with unused decorations from the restaurant in an effort to make the space look romantic and date-like. “I'm glad you like it.”
He led you to the table he had set for the two of you and pulled your chair out for you. “Here, have a seat.”
After you were seated, he poured you each a glass of wine and set the bottle back on the table. “Give me just a second to go get our salads.”
“Okay.”
Matt ran downstairs and put the pasta to boil, then plated your salads before bringing them back upstairs.
He set yours in front of you. “Okay, here you go.”
“Thank you.”
Matt sat across from you. “So, what's your next article about?”
“It's about the need for donations to Clinton Church’s food bank,” you replied.
A smile spread across Matt's face. “Really?”
“Mmhmm. I met with Father Lantom last Monday for an interview about the various programs the church offers and he mentioned that the food pantry had been running low, so I decided to focus my article on that -- although I am still mentioning the other programs, of course. After all, winter is right around the corner so there's going to be a greater need for coat donations really soon.”
Aha, Matt thought. So that was the errand that Father Lantom had been on when Matt had gone to get his culinary supplies from the church.
You took a sip of wine before continuing. “My coworkers and I are also setting up a donation drive at work. Along with my article next Monday we'll be publishing a list of items that are needed and placing donation boxes in the lobby of the Bulletin ’s office building, then the following Monday my boss and I are going to go deliver all of the donated goods to Clinton Church along with a monetary donation from the newspaper to help fill in whatever they're still short on.”
“That's a wonderful gesture.”
There was a slight rustle of fabric as you shrugged. “Getting to volunteer with you at the church’s soup kitchen made me want to raise more awareness for people in need, so why not use the platform I’ve been given access to in order to do so?”
Matt shook his head. He couldn't believe he had ever thought you were anything like how that Kelsie woman had depicted you. “You're amazing, you know that?”
“You're the amazing one. Getting to know you these past couple of weeks…” You paused. “You are genuinely one of the most interesting people I've ever interviewed and I'm really happy to have met you.”
Matt smiled. “I'm really happy to have met you too. And I'm sorry once again for everything.”
“No, it's okay. It was a misunderstanding, but at least we were able to resolve it, right?”
Matt nodded. “Thank you for forgiving me.”
“Of course.” You took a bite of your salad and made an appreciative sound. “Oh, wow. I'm assuming you made this dressing, right?”
Matt nodded. “Yeah.”
“I can tell. This is way better than the store-bought stuff.”
The two of you finished your salads, then Matt took your empty plates back down and placed them in his sink so he could finish plating the chicken parmesan.
He spooned a bit of marinara sauce on top of each chicken breast, then grated some fresh mozzarella cheese over them before sticking the pan back into the oven to broil for a minute and melt the cheese while he plated the now-cooked pasta and extra sauce.
He took the chicken out of the oven and plated each one, adding a sprinkle of fresh basil along with a piece of homemade garlic bread on the side. Perfect.
He carried the plates upstairs and set them onto the table. “Alright, dinner is served.”
He sat and waited as you took a bite.
“Oh my gosh, this is so good,” you said after you had chewed and swallowed.
Matt let out a relieved breath. “I'm glad you like it.”
“Mmm.” You took another bite. “Definitely.”
The two of you continued talking even after you had finished your dinner, the hours passing like minutes with the comfort the two of you felt with each other.
“I was thinking we'd have dessert downstairs if that's alright with you,” Matt eventually said as he stood and gathered your plates, utensils, and wine glasses. “I can't finish making it until it's ready to serve and rather than make you wait up here I figured we could just eat it down there.”
“Oh, yeah, of course,” you replied as you also stood. “Here, let me help you pick the rest of this stuff up.”
Matt shook his head. “No, that's okay, I'll take care of the table stuff later.”
You took the wine glasses from him. “At least let me get these for you.”
Matt opened his mouth to protest again but closed it when you adjusted the wine glasses to carry them in one hand and linked the fingers of your free hand in Matt's now-free one. “Okay,” he said instead.
The two of you walked back downstairs, Matt hoping that the rest of the evening turned out just as well as the beginning had.
