#it's all the more striking that they have both sam and lou in this one | Explore Tumblr Posts and Blogs

motownfiction · 2 years

Note

Doyles, 1-5

going to assume this means the doyle siblings only, though i know i could do it for maggie & mike if i wanted to 😭

for ✨sadie✨ (technically the oldest doyle sibling, by five minutes)

how does your OC feel about their full name?

sadie lou doyle loves being called sadie lou, thank you very much! it's the most southern name in the world, which is hilarious, given she's an irish kid from one of the most northern places in the continental u.s. but it's her name, and she thinks it's pretty. her dad gave it to her, and she's so much like her dad 🥺

2. what do strangers notice about them first?

definitely how tall she is! sadie is supposed to be 5'10," which is striking compared to the 5'3" girl she's always hanging around with. they also make judgments about her height when she stands next to daniel, who is supposed to be 5'6". we hate people who make judgments about tall wives and short husbands.

3. how does their social personality differ from how they act when they’re alone?

when she's alone, sadie is more likely to put her discomfort into words. she's not sharing them or anything, but she knows how to voice them. with other people, she doesn't think it's right for her to express her grief because she's always more worried about them than she is about herself. but when there's no one around, she can be completely honest. and it sucks -- because she'd love to be able to share it. she just doesn't think she can. she's wrong, though. she could share her problems with anyone who loves her.

4. how do they act around a crush?

sadie is the kind to get embarrassed around a crush. it's especially funny because her only real crush was daniel, and they've been friends since they were born. but once she figured out she liked him, it was like everything she did was humiliating. she'd just stand there and blush and wait for sweet death. poor sadie.

5. do they have a “tell” for when they’re lying?

she gets a little indignant. sadie's pretty good at keeping an even temper, but if she's mad about something, she definitely has guilt about something ... or there's something she's holding in. sadie is someone who lies by omission, primarily, so she boils until she bubbles over.

for ✨sam✨ (technically the middle doyle sibling, by five minutes)

how does your OC feel about their full name?

sam spade doyle thinks his name is really funny, honestly. he's absolutely nothing like the hardboiled detective he's named after. he wonders if his mom wanted him to be like that, but he's glad he's pretty much the opposite. he also likes that his full first name is just sam. the name samuel freaks him out. he can't explain why. he also doesn't like the word saturated or the non-taste of mayonnaise. maybe they're connected (i can't help but write sam's thought process ... he really is the lorelai gilmore of this verse.).

2. what do strangers notice about them first?

for many people, sam is the most handsome man they've seen in real life. i'm not giving that up. that's still true.

3. how does their social personality differ from how they act when they’re alone?

somewhat similar to his twin sister, sam allows himself to be honest about his fears when he's alone. he wants to be perceived as fun and adventurous when he's with his friends, but when it all comes together, he's just scared. he doesn't know what he's doing. his dreams are bigger than his resources. they're bigger than his wallet and his work ethic. he's smart with no particular place to go, and he's terrified. it's why he thinks he'll probably die before he's forty.

4. how do they act around a crush?

sam is a showboat. he just wants to entertain you. he always sang and danced in front of steph, both because he knew it would make her laugh and because he knew he was a good dancer. stealing the millennium falcon from kmart was his idea, actually, and he came up with it to impress will (which is so funny, because will is already impressed with sam's ... everything). he also came up with his song and dance distraction to impress will, which is also funny, because will was in charge of snatching the toy box. he never saw the dance.

5. do they have a “tell” for when they’re lying?

again like his twin sister, sam gets sullen when he's lying. like sadie, sam is typically lying by omission or lying to himself. he can't ever make himself believe it, though. sometimes, a line from an old book gets stuck in your head and clouds your characterizations for years to come.

for 😔charlie😔 (the youngest doyle by all measures)

how does your OC feel about their full name?

charles foster doyle loves his full name. it's really annoying and problematic. people tell him he should probably feel cursed, but he just doesn't. he wants to be as powerful as charles foster kane. he also doesn't want to put any of the work in.

2. what do strangers notice about them first?

how quiet he is compared to the people he's typically hanging around. charlie is an introvert surrounded by sadie (little miss "how can i help you?") and sam (the music man). he stands out even when he's trying to blend in with his surroundings. this, of course, goes to his head ... and he isn't even cognizant of it.

3. how does their social personality differ from how they act when they’re alone?

charlie is a lot cockier in his head than outside of it. he plays sheepish very well, but when he's alone, he genuinely thinks he is the greatest man who has ever existed. it serves his mother right for naming her son charles foster doyle. (i know it seems like i'm always slamming maggie, but she's not altogether a bad person or a bad mother ... she just has a hangup about one of her sons, which is really more a hangup about herself and how scared she was when she was giving birth to him -- charlie wasn't supposed to live, but he did).

4. how do they act around a crush?

he pretends like the crush doesn't exist, mostly because he, himself, remains oblivious to his feelings. but once he figures it out, he hangs back (even more than usual) and waits to see what will happen. he's lucky carrie makes the first move. no, this does not count elenore, on whom he makes the first move, because that is not a crush. that's something he did for attention when he felt like he wasn't getting enough of it from the other people in his life.

5. do they have a “tell” for when they’re lying?

if charlie seems outwardly confident, it means he's covering up something that anyone else would be ashamed of. he gets cocky when he's under pressure. hate him!

#asks #ch: sadie doyle #ch: sam doyle #ch: charlie doyle #ponyboyatreides #thank you