To your slight disappointment, Matt let go of your hand once the two of you reached the bottom of the stairs back in his apartment.
He took the wine glasses back from you and nodded over towards the barstools by his kitchen island. “You can have a seat if you want.”
You sat and watched as he set the dirty dishes in his sink then went to his refrigerator, pulling out a metal bowl covered with cling wrap and a carton of heavy cream and setting them on the island in front of you. “Ooh, what's this?”
Matt took a measuring cup out of a drawer and measured out some cream before pouring it into the mixing bowl that was already set up on the island and turning his mixer on. “Chocolate mousse. I can't do the last few steps until I'm actually ready to serve it, so in hindsight I probably should've made something else for dessert so you wouldn't have to be sitting here waiting for me to finish making it.”
You shook your head. “No, it's totally okay. I like watching you cook, even if it just means watching you whip cream in a mixer.”
Matt tilted his head up towards you. “Yeah?”
You nodded. Matt 's ex must not've liked having to wait. “Yeah.”
A smile spread across Matt's face. “Well then you're in luck, because after I whip the cream you also get to watch me mix it into the chocolate.”
You let out a light laugh. “Ooh, exciting.”
Matt's smile morphed into a grin. “Very. Oh by the way, I wasn't sure what drink pairing you'd prefer with dessert so I got several different options, including chai and both regular and decaf coffee in case you didn't want more wine or any extra caffeine than what's already in the chocolate.”
Your heart warmed at Matt's thoughtfulness. “Whichever one you think goes best with it is fine with me.”
Matt nodded. “Chocovine it is then.”
He took two cordial glasses out of a cabinet and gave them a quick rinse, then took what looked like a wine bottle full of chocolate milk out of the wine fridge on his counter.
He poured a bit into each glass and handed one to you before turning the mixer off and testing the consistency of the whipped cream with a spatula.
You watched as Matt nodded in satisfaction then carefully folded all but a few scoops of whipped cream into the bowl of chocolate, your eyes firmly on his biceps as they flexed under his shirt with each rotation of the spatula.
Matt grabbed a couple of cocktail glasses and layered some chocolate mousse into them before topping each one with more whipped cream and fresh chocolate shavings.
He put a small tasting spoon into each one and slid yours over to you. “Dessert is served.”
“Thank you.” You took a bite and let out a pleased moan, the freshly whipped cream tempering the subtle bitterness of the dark chocolate Matt had used. “Ohmigod, Matt, this is heavenly. Totally worth waiting for.”
Matt took a bite of his own dessert. “I’m glad.”
He nodded over at your cordial glass. “Try it with the Chocovine.”
You picked up your glass and took a sip, your eyebrows raising in surprise at the bittersweetness. “What exactly is in this?”
Matt chuckled. “It's red wine that's been mixed with milk chocolate.”
“Ah, okay, it's good. I can definitely see why you'd pair it with chocolate mousse.” You took another bite of your dessert. “It gives it a bit of sweetness without being overpowering.”
Matt nodded. “Exactly. There's several different varieties, but the original goes best with this particular dessert.”
He gestured to his face. “Uh, you have a little…”
“Oh.” You wiped at your mouth. “Did I get it?”
Matt shook his head and walked around the island to you.
He gently cupped your chin in his hand and caressed the corner of your mouth with his thumb before leaning down and pressing his lips to yours.
You froze for half a second before relaxing into the kiss, the subtle taste of chocolate on Matt's lips making you smile against his mouth.
Matt caressed your cheek as the two of you parted. “I think we got it.”
You huffed out a light laugh. “You think so, huh?”
Your brow furrowed as a realization struck you. “Hey, wait, how'd you even know I had chocolate mousse on my face?”
Matt suddenly looked bashful. “Oh, uh, actually I didn't, I just wanted an excuse to kiss you.”
You smiled and shook your head. As suave and flirty as Matt was, sometimes he was just adorably cute. “You know, you don't need an excuse.”
Matt bit his lip. “I don't?”
You shook your head. “No.”
“Well in that case…” Matt cupped your face in his hands and pressed his lips to yours again.
You wrapped your arms around him, your head swimming pleasantly as he deepened the kiss.
You felt like you could spend forever kissing Matt but unfortunately air because a necessity, so eventually the two of you parted once again.
Matt leaned his forehead to yours as the two of you caught your breaths. “I thought about this,” he murmured. “Last Sunday, while you were here for dinner.”
You leaned back to look at him. “Really?”
“Mmhmm. I thought about telling you how I feel about you, holding you in my arms…” Matt reached up and gently ran his thumb across your kiss-swollen lips. “... getting to kiss you.”
You smiled. “Mmm. And did the real thing measure up to your expectations?”
Matt shook his head and gave you one more soft kiss. “It was even better.”
You sighed happily. “I'm glad.”
A small smirk appeared on Matt's face. “You know, that offer to work out a deal to be your private chef still stands.”
You huffed out a laugh. “In that case I might actually have to take you up on it.”
Matt shook his head, his expression becoming more serious. “Seriously though, I definitely want to keep seeing you, if that's okay.”
Your heart picked up slightly at Matt's confession. “Yeah, I'd really like that.”
You looked towards the window as the distant bells of Clinton Church chimed the hour, surprised to realize that it was already 11 PM. “It's getting late though. I should probably go.”
“Oh.” Matt looked disappointed. “Right, yeah, I'm sure you have an early morning at the paper.”
You hesitated briefly. “Would you, um, would you mind walking me home though? Like I said, it is getting late and cabs are pretty scarce at this time…”
Matt shook his head, a smile spreading across his face once again. “No, not at all. Give me just a second to make sure everything's off.”
You nodded. “Okay.”
You grabbed your purse and waited as Matt double-checked to make sure his stove and oven were off before gathering his keys and cane.
“Okay,” he said as he unfolded his cane. “All set.”
He locked his apartment door then took your hand in his as the two of you headed down the hall towards the elevator.
Too soon, the two of you were back at your apartment.
“Thank you for dinner, Matt,” you said as you stopped just outside your building. “I had a wonderful time tonight.”
Matt nodded. “I had a wonderful time too.”
You leaned up and gave Matt a soft kiss. “And thank you for walking me home.”
Matt smiled. “It was my pleasure. Can I call you tomorrow?”
You nodded. “Yeah, that would be nice.”
“Great. I'll talk to you then.”
“Okay. Good night.”
“Good night.”
You headed inside, smiling softly to yourself. You couldn't wait for your next date with Matt.
#lotmf writes#mise en place masterlist#matt murdock x fem!reader#matt murdock x you#matt murdock x reader#matt murdock x f!reader#Chef Matt Murdock x Reader
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CURRENT TOP GUN READS
ROOSTER
Where do you go?
NAVY READER
Callsign Cherry
are we still friends?
Oops
Pick Your Battles
BARTENDER READER
Steady
THE F&F UNIVERSE
You know I hate it when you cry
COLLEGE BRADLEY
The Trial Run
BOYFRIEND BRADLEY
Something ‘bout you
I ain't worried bout it
MC BRADLEY AU
But this is love I just can’t live without
BASEBALL BRADLEY AU
Take me out to the ballgame
ROOMMATE BRADLEY
And They Were Roommates
EX BRADLEY
old habits die hard
Always Been You
Mamma Mia
medicines
PRESIDENTIAL BRADLEY AU
Red, White, and Rooster
CHEF BRADLEY AU
mise en place
HANGMAN
SINGLE DAD JAKE
AMELIA
SINGLE MOM READER
The Good, The Bad, and The Working on It
Roses and Thorns
Better Man Universe
NAVY READER
Scared to love you
A Diamond in the Rough
Little Wonder
Puzzle Pieces
NEW GIRL JAKE AU
The Douche Bag Jar
EX JAKE
What To Expect
Home Is Where the Heart Is
DAD JAKE
let me go
Flyboy
Opposites Attract