2 notes · View notes

gffa · 4 years

Photo

Star Wars: The Clone Wars – Stories of Light and Dark, coming August 25, promises to be a beautiful tribute to the just-completed animated series. The anthology will collect 11 stories by 11 authors — Lou Anders, Preeti Chhibber, Zoraida Córdova, Jason Fry, Rebecca Roanhorse, Greg Van Eekhout, Tom Angleberger, E. Anne Convery, Sarah Beth Durst, Yoon Ha Lee, and Anne Ursu — including 10 retellings of memorable episodes and arcs and one original Nightsisters-based story. So if you loved the tales of Ahsoka, Maul, and clanker-busting clones, Star Wars: The Clone Wars – Stories of Light and Dark will give you the chance to experience them again in a whole new way. Like Captain Rex on a recon mission, StarWars.com reached out to each author to learn why they love The Clone Wars, and which stories they’re telling. Lou Anders (“Dooku Captured” and “The Gungan General,” based on the episodes of the same name): I love The Clone Wars for expanding the story of Anakin’s fall from grace. Skywalker really shines in the series, and we see what he truly was, and what he could have been, and by giving him so many opportunities to excel in the early season, his ultimate fate is that much more tragic. I also love the series for gifting us my all-time favorite Star Wars character, and one of my favorite characters from any universe — Hondo Ohnaka! My chapter is a retelling of the first season story arc that plays out across the episodes “Dooku Captured” and “The Gungan General.” I wanted to explore this storyline because I find Count Dooku a fascinating character. Sometimes pure, mustache-twirling, mwa-ha-ha evil can actually be boring to write, but a villain who feels they are justified, either because of perceived slights or intellectual superiority or the failure of their rivals or birthright are much more interesting, and Dooku is a bit of all of this. For research, I obviously watched tons of Clone Wars. But I also read up on everything about Dooku I could find, and I listened to Christopher Lee and Corey Burton’s interpretation of the character over and over, trying to internalize their speech patterns. Dooku is so gorgeously supercilious. It was just a blast to get in his head and see the world from his perspective. (And the fact that the storyline gave me another chance to write for my beloved Hondo Ohnaka was an added bonus!) Tom Angleberger (“Bane’s Story,” based on the episodes “Deception,” “Friends and Enemies,” “The Box,” and “Crisis on Naboo”): There’s a lot to love in The Clone Wars, but I think it’s Ahsoka’s arc that really stands out the most. Ventress’s arc does, too, and the way that these arcs cross at the just the right moment is really great Star Wars! My chapter is based on the “Crisis on Naboo” story arc. It’s basically a Space Western. The baddest bounty hunter of them all, Cad Bane, is hired to kidnap the Chancellor. What he doesn’t know is that almost everyone is lying to him, especially a fellow bounty hunter who is really Obi-Wan in disguise. In the TV version, we see it all from Obi-Wan’s point of view, so we know that Bane is getting played. In this retelling, we see it all from Bane’s point of view and, boy, is he going to be mad! To prepare I watched both The Clone Wars AND old spaghetti Westerns starring Bane’s inspiration: Lee Van Cleef. Preeti Chhibber (“Hostage Crisis,” based on the episode of the same name): I love the story that the prequels tell, but because of the nature of what they were trying to do — tell a decade and a half worth of story in three films — we’re missing major moments in what the war really means to the galaxy at large, and in the Skywalker saga itself. The Clone Wars tells us that part of the narrative, it gives us the shape of what entire populations of people had to go through because of this war manufactured by the ultimate evil. And within that scope gives us the hope and love and beautiful tragedy we associate with Star Wars on a larger scale. (Also, Ahsoka Tano — The Clone Wars gave us Ahsoka Tano and for that I will be ever grateful.) I’m writing Anakin’s story during “Hostage Crisis” — an episode in the first season of The Clone Wars. I decided to write the story entirely from Anakin’s perspective, which meant being inside his head before the fall, but where we are starting to see more of the warning signs. And then there’s also the romance of this episode! Anakin’s love for Padmé is real and all-consuming and, as we eventually find out, unhealthy. So, this is a romantic episode, but one that shows us Anakin is ruled by his heart. And that that’s a dangerous thing for a Jedi. In order to best wrap my own head around what was going on, I watched the episode itself several times, and read the script, and then I watched the chronological episodes of Anakin’s run-ins with Cad Bane, so I could get a real feel for where he was with his understanding of Bane’s character. E. Anne Convery (“Bug,” based on the episode “Massacre”): I love it because I think it’s a story that manages, while still being a satisfying adventure, to not glorify war. It does this mainly by following through on the arcs of wonderful, terrifying, funny, fallible, and diverse characters. From the personal to the political, The Clone Warsredefines the ways, big and small, that we can be heroes. My chapter is the “original” tale, though it still touches on The Clone Wars Season Four episode “Massacre,” with brief appearances by Mother Talzin and Old Daka. If I had to boil it down, I’d say that it’s a story about mothers and daughters. Honestly, it felt a little like cheating, because writing new characters meant I got to be creative in the Star Wars universe somewhat unencumbered by what’s come before. I did, however, have several long text chats with Sam Witwer because I was interested in Talzin’s motivations. We talked about stuff like her capacity (or lack thereof) for love. I think I came away thinking she was more a creature driven by issues of power, control, and the desire for revenge, whereas Sam was a little kinder to her. I mean, he is her “son,” so you can’t really blame him for wanting to think better of her! I always love a story within a story, and I was interested in the space where the high mythology of Star Wars and the home-spun mythology of fairy tales could intersect. I drew on my own background in mythology, psychology, and the language of fairy tales, plus I did my Star Wars research. Re-watching the Nightsisters episodes was just plain fun. Zoraida Córdova (“The Lost Nightsister,” based on the episode “Bounty”): The Clone Wars deepens the characters we already love. It gives us the opportunity to explore the galaxy over a longer period of time and see the fight between the light and the dark side. Star Wars is about family, love, and hope. It’s also incredibly funny and that’s something that The Clone Wars does spectacularly. We also get to spend more time with characters we only see for a little bit in the movies like Boba Fett, Bossk, Darth Maul! My chapter follows Ventress after she’s experienced a brutal defeat. Spoiler alert: she’s witnessed the death of her sisters. Now she’s on Tatooine and in a rut. She gets mixed up with a bounty hunter crew led by Boba Fett. Ventress’s story is about how she goes from being lost to remembering how badass she is. I watched several episodes with her in it, but I watched “Bounty” about 50 times. Sarah Beth Durst (“Almost a Jedi,” based on the episode “A Necessary Bond”): I spent a large chunk of my childhood pretending I was training to become a Jedi Knight, even though I’d never seen a girl with a lightsaber before. And then The Clone Wars came along and gave me Ahsoka with not one but TWO lightsabers, as well as a role in the story that broadened and deepened the tale of Anakin’s fall and the fall of the Jedi. So I jumped at the chance to write about her for this anthology. In my story, I wrote about Ahsoka Tano from the point of view of Katooni, one of the Jedi younglings who Ahsoka escorts on a quest to assemble their first lightsabers, and it was one of the most fun writing experiences I’ve ever had! I watched the episode, “A Necessary Bond,” over and over, frame by frame, studying the characters and trying to imagine the world, the events, and Ahsoka herself through Katooni’s eyes. The episode shows you the story; I wanted to show you what it feels like to be inside the story. Greg van Eekhout (“Kenobi’s Shadow,” based on the episode “The Lawless”): What I most love about Clone Wars is how we really get to know the characters deeply and see them grow and change. I enjoyed writing a couple of short scenes between Obi-Wan and Anakin that weren’t in the episode. I wanted to highlight their closeness as friends and show that Anakin’s not the only Jedi who struggles with the dark side. There’s a crucial moment in my story when Obi-Wan is close to giving into his anger and has to make a choice: Strike out in violence or rise above it. It’s always fun to push characters to extremes and see how they react. Jason Fry (“Sharing the Same Face,” based on the episode “Ambush”): I love The Clone Wars because it made already beloved characters even richer and deepened the fascinating lore around the Jedi and the Force. I chose Yoda and the clones because the moment where Yoda rejects the idea that they’re all identical was one of the first moments in the show where I sat upright and said to myself, “Something amazing is happening here.” You get the entire tragedy of the Clone Wars right in that one quick exchange — the unwise bargain the Jedi have struck, Yoda’s compassion for the soldiers and insistence that they have worth, the clones’ gratitude for that, and how that gratitude is undercut by their powerlessness to avoid the fate that’s been literally hard-wired into them. Plus, though I’ve written a lot of Star Wars tales, I’d never had the chance to get inside Yoda’s head. That had been on my bucket list! Yoon Ha Lee (“The Shadow of Umbara,” based on the episodes “Darkness on Umbara,” “The General,” “Plan of Dissent,” and “Carnage of Krell”): I remember the first time I watched the “Umbara arc” — I was shocked that a war story this emotionally devastating was aired on a kids’ show. But then, kids deserve heartfelt, emotionally devastating stories, too. It was a pleasure to revisit the episodes and figure out how to retell them from Rex’s viewpoint in a compact way. I have so much respect for the original episodes’ writer, Matt Michnovetz — I felt like a butcher myself taking apart the work like this! Rebecca Roanhorse (“Dark Vengeance,” based on the episode “Brothers”): I always love a backstory and Clone Wars was the backstory that then became a rich and exciting story all its own. The writing and character development is outstanding and really sucks you into the world. I chose to write the two chapters that reintroduce Darth Maul to the world. We find him broken and mentally unstable, not knowing his own name but obsessed with revenge against Obi-Wan and we get to see him rebuild himself into a cruel, calculating, and brilliant villain. It was so much fun to write and I hope readers enjoy it. Anne Ursu (“Pursuit of Peace,” based on the episode “Heroes on Both Sides”): The Clone Wars creates a space for terrific character development. The attention paid to the relationships between Anakin and Obi-Wan, and Anakin and Ahsoka make for really wonderful and resonant stories, and give so much depth to the whole universe. I was at first a little scared to write Padmé, as her character felt pretty two dimensional to me. But the more I watched her episodes in Clone Wars, the more dimension she took on. She’s such an interesting character — she’s both idealistic and realistic, so when corruption runs rampant in the Senate she doesn’t get disillusioned, she just fights harder. She has an ability to deal with nuance in a way that is rare in the Republic — and it means she’s not afraid to bend a few laws to make things right. In this chapter, the Senate is about to deregulate the banks in order to fund more troops, and Padmé decides to take matters into her own hand and sneak into Separatist territory in order to start peace negotiations. Of course, neither Dooku nor the corrupt clans of the Republic are going to allow for this to happen, so the threats to the peace process, the Republic, and Padmé’s life only grow. This arc is the perfect distillation of Padmé’s character, and it made getting into her head for it fairly simple. But I did watch all the Padmé Clone Wars episodes and read E.K. Johnston’s book about her, as well as Thrawn: Alliances, in which she has a major storyline. I really loved writing her. Star Wars: The Clone Wars – Stories of Light and Dark arrives August 25 and is available for pre-order now.