Worlds Collide
the seresin family
Spitfire universe masterlist
Perfect Accidents
HUSBAND JAKE
Sweet Nothings
BEST FRIEND JAKE
Silver Springs
real friends
Sleepy baby
The Only Thing
BOYFRIEND JAKE
more hearts than mine
sunsets and fighter jets
The Invisible Woman
Maroon
Dream of Me
Church Encounters
Beyond the Hills
Out of Bounds
Mr Seresin and I
Met you at the sea
Contract Spouse
Bad Medicine
Bigger than the whole Sky
Learn to Fly
I will always be here for you
all you had to do was stay
The Comeback Kid
pulchritudinous
Diamonds, Candlelight, and a Question
One New Voicemail
BOB
The Killjoy
My Type
Team Prime
40s BOB AU
Letters to my love
ROYAL BOB AU
Royal Flush
MAVERICK
SINGLE DAD MAV
EMMA
CYCLONE
NAVY READER
When Duty Calls
Cyclone
COYOTE
NAVY READER
Your love is the love I need
If it’s worth your time
OLYMPIAN READER
Ridin’ the Waves
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Mise-En-Place
read it on AO3 at https://archiveofourown.org/works/49599751
by Little_Miss_Rainstorm
“It means ‘everything in its place’,” his father had told him, years ago. “The kitchen is chaos. It’s noise and heat and clamour. But organisation and control - that’s what makes it the most peaceful place on earth, too. Understand?”
———
Anthony is a chef trying to breathe life back into his family restaurant. Kate, his new (infuriating) second-in-command threatens the perfect order of his kitchen.
Words: 1941, Chapters: 2/?, Language: English
Fandoms: Bridgerton (TV), Bridgerton Series - Julia Quinn
Rating: Teen And Up Audiences
Warnings: Creator Chose Not To Use Archive Warnings
Categories: F/M, Multi
Characters: Kate Sheffield | Kate Sharma, Anthony Bridgerton, Edwina Sheffield | Edwina Sharma, Benedict Bridgerton, Colin Bridgerton, Daphne Bridgerton, Eloise Bridgerton, Francesca Bridgerton, Gregory Bridgerton, Hyacinth Bridgerton, Violet Bridgerton, Mary Sheffield | Mary Sharma
Relationships: Anthony Bridgerton/Kate Sheffield | Kate Sharma
Additional Tags: Hurt/Comfort, Chefs, Restaurants, Enemies to Lovers, Anthony Bridgerton Needs A Hug, Kate Sheffield | Kate Sharma Needs a Hug, guys will literally run their dead loved one’s restaurant instead of therapy, Parent Anthony Bridgerton, Parent Kate Sheffield | Kate Sharma, Sexual tension through knife skills
read it on AO3 at https://archiveofourown.org/works/49599751
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SÉANCE #06 — Choisir qui on est face aux pressions sociales.
« L’exposition de soi est le principal ressort des pratiques des réseaux sociaux en ligne » (Cardon, 2010).
Le numérique a permis la création d’un nouvel espace d’échange où une multitude de plateformes et de réseaux sociaux numériques ont vu le jour. En outre, avec la tendance à l’individualisation dans les sociétés occidentales, les individus sont de plus en plus amenés à affirmer leur singularité devant autrui, ce qui se passe notamment sur les réseaux sociaux numériques. Ainsi, afficher sa différence et son originalité permet d’être identifié par les autres.
Fanny Georges a étudié les représentations de soi et les identités numériques. Elle définit ces termes comme un « ensemble de transpositions graphiques, sonores et visuelles de représentations en pensée. Elles ont pour fonction technique l’identification et la mise en relation d’un individu avec la communauté » (Georges, 2009). Pour exister sur les plateformes numériques, il faut s’exposer afin d’être reconnu. Cependant, dans l’anonymat à l’inscription (si nous ne comptons pas les données personnelles récoltées par les plateformes) l’utilisateur a le choix de ce qu’il veut partager, montrer ou non. Il peut choisir de se représenter comme il le souhaite. Le numérique et Internet apportent une nouvelle façon de se présenter aux autres et de paraître.