#obi wan kenobi #anakin skywalker #padme amidala #asajj ventress #ahsoka tano #katooni #yoda #captain rex #darth maul #novels #news #long post

351 notes · View notes

dangerously-human · 3 years

Note

Two of the writing asks that no one else asked

Thank you, Lou! <3

16. Tried anything new with your writing lately? (style, POV, genre, fandom?)

I've been trying to avoid feeling pressured to write grand, sweeping stories every time when I often really just have one or two key scenes I'm interested in. So I've tried my hand a couple times at the "bang it out in one sitting" kind of writing, which I think works especially well for those fill-in-the-gaps in canon oneshots like Breaking Silence. I also went back to my fic writer roots recently and wrote some straight-up crack (The Scarf), which was a real delight. Also, I haven't written first-person POV in a long time, but it fit well for (If You Make It Out Alive) Hold That Bloody Head Up High, given that that's how the series is told, and it gave me room to really explore Alina's conflicted feelings about the Darkling, her complicity in her own trauma, and the siren song of power.

18. Do any of your stories have alternative versions? (plotlines that you abandoned, AUs of your own work, different characterisations?) Tell us about them.

There is so much stuff behind the scenes of Those Binary Stars that I doubt I'll ever get to write! For instance

There's this whole conflict I had envisioned for Thursday and Sam's wife, Anke. Anke is German, and we know from canon that Thursday still harbors some prejudice after his time in the war, so I have bits of this scene where Thursday harrumphs about Sam's engagement to "some Eva Braun type," and gets a well-deserved snapback from Win and Joan. I think it would take much more characterization for the wider Thursday family than I really have the desire to get into for this fic, though, and it's not like I want to throw in random conflict that doesn't have enough opportunity to be resolved and lead to growth. (If memory serves, we also know that Thursday speaks some German, so it would be sweet to see it go from that tension to Thursday bonding with Anke over beautiful landscapes they've both seen and using some German vocab with baby Albert.)

Similarly, there was some behind-the-scenes drama with Gwen and the wedding that I just didn't want to get into writing all the way, but there are snippets I have saved somewhere, I'm sure. There's a half-written conversation between Joan and Joyce that would have taken place shortly thereafter, too. I've also got some stuff I'd love to write one day about Tony and Strange meeting at the wedding (and quite a few Tony side adventures I may reference later), if the mood strikes.

There was also some stuff I had planned about Morse being supportive while Joan finished her night classes, that would have happened pretty early on in the series.

I have this one scene I am DETERMINED to squeeze in somehow, about Morse having some kind of age crisis on Joan's birthday and she jokes about having a thing for older men. My notes for said scene include this glorious bit, clearly superbly phrased and so in character (Joan first, then Morse's reply): "Isn't it supposed to be me having the crisis?" "I've always been the dramatic ho in this relationship and you know it"

#personal #writer probs: fanfic edition

6 notes · View notes

palukoo · 2 years

Note

1, 2, and 4 for the meta asks!

thank you!!

1.Tell us about your current project(s) – what’s it about, how’s progress, what do you love most about it?

i mean, if you’ve read any of my ask answers or tags you know this, but my current big project is The Amy Gardner Fic, aka hard to be soft/tough to be tender, which was supposed to be just about Amy’s childhood, and then was supposed to be character study + slow burn amy/donna, and then was supposed to follow canon with a brief post canon part, and now is a mostly established relationship almost 200k fic with over half of that being post canon and with way more politics than i bargained for.

progress rn is. slow. i am stuck in a plot point and a little (creatively) drained rn after over a year of working on this and a kind of intense year for me in general? i need to take some time to sit with it and work on it and i know once i get back in the swing of it, it’ll be nice, i just... need to get there!

what i love about it i guess is... it’s not just an amy/donna fic? i mean, it very much is an amy/donna fic, but it’s above all else an amy fic, but it’s also about so many other things, and so many other relationships (esp amy & josh and amy & cj, but also like. amy & sam and amy & abbey and amy & liz and amy & lou) and i hope that it captures like. the found family and... self acceptance, maybe? i don’t know, growth? that i want it to? it’s way more about concepts of family than i expected it to be at points i think, but also that’s just. very on brand for me. oh! also i like writing about a lot of tensions that tww itself sets up with like power and compromise bc they are fun to think about in an abstract way instead of. how they really play out in real politics which is painful and stressful and awful.

2. Tell us about what you’re most looking forward to writing – in your current project, or a future project

oh! the plot after the one i’m stuck on is something i’ve been looking forward to since i figured out how this fic would end, but. i like to keep some secrets!

so, i’m really looking forward to writing the cj/andy spin off! if i can make myself actually do it lol... i have technically started it, but it’s been too long since i’ve committed to a coparenting fic, and i really like writing with a focus on cj even if/maybe partially bc? i find it a little hard to strike the right balance with her (honestly, with amy, too, but i generally know that my issue with amy is that i need to write to being more emotionally closed off lmao. with cj it’s harder to explain i think since she is kind of closed off but also really empathetic). and i love love love andy, and i love the banter and weird complexes i’ll get to write with them. and coparenting!!! god i love coparenting.

4. Share a sentence or paragraph from your writing that you’re really proud of (explain why, if you like)

oh okay. here’s honestly one of my favorite parts from the amy fic bc i cannot explain how much i love writing amy & josh.

She says, “You know, for the most insecure guy I’ve ever met, you’re pretty sure of yourself,” and she’s not teasing him when she says it, she’s not smiling, because she’s not making fun of him. She’s just stating a fact and hoping it’ll get through his thick skull that what she’s saying is that that’s why she’s here. She’s not running into his arms romantically, she just wants someone who understands her. Who gets that precarious balance of insane confidence and massive fear of failure and inferiority.

Amy and Josh both know they’re smart, know they can do great things, and they’re both afraid they haven’t, aren’t going to. Or that they will, and it still won’t be enough.

i just think i like this because like. that’s it! that’s them! i don’t know, i just kind of am proud of putting words to that? if it’s projecting no it isn’t

#asks #answered #quolant #amy fic tag #(i need to remember that i have that)#amy gardner #josh lyman #the like hidden theme of the fic is like. accepting who you are not just to yourself but to other people and that its okay to be wrong #about what you are to a person and what you want to be to a person! anyways this is. one of the really compelling things to me about josh #and amy beyond the whole self recognition through the other (derogatory) and the thing where they are sort of political foils #also emotional repression is obvi a theme! when i write amys therapy session (which is. the part i cannot write currently!!) its all over #for you. realistically it needs to be more than one session also bc you think she opens up at first?? girl. no. oh god do i have to write a #therapy chapter? probably!!