Bien que les réseaux sociaux numériques semblent permettre la liberté de se présenter et se représenter comme on le souhaite, cela pousse souvent à ne montrer que les bonnes choses qui nous arrivent et les bons côtés de notre personne. En effet, le numérique n’enlève pas la pression sociale, ce qui pousse les utilisateurs des réseaux sociaux à construire des « identités narratives », qui sont la mise en récit d’une image valorisante de sa personne. (Granjon, 2012) Un système de surveillance des autres s’opère sur les réseaux sociaux (Bertrand, 2018) et, ainsi, des mal-être comme la dysmorphie ou des troubles psychologiques peuvent prendre place ou s’accentuer. Une étude réalisée par le CHU de Montréal a montré que les médias sociaux ont un impact sur notre estime de soi et intensifient les signes de dépression (article).
Finalement, l’identité numérique joue un rôle important aujourd’hui dans la mise en relation aux autres ainsi que dans l’identification de sa propre personne.
Bibliographie :
Article. (2022, mai 12). https://nouvelles.umontreal.ca/article/2019/07/15/medias-sociaux-et-television-lies-a-la-depression-chez-les-adolescents/
Bertrand, D. (2018). L��essor du féminisme en ligne: Symptôme de l’émergence d’une quatrième vague féministe ?. Réseaux, 208-209, 232-257. https://doi.org/10.3917/res.208.0229
Cardon, D. (2010). Les réseaux sociaux en ligne et l’espace public. L'Observatoire, 37, 74-78. https://doi.org/10.3917/lobs.037.0074
Georges, F. (2009). Représentation de soi et identité numérique : Une approche sémiotique et quantitative de l'emprise culturelle du web 2.0. Réseaux, 154, 165-193. https://doi-org.scd1.univ-fcomte.fr/10.3917/res.154.0165
Granjon, F. (2012), Reconnaissance et usages d’Internet : une sociologie critique des pratiques de l’informatique connectée, Paris, Presses des Mines.
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Form and Narrative
Definitions
Mise-en-scene: literally ‘putting into the scene’, a term originating in the theatre. Precise critical definitions differ, but it is most simply understood as everything which appears within the frame, including setting, props, costume and make-up, lighting, the behavior of performers, cinematography and special effects.
Editing: sometimes also referred to as ‘montage’ (from the French ‘monter’, meaning ‘to assemble’), this refers to the joining together of different pieces of film stock in post-production.
Classical Hollywood: refers both to a historical period within Hollywood cinema (which ended with the declined of the vertically integrated studio system in the 1950s), and to the narrative and formal conventions established and promoted during this time; the terms ‘classical narrative’ and ‘Hollywood narrative’ are frequently used interchangeably with the term ‘mainstream narrative’, since this constitutes cinema’s dominant mode of story-telling.
Avant-garde: literally meaning ‘advanced guard’ (those who march ahead of the troops in a military campaign). ‘Avant-garde’ has been taken up as an aesthetic term for art (and artists) seeking to challenge, subvert or reinvent artistic tenets and conventions.
Modernism: refers to a dramatically experimental trend within the arts (painting, sculpture, architecture, literature, music and film) which emerged at the start of the 20th century, encompassing a wide array of movements (Expressionism, Vorticism, Symbolism, Imagism, Surrealism) along with the innovations of individual artists not directly affiliated with a particular movement. Modernism involved a rejection of 19th century styles, traditions and ideas, and a self-conscious (or ‘self-reflexive’) approach to aesthetic forms, in which artistic expression was itself explored, questioned and reinvented.
Russian formalism: a literary theory which developed in Russia in the early 1920s, which sought to establish a scientific basis for the study of literature and literary effects.
Dissolve: an editing technique using superimposition, which produces a gradual transition between one image and the next, during which the two shots for a time occupy the frame simultaneously, appearing merged together.
Jump-cut: an elliptical cut, where the transition between one image and the next is disruptive because it is in some way spatially or temporally inconsistent, or because the two images involved are very similar.
Diegesis: the fictional world in which we presume the story takes place.
CGI: acronym for ‘computer-generated imagery’, meaning the use of digital software to create, change or enhance aspects of mise-en-scene.