5 notes · View notes

mabokheula2231 · 3 years

Text

Veteran Stage and Screen Actor Lisa Banes Dies at 65 After Hit-and-Run

Veteran Stage and Screen Actor Lisa Banes Dies at 65 After Hit-and-Run A mainstay of the New York stage, she also acted in films, including “Gone Girl.” She died 10 days after she was struck by a scooter as she was crossing a street in Manhattan.

Lisa Banes, whose stage and screen career spanned four decades, died on Monday at the age of 65. Her death comes 10 days after she was struck by a hit-and-run driver in New York City, according to police.

“We are heartsick over Lisa’s tragic and senseless passing,” Banes’s manager, David Williams, told People. “She was a woman of great spirit, kindness, and generosity, and dedicated to her work, whether on stage or in front of a camera and even more so to her wife, family, and friends.”

Williams told the outlet that Banes had succumbed to “a traumatic brain injury and was unable to recover” while at Mount Sinai Morningside hospital. Banes had the right of way at an Amsterdam Avenue crosswalk when she was hit by a scooter or motorcycle, the New York Post reported, citing police. Per the Associated Press, the New York Police Department said the driver did not stop and that no arrests in the case have been made. Williams told the AP he believed that the Los Angeles–based Banes was on her way to visit her alma mater, Juilliard.

https://canvas.jaycollege.com/eportfolios/12207/Home/__2021HD https://canvas.jaycollege.com/eportfolios/12212/Home/_Man_In_Love https://groups.google.com/g/sunny-sisters/c/U-T36gw64ng https://groups.google.com/g/sunny-sisters-movie/c/ExgL_A8u8ho https://groups.google.com/g/sunny-sisters-2021-1080p/c/a9E-qLljX68 https://groups.google.com/g/sunny-sisters-1080p/c/OeeKk3IBjJc https://groups.google.com/g/sunny-sisters-movie-chinese/c/yH5RB45_okA https://groups.google.com/g/sunny-sisters-movie-chinese/c/cQA5VRAnTOc https://groups.google.com/g/sunny-sisters/c/p_CYurmbKrU https://groups.google.com/g/sunny-sisters/c/ImlO7oCk_IM https://groups.google.com/g/sunny-sisters-movie/c/xX9Mxl7G1BE https://groups.google.com/g/sunny-sisters-movie/c/o1DSqRIF5UE https://groups.google.com/g/expediente-warren-obliga-1080p-pdo-por-el-demonio/c/8h2KSbVcl2Q https://groups.google.com/g/expediente-warren-obliga-2021do-por-el-demonio/c/ssJiDZaFp5I https://groups.google.com/g/expediente-warren-obligado-por-el-demonio-1080p-2021/c/ko_Jt8IMfwE

https://www.guest-articles.com/news/veteran-stage-and-screen-actor-lisa-banes-dies-at-65-after-hit-and-run-a-mainstay-of-the-new-16-06-2021 https://www.guest-articles.com/news/gone-girl-actress-lisa-banes-dies-aged-65-following-accident-us-actress-lisa-banes-16-06-2021 https://www.guest-articles.com/news/gone-girl-actor-lisa-banes-dies-10-days-after-hit-and-run-in-new-york-us-actress-lisa-16-06-2021 https://www.thewyco.com/news/veteran-stage-and-screen-actor-lisa-banes-dies-at-65-after-hit-and-run-a-mainstay-of-16-06-2021 https://www.thewyco.com/news/gone-girl-actress-lisa-banes-dies-aged-65-following-accident-us-actress-lisa-banes-has-16-06-2021 https://www.thewyco.com/news/gone-girl-actor-lisa-banes-dies-10-days-after-hit-and-run-in-new-york-us-actress-lisa-16-06-2021 https://movie793738308.wordpress.com/2021/06/16/gone-girl-actor-lisa-banes-dies-10-days/ https://healthymboa.org/forum-healthymboa/topic/gone-girl-actor-lisa-banes-dies-10-days/#postid-5868 http://www.shadowville.com/board/buyselltrade/on-the-movie-screen-she-played#p481319 https://www.getrevue.co/profile/satubulan65/issues/weekly-newsletter-of-satubulan65-issue-1-652678/0fe05ce8-a0a5-4a96-9ab9-8983e156a144 https://m.mydigoo.com/forums-topicdetail-287509.html https://www.codergirls.org/forum/internshipcollege-essay/gone-girl-actor-lisa-banes-dies-10-days

Born in Ohio, Banes acted in several films throughout her career, including as Tom Cruise’s love interest in 1988’s Cocktail and the mother of Rosamund Pike’s Amy in 2014’s Gone Girl. She also appeared on TV shows such as The Orville, Nashville, China Beach, and Masters of Sex. Banes made her Broadway debut in Neil Simon’s 1988 play Rumors. She then booked roles in the 1998 musical High Society and the 2010 revival of Noël Coward’s Present Laughter. Tributes from her collaborators, including Seth MacFarlane and Dana Delany, poured in on Twitter.

“I am brokenhearted to share that Lisa, my beautiful wife and my love, passed away last night,” Banes’s wife Kathryn Kranhold said in a statement to Deadline. “We appreciate the love, support and prayers from all of you across the country. Lisa was listening.”

Known for her wry humor and confident, elegant presence, Ms. Banes appeared in more than 80 television and film roles, as well as in countless stage productions, including on Broadway.

She found quick success in the theater after coming east from Colorado Springs in the mid-1970s and studying at the Juilliard School in New York.

In 1980, when the Roundabout Theater revived John Osborne’s “Look Back in Anger,” with Malcolm McDowell in the lead role as the angry Jimmy Porter, she played his overstressed wife.

“Lisa Banes has a remarkably effective final scene,” Walter Kerr wrote in The New York Times, “on her knees in anguish, face stained with failure, arms awkwardly searching for shape and for rest.”

The next year, at the Long Wharf Theater in New Haven, Conn., she was in a production of the James M. Barrie comedy “The Admirable Crichton,” playing a daughter in an upper-crust British family that becomes shipwrecked on a deserted island.

“As Lady Mary,” Mel Gussow of The Times wrote in his review, “Lisa Banes has a regal disdain. Gracefully, she plays the grande dame, and with matching agility she becomes a kind of Jane of the jungle, swimming rivers and swinging on vines — a rather far-fetched transformation, brought off with panache by this striking young actress.”

Off Broadway roles kept coming. Later in 1981 she and Elizabeth McGovern had the lead roles in Wendy Kesselman’s “My Sister in This House” at Second Stage Theater. In 1982, at Manhattan Theater Club, she was the sister Olga in Chekhov’s “Three Sisters,” part of a starry cast that included Dianne Wiest, Mia Dillon, Jeff Daniels, Christine Ebersole and Sam Waterston.

In 1984, when Ms. Banes was in the midst of a run in Wendy Wasserstein’s comedy “Isn’t It Romantic” at Playwrights Horizons, The Times named her one of 15 stage actresses to watch. She was nominated for a Drama Desk Award for her performance in that play.

Her Broadway debut came in the 1988 Neil Simon comedy “Rumors,” and she returned to Broadway in Tom Stoppard’s “Arcadia” (1995), the Cole Porter musical “High Society” (1998) and a revival of Noël Coward’s “Present Laughter” (2010).

One of her most recent stage appearances was in 2018 at the Huntington Theater Company in Boston, where she played one of the two lead roles in the premiere of Eleanor Burgess’s “The Niceties,” a drama that pitted her seemingly progressive lesbian professor against a young Black college student, played by Jordan Boatman.

Don Aucoin, reviewing the production in The Boston Globe, praised their performances, saying that “both find the nuances in their characters, conveying the occasional cracks within their seeming certitude.”

As Ms. Banes established herself in the theater, Hollywood also came calling. Her first film role was in 1984 in “The Hotel New Hampshire,” Tony Richardson’s adaptation of the John Irving novel, and she began turning up frequently on television, including in regular roles on “The Trials of Rosie O’Neill” in the early 1990s and, more recently, “Royal Pains,” “Nashville” and the outer space comedy “The Orville.”

“Her stage presence, magnetism, skill and talent were matched only by her unwavering kindness and graciousness,” Seth MacFarlane, the creator and star of “The Orville,” said on Twitter.

On the movie screen, she played Tom Cruise’s arrogant older girlfriend in “Cocktail” in 1988 and the acerbic mother of a missing woman in David Fincher’s “Gone Girl” (2014), with Ben Affleck and Rosamund Pike.

Lisa Lou Banes was born on July 9, 1955, in Cleveland. Her father, Ken, worked in advertising, and her mother, Mary Lou (Shalenhamer) Banes, was a model.

Lisa grew up in Colorado Springs, where she focused on acting early. Her first paying job, she told The Gazette of Colorado Springs in 2014, was as a cast member at a dinner theater in nearby Manitou Springs.

“They served liquor,” she said. “I’m pretty sure I lied about my age because I was only 15 and you had to be 16.”

In addition to Ms. Kranhold, Ms. Banes is survived by a brother, Evan Sinclair, and her stepmother, Joan Banes.

In the 10 days after her accident, actors and playwrights who had worked with Ms. Banes expressed their support and shock at what happened.

Ms. Burgess, who wrote “The Niceties,” said she had been with Ms. Banes shortly before she was struck by the scooter and described her as a “brilliant, vibrant, wonderful woman.”

Correction: June 15, 2021 An earlier version of this obituary misstated the surname of an actress who appeared with Ms. Banes In the 1982 Manhattan Theater Club production of Chekhov’s “Three Sisters." She is Christine Ebersole, not Ebersol.

Her death, at Mount Sinai Morningside Hospital, was confirmed by the New York Police Department, which said she had been struck by the scooter June 4 as she was crossing Amsterdam Avenue near West 64th Street in Manhattan.

The operator of the scooter had driven through a red light before crashing into Banes and then fled, said Sgt Edward Riley, a police spokesperson. Riley said Tuesday that no arrests had been made.

Banes lived in Los Angeles and had been in New York visiting friends, her wife, Kathryn Kranhold, said.

Known for her wry humour and confident, elegant presence, Banes appeared in more than 80 TV and film roles, as well as in many stage productions, including on Broadway.

She found quick success in the theatre after coming east from Colorado Springs, Colorado, in the mid-1970s and studying at The Juilliard School, in New York.

In 1980, when the Roundabout Theatre revived John Osborne’s “Look Back in Anger,” with Malcolm McDowell in the lead role as the angry Jimmy Porter, she played his overstressed wife.

The next year, at the Long Wharf Theatre in New Haven, Connecticut, she was in a production of James Barrie's comedy “The Admirable Crichton,” playing a daughter in an upper-crust British family that becomes shipwrecked on a deserted island.

Off-Broadway roles kept coming. Later in 1981, she and Elizabeth McGovern had the lead roles in Wendy Kesselman’s “My Sister in This House” at Second Stage Theater. In 1982, at Manhattan Theatre Club, she was sister Olga in Chekhov’s “Three Sisters,” part of a starry cast that included Dianne Wiest, Mia Dillon, Jeff Daniels, Christine Ebersole and Sam Waterston.

In 1984, when Banes was in the midst of a run in Wendy Wasserstein’s comedy “Isn’t It Romantic” at Playwrights Horizons, The Times named her one of 15 stage actresses to watch. She was nominated for a Drama Desk Award for her performance in that play.

One of her most recent stage appearances was in 2018 at the Huntington Theater Company in Boston, where she played one of the two lead roles in the premiere of Eleanor Burgess’ “The Niceties,” a drama that pitted her seemingly progressive lesbian professor against a young Black college student, played by Jordan Boatman.

As Banes established herself in the theater, Hollywood also came calling. Her first film role was in 1984 in “The Hotel New Hampshire,” Tony Richardson’s adaptation of the John Irving novel, and she began turning up frequently on television, including in regular roles on “The Trials of Rosie O’Neill” in the early 1990s and, more recently, “Royal Pains,” “Nashville” and the outer space comedy “The Orville.”

“Her stage presence, magnetism, skill and talent were matched only by her unwavering kindness and graciousness,” Seth MacFarlane, creator and star of “The Orville,” said on Twitter.

Lisa Lou Banes was born July 9, 1955, in Cleveland. Her father, Ken, worked in advertising, and her mother, Mary Lou (Shalenhamer) Banes, was a model.

“They served liquor,” she said. “I’m pretty sure I lied about my age because I was only 15 and you had to be 16.”

In addition to Kranhold, Banes is survived by a brother, Evan Sinclair, and her stepmother, Joan Banes.

In the 10 days after her accident, actors and playwrights who had worked with Banes expressed their support and shock at what happened.

Burgess, who wrote “The Niceties,” said she had been with Banes shortly before she was struck by the scooter and described her as a “brilliant, vibrant, wonderful woman.”

2 notes · View notes

idontfindyouthatinteresting · 4 years

Text

Death Stranding: A Love Letter

Death Stranding, we’ve been waiting for you for a long time and to be honest there were times where we thought, we’re never getting this game, it just isn’t going to happen. I had this game on pre-order for over 2 years. 2 YEARS! The expectation level was obviously very high, and from my perspective it firmly... delivers.

WARNING - SPOILER ALERT - This is a review/breakdown by someone who’s finished the game, for people who have finished the game. You have been warned!

Death Stranding revels in it’s cinematic credentials constantly and with intense consistency. From panoramic mountainous vistas which you can control, to dazzling close ups of it’s digitally recreated stars, to just watching Sam go to his Private Room. It’s stunning and a testament to Kojima's cinematic knowledge with every shot.

Not only does Death Stranding handle this beauty, and intricate world building and story telling with ease and grace; it’s concepts and emotional ideas (which I’ll go into more later) are translated so strongly that you can’t help but get swept up in it. This is the sort of experience that I’m used to getting from films, who embed this framework within their narratives so deeply, in a way it’s expected. Death Stranding hits you like a freight train. Through the power of the performances, the narrative and the fresh nature of the ideas it’s portraying.

Death Stranding’s emotive credentials are set firmly in 2 scales, the more typical big stuff, saving the world, stopping the extinction, well trodden video game territory. But where it truly sets itself apart, embodied so perfectly when Sam walks away from Die-Hardman’s Inauguration speech, and sets to surprise is in how it handles what could be argued to be the smaller scale stuff.

Sam’s emotional world is rich and powerful, from his Aphenphosmphobia to the fact that we see him openly weep and break down holding a crying child. This is a male lead in a video game, and as a woman I loved seeing Sam being so vulnerable, to the point where he’s physically naked in those shots (ssshhh, there are academic reasons too.) It’s fresh and poignant, and as a woman it gives me access to media rejecting the male gaze so completely.

On the notion of the Male Gaze, there is some stuff to unpick about the game’s female characters, as much as I would have loved to have seen more, with some ethnic diversity also, it doesn’t subject it’s women to typical video game stereotypes. The creators of the network (whatever it’s true intentions) are all women, Amelie found the path through the country to place the terminals, with the hardware and software created by Mama and Lockne respectively. This network is recognized as the saviour of humanity, the only male input is Sam connecting the terminals with the Q-pid, a Q-pid created by Mama and Lockne. Fragile is the only character powerful enough to get Sam and all the other characters to where they need to go through her DOOMs. I think the shows opinion on Male Gaze is shown in the story, when Fragile is using Sam’s shower, and Sam moves to the glass, his intention is to see her timefall damaged skin, but Sam is punished for it by Fragile as he questions her motives, she’s aggressive and she puts him thoroughly in his place for it. I love love love the physical powerplay in this scene between them.