High-key lighting: refers to a lighting design (normally using a three-point system) where there is little contrast between the light and shadowed areas of the frame.
Low-key lighting: refers to a lightning design where there is a stark contrast between the light and shadowed areas of the frame. Frequently it is produced using only one light source.
Femme fatale: a term which originated in critical discourses on film noir. Refers to dangerous, seductive female characters who are normally literally ‘fatal’, as in they cause the death of the hero.
Shot/take: one uninterrupted (uncut) image onscreen whether it is shot with a mobile or a stationary camera. During shooting, a ‘take’ refers to a single, uninterrupted recording of the camera before the director calls ‘cut’.
Framing: the choices made about what to include within the frame and what to exclude.
Depth cues: provided by the arrangement of setting, lighting and props within the frame, which determines the degree to which the space depicted in the cinematic image appears to recede backwards and to take on three-dimensionality. Converging lines, size diminution, and the suggestion of different ‘planes’ in the fore-, middle- and background of the shot all accentuate the sense that there is a lot of space between the camera and the farthest visible object in the frame.
Shot scale: refers to the range of shots which suggest the apparent distance of an object from the camera; conventionally defined according to the framing of the human form.
Close-up: framing in which the object shown takes up most of the screen.
Extreme close-up: framing in which the object shown takes up virtually the whole screen.
Long shot: framing in which the object shown fills around three-quarters of the height of the screen.
Extreme long shot: framing in which the object shown fills a small fraction of the screen.
Medium long shot: also known as the ‘plan American’ because of its frequency in classical Hollywood. In this framing, the human body is shown from mid-calf or knees upwards.
Medium shot: framing in which the human body is shown from the waist upwards.
Two-shot/three-shot: frame containing two or three people.
High-angle shot: framing where the camera looks down from above onto the objects or scene filmed.
Low-angle shot: framing where the camera looks up from below at the objects or scene filmed.
Straight-on shot: framing where the camera is at the same level as the objects or scene filmed.
Canted framing: where the camera is not level, causing the mise-en-scene to appear slanted within the frame.
Pan/whip-pan: a camera movement in which the camera itself remains in the same place but swivels round horizontally; a ‘whip-pan’ is a very fast pan.
Track/tracking shot/dolly shot: a camera movement in which the camera moves horizontally by traveling along the ground (originally on ‘tracks’ on which a wheeled support – ‘dolly’ – for the camera could be mounted).
Tilt: a camera movement in which the camera remains in one place but swivels up or down.
Crane shot: a camera movement in which the camera moves above the ground in any direction (for which it is mounted on the arm of a special ‘camera crane’).
Establishing shot: a shot at the start of a film or scene which establishes spatial relationships within the mise-en-scene and locates the story within the diegesis.
Aperture: the opening within a lens controlling the amount of light that passes through the lens to the film; the smaller the aperture, the less light will hit the film.
Focal length: refers to the ability of a lens to bend the incoming light on to the film plane; a shorter focal length will provide a wider angle of view (which dictates what appears within the frame); a longer focal length will provide a narrower field of view but greater magnification of what is shown; for any given set of conditions, a shorter focal length will provide a larger depth of field.
Faster speed/speed of film stock: sensitivity of the photographic emulsion of the film to light, a higher speed of film will require less light (i.e. a smaller aperture may be used) in order to produce a properly exposed image, faster speed film stock tends to provide greater contrast in tone than a slower film stock.
Zoom: a shot in which the lens alters the angel of view (either from narrow to wide or wide to narrow); the effect is a sudden change in shot scale within one take.
Superimposition: the process by which more than one image is exposed on the same frames of the film stock.
Matte shot: a type of shot in which aspects of mise-en-scene are photographed separately and then combined into one image in post-production. Opaque images mask out certain areas of the film negative, and subsequent passes through the camera allow the initially matted-out space to be exposed with another image. Nowadays, matting is often achieved using ‘blue screen’, a process where action is filmed in front of a blue screen; this footage is then used to create an image of the performers in front of a dark background, and a silhouette of the performer against a clear background, which is used to ‘cut out’ space for the performer in the scene on to which the action is to be matted.
Cut: the joining of two strips of film in the editing room, and the resulting immediate change from one image to another onscreen.
Fade: an editing technique in which one of the juxtaposed images is a black screen. With a ‘fade-out’ the image slowly darkens; with a ‘fade-in’ the image slowly emerges out of darkness.
Iris-in/iris-out: editing techniques in which the transition from one image to another is marked by the closing and reopening of an ‘iris’ or circular hole in the center of the frame.
Impact editing: editing that produces violent contrast between images, most often by switching between close and long shot scales.
Overlapping editing: editing where shots repeat part or all of the action shown in the previous shot.
180 degree rule: an editing technique which dictates that the camera should remain on one side of an imaginary line drawn through a scene.
30 degree rule: an editing technique which dictates that the camera should be stationed at an angle of at least 30 degrees from its location in the previous shot.
Eyeline match: a cut in which one shot shows a person looking at something off-screen, and the other shot is thereby posited as the object of that person’s gaze. More usually the shot showing the gazing person comes first, although cuts which show the gazer second are by no means uncommon.
Match on action: a cut which joins two spaces together by virtue of the fact that an action shown in the first shot is then completed in the second.
Shot-reverse shot: a cut which switches between complementary spaces, sometimes with the camera stationed in almost opposing facing positions within the confines of the 180 degree rule.
Sound-bridge: an audio connection between scenes, where sound from one scene continues into the beginning of the scene which follows, or where sound belonging to the opening of a scene begins during the close of the scene which precedes it.
Pitch: the height or depth of a musical sound as it is determined by its frequency relative to other notes.
Timbre: the tonal quality of a musical sound; timbre is what makes a saxophone sound different from a clarinet, for example.
Chapter 4 Topics
For a film to be a narrative, it must present us with a series of events in ways that imply connections between one event and the next. Most commonly we expect a ‘cause-and-effect’ relationship; one event has the effect of causing another, which causes another, and so on.
When studying form and narrative, it is useful to make the distinction between the ‘codes’ which shape the production of images and sounds, the ‘conventions’ which shape the depiction of the scenes, events, and characters of the story.
Story (‘fabula’) refers to the events of a narrative, whilst plot (‘syuzhet’) refers to the ways in which the story is presented in terms of its order, emphasis and logic.
Hollywood narratives and codes are dictated by a desire to make the story readily comprehensible to the audience. They are often termed ‘benevolent’ and ‘transparent’, because they seek to keep the viewer absorbed in the story – on what is happening, rather than on how this is presented to us.
Art films are not as governed by cause and effect as mainstream narratives: coincidence, chance and random events are common in art cinema narratives. Art films often feature fragmented narrative structures, open endings, as well as characters who are inactive, contradictory, and possibly not even likeable or unbalanced.
In its broadest sense, mise-en-scene refers to everything that appears in the frame of the finished film. It includes everything that takes place in front of the camera at the time of shooting, as well as what the camera does (cinematography) and all that is added to the image afterwards (special effects).
Cinematography refers to all aspects of cinematic expression that are controlled by operating the camera, including framing, shot scale, camera angle and movement, and depth of field and focus.
Editing, or montage, involves the joining together of separate pieces of film stock to create expressive juxtapositions on screen. Unlike mise-en-scene, which inherited and developed practices from other art forms, the practices of film editing were developed specifically within the cinema, and they are crucial to film’s capacity for rich, narrative expression.
The purpose of continuity editing is to maintain the viewer’s understanding of, and engagement with, the story. Its guiding principle is transparency, so that its practices seek to minimize the disruption inherent in editing.
Film sound may be broken down into its constituent elements of speech, music and noise. It is either diegetic (that is, it belongs within the story ‘universe’) or non-diegetic (that is, we understand it as originating from outside the fictional world inhabited by the characters).
The selection, generation, recording, distortion, amplification and mixing of film sounds create an array of possibilities for film audio tracks, which means that we may consider them as ‘soundscapes’, as a sophisticated orchestration of multi-faceted techniques comparable to the production of the film’s visual elements.