Sam is reluctant, profoundly unhappy, arguably suicidal, and is convinced to do all of this purely to help save his friend. Sam is a constant reminder that there is so much more at play here, drilled home every time he flinches away or holds Lou in his hands. Although there is a world to save, it can be for nothing unless you save yourself too. Sam and Fragile’s final discussion brings this home. Before leaving to stop Amelie Sam is full of hope, but in losing Lou, he does a 180, he’s just a man getting to the next sun rise. Something I’m sure a lot of people can identify with.

This narrative nuance is reflected in Cliff. Through the memories we’re shown a man just trying to save his child, not the world, not willing to sacrifice his child to be made into the activation code for a city, no matter the cause. He just wants to be a father and that is his driving force. Mads Mikkelsen was my gateway into this particular world, safe to say I have an intense soft spot for him. I can go on all damn day about how talented he is. He’s the best in the business, no one does what he can, no one else can give a performance that is so real and so raw but so full of fight. Mads can take the your most profound story line, otherworldly in it’s extreme, and he embeds it so firmly in the human experience, you’ll never be able to untangle that web. That is why his ability to do what he does can almost never be questioned. You let him get to the heart of your story and that is what he’ll do to it and that is why it works. Mads Mikkelsen could easily have been Higgs, based on early trailers we suspected he was Higgs, but he isn’t. Could not be further from it.

Death Stranding’s narrative dichotomy in this way is resembled perfectly in the games two ‘Boss’ characters, Cliff and Higgs. Higgs represents the greater plan, the end of the world stuff, and Cliff the smaller scale human to human emotion. Sam must overcome both.

Death Stranding has an even wider scope, an even wider message. Kojima hasn’t been shy about his message of connection being prominent and poignant in the current political climate, being from the UK I feel this so keenly, but the same is present in the US as well. Humanity driven further apart, through legislation, walls and boarders. You can see the potence of the message being translated through a video game, when alternate reality, video game violence and social media is being blamed for these things. It’s fighting back in a way. Death Stranding’s gameplay is full of positivity, from the signs that other players can leave you that replenish your stamina, make your BB happy, to the fact that if you knock a MULE out in water they have a neck float so they don’t drown and die.

The lack of violence in this way and use of ‘non-lethal’ guns, which are described as such, were again refreshing. I’m not a first person shooter gamer, never have been, could not be less appealing to me if it tried. But Death Stranding doesn’t just have a gun aversion, to me it is explicitly anti-gun. Again another important message, particularly when the game is set in the US. One of my favourite moments in the whole game is Sam listening to Die-Hardman’s grovelling apology for his actions, his thoughts and his prayers, only for Sam to shove the gun Die-Hardman brought to the Beach back at him, warning him with disgust at his actions, by passing on the message, “that gun won’t work here” and walking away. I completed a video game without taking a single human life. It rejects the notion so fully and completely. You stop the extinction, save humanity, not with a gun but by hugging Amelie, reminding her about how valuable human life is, every human life. It’s not to be thrown away, you need to give it a chance to bloom.

In Death Stranding humanity is left cowering underground, separated by an invisible enemy in the form of BT’s, it has to learn to fight back, with literal blood, sweat and tears. If you couple the notion of the invisible enemy with Bring Me the Horizon’s ‘Ludens’ Lyrics:

Sticks and stones may break my bones but soon the sting will pass But names can dig so many graves, you won't know where to stand

I love this line. (BMTH wrote that song in 5 days to get it into the game in time, by the way!) As children we’re taught that names shouldn’t hurt us, but actually they do. In a time where the effects of racism, sexism, homophobia, all of this “name calling” are putting people in their actual graves, these lyrics should be heard more keenly. Political leaders put people in their graves with their words, through direct or indirect means. These words are the BTs of our world, invisible hands which destroy people.

Some of the criticisms of the game are based on elements of game play, like the deliveries you need to make, as slow and tiresome. Higgs himself addresses this asking whether you’re tired of the grind, begging for a “game over”?

The game is not only acutely aware that perhaps trudging all over the US with vast cargo loads isn’t what you want to be doing, but it knows it’s what you need to do. And truly, in what way is that different from shooting your way through levels and scenarios to get to the end? Death Stranding makes you feel the sacrifice Sam is making and you experience that with him, every time you fall and drop your cargo, every time you stumble down a mountain side, every time you wreck your stamina bar climbing an incline. Video games can’t really make you feel what it’s like to kill an enemy soldier with an air strike, but hell it can make you feel frustrated at having to climb another mountain with a boat load of heavy gear.

Death Stranding rejects the idea of a ‘game over’ and other video game staples in other ways, it mockingly calls Higgs and Cliffs narrative end “Boss fights” and when Deadman says that wiping Lou’s memories, her connection with Sam in order to make her work better than a piece of equipment is just a ‘do-over’ a reset, normal, Sam rejects that it’s not that simple and Norman’s performance brings that home acutely. It’s not just a game.

From style, to message, to performance, to rejection of the Male Gaze, Death Stranding is an intense and beautiful game. It managed to hook me so thoroughly (as I’m sure you’ve been able to tell from my live tweeting/blogging) and I don’t imagine I’ll get the hook out of my heart for a while. It speaks to something higher and I love it for it.

Keep On Keeping On.

#Death Stranding #Hideo Kojima #Norman Reedus #Mads Mikkelsen #Sam Porter Bridges #Clifford Unger #mine #OPINION ALERT #long post

209 notes · View notes

fangirlxwritesx67 · 4 years

Text

I was tagged by @stusbunker. Thank you and also stuff you, this is tough! But fun, as I got to dig up some stuff from the last year.

Which of your fics…

…did you think would get a bigger reaction/audience than it got?

Highway of Regret. 100%. It was what I consider my first (and only to date) Winchester brothers canon gen fic series. I got really good feedback from the people who did read it, but for the most part it didn’t make a ripple. I wrote my heart out for that one, I really did. At first it stung a little (needy writer mode, I know) but I came to realize that I needed to write that story, and I love it, and neither of those things have anything to do with notes or feedback.

…got a better reaction than you expected?

Two different Dean one-shots that I wrote more or less on a whim. Each one I was afraid to publish for fear of reaction. It wasn’t the sexy swooning hero Dean, more of a broken and very human Dean. Ultimately the feedback I got was deep and very meaningful to me. Serenity - 500 words, a Dean in AA ficlet A Great Dad - 1000 words and a pregnancy scare

…is your funniest?

A Very Good Bed 1200 words of Ikea fluff, Sam x Eileen with platonic Dean.

…is your darkest or angstiest?

Angel: A Lament This was a really tough one because I dont really write dark and angsty. Every long dark night has a dawn, and every bit of angst more than makes up for it with fluff at the end. Even this one is more prose poem than angsty fanfic.

…is your absolute favorite?

Taken By The Wind: A Sam x Rowena love story I love this one with my whole heart, you can see so much of my own journey as a writer and as a person, and I just love this OTP so much. My favorite chapters are Green Velvet and Taken By The Wind

…is your least favorite?

I try very hard to maintain an attitude that every story played a role, to embrace the progress without being ashamed of the past. That said, there are still a few out there that, when I see them getting reblogged, I think “Oh god not that. A One Night Offer is definitely one of those.

…was the easiest to write?

The easiest thing for me to write are the fluffy one shot requests, especially when I get a song or gif along with the request. It’s not that they don’t matter, but I’m writing them to make someone else happy, so it usually doesn’t require as much digging and self reflection. And of course, they always turn out to be surprisingly popular. Long Distance Lullaby is not one of those. It was both easy and excruciating, as I sobbed it into my voice-to-text one morning on the way to work. It was in the early days of the pandemic as well as my marriage breaking up and I just needed some comfort. I got a bit tangled up in endings and graphics and opinions, but looking back, there was something really painfully pure about writing it.