The analysis of form and narrative involves not a retelling of the story, but a demonstration of the structures through which a story is told. It is important in film analysis to identify accurately and in detail the cinematic codes and conventions. It is equally important to explain their significance in terms of how codes and conventions shape our viewing experience and also our interpretations of story, characters, meanings and themes.
Film Recommendations
Settings, Props, Costume & Make-up
Black Narcissus (Michael Powell & Emeric Pressburger, 1947)
The Fifth Element (Luc Besson, 1997)
Orlando (Sally Potter, 1992)
Ying xiong/Hero (Yimou Zhang, 2002)
Performance
All About Eve (Joseph L. Mankiewicz, 1950)
Rebel Without a Cause (Nicholas Ray, 1955)
Lighting
Double Indemnity (Billy Wilder, 1944)
The Man Who Wasn’t There (Joel Coen, 2001)
Nosferatu (F.W. Murnau, 1922)
Cinematography & Special Effects
Citizen Kane (Orson Welles, 1941)
Heavenly Creatures (Peter Jackson, 1994)
The Matrix trilogy (Lana & Lily Wachowski, 1999, 2003, 2003)
Vertigo (Alfred Hitchcock, 1958)
Editing
JFK (Oliver Stone, 1991)
The Man with Movie Camera (Dziga Vertov, 1929)
Sound
Blackmail (Alfred Hitchcock, 1928)
The Conversation (Francis Ford Coppola, 1974)
Singin’ in the Rain (Stanley Donen & Gene Kelly, 1952)
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Séance 07 - Crochet bleu: synonyme d'expert?
L’avènement des réseaux sociaux et sa montée en popularité ont donné naissance à la culture participative en ligne. Twitter est un lieu de partage d’opinion, mais peut être également un point de ressource en matière de conseil sur certains sujets. Facebook a comme principale mission de vous garder informer sur le quotidien de vos proches, mais peut être également une plateforme ressource pour se garder au courant de l’actualité. Parmi les multiples millions d’utilisateurs sur ces plateformes, un d’entre eux a définitivement la solution à votre problème, ou encore, la réponse à votre question. La participation active en soi peut signifier un bénéfice dans plusieurs cas; le partage d’information aide à faire avancer les choses. Seul on va plus vite, mais ensemble on va plus loin.
Cependant, certaines personnalités du web ont, au fil des années, bâti leur following grâce aux conseils qu’ils offraient sur leur plateforme. Au cours de la pandémie, nous avons pu observer un accroissement dans la participation active en ligne au sujet de la santé. Certains de ses utilisateurs, notamment sur les plateformes mentionnées plus haut, se sont approprié le titre d’expert en COVID. Rapidement des groupes Facebook se sont formé : on y partageait de l’information, la plupart du temps non fondé, sur la COVID-19, la vaccination, les mesures d’urgence sanitaires mises en place par les gouvernements de l’époque et plus encore. Rapidement, ces « experts » ont gagné une notoriété fulgurante et ont pu partager leur opinion à leurs abonnés. Malheureusement, le partage de fausses informations peut être un grand danger. La pandémie n’y a pas échappé. Les mouvements anti-vaccination ont pris une importance sur nos fils d’actualité, qu’on supporte le mouvement ou non. Les experts-amateurs derrière ce mouvement comme Robert F. Kennedy Jr, homme politique américain, ont joué un rôle actif sur les médias sociaux en nourrissant le mouvement contre la vaccination.
Ceci est un exemple de comment la participation active de personnalités web et l’autoproclamation d’expert en raison d’une notoriété peut être nuisible à la société. L’engouement anti-vaccination a créé de nombreux clashs chez certains gouvernements, la propagation de fausses informations vis-à-vis de la vaccination et, de ce fait, teinté négativement l’opinion de certains sur la campagne de vaccination du coronavirus. Bref, la participation active que permettent les réseaux sociaux, c’est un couteau à double tranchant étant donné qu’il est ouvert à tous, même les plus stupides.
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