…was hardest to write?

May Be Home I had been writing fanfic for an entire 3 months when decided to write this 15 chapter series that included an au rockstar!Dean, an OFC, and more sex and emotions than I was really equipped to write. It was hard, because I was growing. But I treasure it now, because I wouldn’t be half the writer I am if it wasn’t for this story, and all the work that MJ put in with me on this piece.

…has your favorite lines/exchange/paragraph? (share it!)

I didn’t set out to write fanfiction. At first they were just stories I told myself. And then they got too big for that, and here we are. But some of my very favorite lines come from my series No Lover Like A Hunter, if for no other reason than they lived so long in my heart and mind before I ever wrote them down. Dean found himself watching Jody as she talked. In the firelight, she was radiant. Her high cheekbones and straight nose were striking in the shadows. The flames leapt in her dark grey eyes when she laughed and played in her messy hair, streaking the salt and pepper color with golden light. He had never seen her quite like this- so soft and desirable. Eventually, they settled into comfortable stillness. ... Dean’s voice was husky and certain, “Disappointed? Hell no.” He leaned back on the couch and reached for her, “You’re magnificent, Jody, everything I dreamed of and more.” ... Dean and Jody lay on the floor, facing one another. They gathered pillows and blankets around them until they were comfortable. The firelight played over their faces, warm and flickering. There were so many things that could have been said, but none of them needed to be spoken. They knew one another now like never before, inside and out. And from Pt 2 “So,” she murmured between kisses, “Last time- wasn’t a mistake?” Dean pulled back and looked at her, his green eyes locked on hers. “Jody, baby. You would never be a mistake.” ... Jody shivered under his touch. Her hunter’s body was strong and scarred, but her skin was like velvet. Her legs went on for days and her face, lit up with desire, was straight from his dreams.

Do I sometimes wish I had a little more experience under my belt before I tackled this pairing (and eventual threesome)? Yeah, of course. Do I regret it? Not a word. I love this story.

…have you reread the most?

Celebrations: a Sam x Rowena holiday series I love this one because it’s an au where the two of them are together and happy. He’s still a hunter, she’s still a witch. But they get to enjoy the little things like good food, online shopping, gift-giving, and all the other soft and lovely sparkly things. Also, I can’t reread these stories without recalling the feedback from Lou and Val, which is a treat in itself.

…would you recommend to someone reading your work for the first time?

If I can convince them to read it, Sam and Rowena, anything Sam and Rowena. (just ask Kathy.)

For Sam one-shots tho: Like Art, Like Fire or Welcoming Him Home

For Dean one-shots (which are much more popular): Whiskey Glasses or Stay

Also, it’s a bit of an odd one out (again not that popular) but I feel like Looking for A Black Cat actually hits most of my non-smutty high notes.

…are you most proud of?

I’m proud of all of it. I’m proud of the fact that I’ve written as much as I have, improved as much as I have, that I’m still out here learning and growing. I’m proud of the fact that there is a little bit of my heart even in the easiest requests, and much more so in the personal stories.

I’m less proud and more grateful for the community that I have discovered through fanfic, for the very real friendships and support that extend beyond the stories.

If I have to pick a story tho, I will say I enjoy this one for a lot of reasons: Lucia

#viv answers #writer problems #things ive learned writing fanfiction

9 notes · View notes

beturass · 5 years

Note

can you expand on why donna/josh getting together in s4 of tww is the hill you're going to die on? how would you have liked it to happen? what would the rest of the series have looked like for them? thanks :)

sure, anon! so there’s a couple reasons why that’s the hill I’d die on. I’ll explain them under a cut because I started writing and it just kept going:

so reason number one is that I think that not bringing together two characters who are clearly head-over-heels, flat-on-their-asses in love with each other because you’re afraid of ruining the show is just lazy writing.

number two being that snowball scene in Inauguration: part 2. their feelings are written all over their faces, Josh rides all the way over to Donna’s apartment to throw snowballs at her window and whisk her off to the balls even though not two minutes ago he was mad at her for giving a damaging quote to a reporter. and then Josh has to pause in the middle of telling her off to tell her how amazing she looks?? kill me. and for the rest of the episode after that they’re all flirty and staying close to each other and that should have been the night it started, the night they started exploring something more together. it’s the second term, they’ve got no more elections to win, the possible damage that could be done by them starting a relationship just got a lot less. that said, if they got together then I would have also liked to have seen Donna get a promotion. most of the show senior staff and their assistants stick around for the majority of the administration, but the periods after midterms and re-election are when White House staffers often make their exits irl, so it would stand to reason that there would be some open positions still around that time that Donna could be transferred to. she’d be brilliant, she’d deserve it, and she would have had the chance to grow in her career. plus, she and Josh would no longer be boss and subordinate, so that would be another obstacle to their relationship removed. sure, there still would have been whispers and rumors, but probably not much different from what was already out there about them.

as for what the rest of the series might have looked like for them, that is less fully formed in my brain lol. if they didn’t disclose their relationship right away, I would imagine that the circumstances of Hoynes’ resignation would have weighed on Josh a little more or a little differently than if they were openly together. maybe Donna takes a position in the press office, and that’s how she ends up on the Gaza trip instead of Josh bumping Jack Sosa for her.

assuming Josh’s storyline doesn’t change very much aside from their starting a relationship, he probably still would have felt disillusioned with his job around mid-s6, but he might still feel that pull to stay out of loyalty and because Donna was still there. but Leo’s urging him to find a candidate, and Donna can tell that something’s up with him, so they have a series of talks together where they discuss whether they want to stay in the Bartlet administration until the wheels fall off, or strike out and start a campaign for a congressman from Texas whom Josh just can’t stop picturing in the Oval. they decide on the latter ofc, and Donna runs grassroots coordination and/or media strategy (probably both at the beginning when they’ve got a bare-bones staff and everyone’s wearing multiple hats), shifting more toward a strictly press secretary role once they get the nomination, are able to have a larger staff, and Lou’s joined the campaign. after that, I imagine things pretty much the same as the show, but with more making out on campaign buses and in hotel rooms. Donna makes Josh eat actual meals so he doesn’t look so worn down on the campaign trail, threatening to call Abbey in if he doesn’t just eat the damn salad, Joshua. they win, console each other over Leo, and become his and hers Chiefs of Staff to the First Couple. they still take the vacation to Hawaii during transition, after Donna and Sam gang up on him to make him take a vacation before he collapses and/or loses his mind. Josh ends up proposing there (thank god he threw the ring his mom gave him in his backpack on a last-second whim), but they decide not to get married right that second because Josh’s mom would be overjoyed to see her son get married, and they want their friends who have supported them and loved them and helped them in so many ways to be there, especially the friends who were there on that snowy night when it all began.

thanks anon, this was fun! hope you enjoy :)

#bonus: when the press finds out about the engagement there's a big story in the post #it's gooey and romantic and gross and josh clips it and saves it in a folder #donna finds it one day and teases him mercilessly about it #josh x donna #the west wing #headcanons #fic #my fic #more headcanons than fic i suppose but whatever #Anonymous

102 notes · View notes

sweetgirled-blog · 5 years

Text

BACK TO THE PORTRAYAL

( aka my canon divergence: movies edition )

I love back to the future to pieces, I’ll be the first to admit it. but the movies don’t exist without their problems, specifically around the writing/treatment of jennifer, and as such, my blog is going to be heavily canon divergent in order to give her a story arc and things of use to do.

PRE-OCTOBER 1985 / BACK TO THE FUTURE

jennifer and marty go on their first date, to a clint eastwood movie, toward the end of november 1984. they go on another few dates before making their relationship official before the new year.

jennifer meets doc brown shortly after she enters her relationship with marty. unlike the majority of the townspeople of hill valley, jennifer finds doc to be wise and misunderstood; she is grateful that marty feels comfortable sharing his friendship with doc with her and often accompanies him to the lab whenever she’s able.

BACK TO THE FUTURE

1985

FRIDAY, OCTOBER 25: jennifer sneaks over to marty’s house to hang out after he calls her to tell her about his father’s car being damaged in a wreck and subsequently canceling their camping trip to the lake. while there, doc calls marty and tells him to meet him at the twin pines mall parking lot at 1:15 a.m. jennifer agrees to come along. marty still has the clock tower flyer.

SATURDAY, OCTOBER 26: jennifer accompanies marty to the twin pines mall parking lot and is witness to temporal experiment #1. twelve minutes later, doc is shot dead by terrorists. marty and jennifer flee in the delorean, accelerating to 88mph and departing from 1985 to 1955 at 1:35 a.m.

1955

SATURDAY, NOVEMBER 5

6:15 a.m.: marty and jennifer arrive in 1955 from timeline 1, on old man peabody’s farm, and they knock down one of otis peabody’s twin pine trees while fleeing. they stop outside lyon estates after discovering the delorean’s plutonium chamber has been depleted, and stash the car behind a signboard. with no other way to get to town, they travel to hill valley on foot.

8:29 a.m.: upon arriving at the town square, they head into lou’s cafe. while marty searches in the phone book for doc’s phone number and address, jennifer keeps mr. caruthers and goldie distracted, asking them about menu items. when rejoined by marty, they both meet george mcfly, and soon after, run into biff and his gang.

marty and jennifer follow george, leading them to the front of the baines’ residence. marty pushes george out of the path of an oncoming car, and is knocked out on impact. jennifer stays with him as sam baines brings him into the home to rest and recover. it is here jennifer meets lorraine; despite knowing that it’s dangerous for her and marty to be staying in close company with his own mother, they can’t exactly leave, and so jennifer commits herself to trying to distract lorraine from marty. it doesn’t exactly go as planned.

marty and jennifer track down the younger doc brown and show him the time machine from 30 years in the future. with proof that his experiment/invention works, doc agrees to help fix the time machine and send them home.

after doc tells marty and jennifer that only a bolt of lightning could provide enough power to make the time machine function, marty and jennifer show doc the flyer from 1985 detailing the history of the clock tower, right down to the minute the bolt of lightning strikes it on november 12, 1955. the three of them devise a plan to channel the energy from the lightning into the delorean exactly one week from the date.

SUNDAY, NOVEMBER 6

doc learns that marty has jeopardized his own existence by running into his parents and interfering with their first meeting and that he and his siblings will be erased from existence unless they can fix it.

MONDAY, NOVEMBER 7

assuming the names “calvin kline” and “kay adams,” marty and jennifer go to hill valley high school to try and get george and lorraine together. unfortunately, lorraine has developed a massive crush on marty. worse, biff is not amused by this.

despite marty and jennifer trying to encourage george to ask lorraine to the dance, he is discouraged, declaring that no one on the planet will change his mind.

TUESDAY, NOVEMBER 8

1:21 a.m.: against jennifer’s outspokenness against it, marty visits george while posing in the radiation suit as an extraterrestrial being and tells him that if he doesn’t take lorraine to the enchantment under the sea dance, he’ll melt his brain.

george meets up with marty after school the next day, telling him about his encounter with “darth vader.�� marty takes george to lou’s to ask lorraine to the dance. jennifer is already there with lorraine and her friends, having spent the day name dropping george and trying to paint him in a more pleasant light so that lorraine might find him more desirable.

george goes to talk to lorraine and all is going well until biff’s gang shows up and starts harassing george. fed up with biff by that point, marty retaliates, leading to the skateboard chase through hill valley town square, and ending with biff’s car colliding with a manure truck.

marty and jennifer return to doc’s, where he shows them the progress on the plans to send them back to 1985. unbeknownst to them, lorraine followed them home, and asks marty to ask her to the dance. despite doc and jennifer silently communicating that this is a bad idea, he agrees.

WEDNESDAY, NOVEMBER 9

marty pitches “the plan” to george, hoping that portraying him as a fighter will cause lorraine to shift her affections to george. meanwhile, jennifer continues to hang out with lorraine and friends. she does her best to steer the conversation away from marty, instead gushing about the time she’s spent with george that week and how excited she is to be going to the enchantment under the sea dance with him.

SATURDAY, NOVEMBER 12

afternoon: jennifer is with lorraine and babs when they pick up their dresses from ruth’s frock shop in town. biff approaches the group, boasting that one day he’ll marry lorraine. lorraine tells him she wouldn’t marry him even if he had a million dollars, stomps on his foot, and the girls run off before he can retaliate. jennifer calms lorraine down after.

by this point, both dave and linda have disappeared from the photograph marty keeps in his wallet. if they don’t pull off the plan, marty will disappear, too.

9:00 p.m.: marty borrows doc’s car to take lorraine to the dance, meanwhile jennifer goes with george. she leaves the gymnasium to make sure marty and lorraine have arrived. when she returns, george is locked in the phone booth. she frees him and finds out that biff’s gang locked him inside. the two of them rush out to the car and before jennifer can stop george, he confronts biff, who he thinks is marty at the time. despite the scuffle and george being at a disadvantage, he manages to land a punch, knocking biff out in one go, before checking to make sure lorraine is okay. marty catches up to witness george escorting lorraine into the dance.

9:28 p.m.: while marty subs in for marvin on stage at the dance, jennifer hangs off to the side, keeping an eye on the time. despite a few hiccups that almost result in marty fully vanishing from existence, george kisses lorraine and the timeline in which marty and his siblings were never born is averted. despite jennifer tapping at her wrist backstage to indicate how low on time they are, marty agrees to stay with the band and play one last song, johnny b. goode. even though the crowd isn’t fully into the rock n’ roll sound, jennifer is pleased to see that marty has gotten over his performance anxiety. after saying their goodbyes to george and lorraine, they take off to meet doc at the clock tower.

10:00 p.m.: while attempting to reconnect a cable, marty and jennifer try to warn doc about his murder on the night they return from 1955. they are interrupted by the clock striking 10, and with less than four minutes until departure, leave to fulfill their part of the plan.

10:04 p.m.: lightning strikes the hill valley courthouse, and marty and jennifer travel back to the future via a complex utilization of the energy of the lightning strike itself as devised by doc brown, and thanks to marty and jennifer’s precise knowledge surrounding the clock tower.

1985 ( RETURNED )

SATURDAY, OCTOBER 26

1:24 a.m.: marty (B) and jennifer (B) arrive from 1955 in delorean (B), crashing into the front of the assembly of christ church (formerly the town theater). immediately after, the delorean’s engine fails, prompting marty and jennifer to sprint from courthouse square to what is now known as lone pine mall, on the heels of the terrorists.

1:33 a.m.: doc is shot in front of marty (A) and jennifer (A), right as marty (B) and jennifer (B) arrive, too late to save their friend.

1:35 a.m.: fleeing from the terrorists, marty (A) accelerates the delorean (A) to 88mph, sending him and jennifer (A) back in time to 1955. the blast blinds the terrorists and causes them to crash into a fox photo stand.

marty (B) and jennifer (B) rush to doc, who is alive due to utilizing information in the letter marty gave to doc in 1955. the three of them drive off in the truck before authorities can arrive, retrieve the delorean from downtown before any witnesses see the car or them, and drive both back to the lab.

2:45 a.m., doc drives marty and jennifer back to marty’s neighborhood, before driving to 2015 with einstein. marty and jennifer sneak into marty’s room through the window and crash for the remainder of the morning.

10:28 a.m.: marty and jennifer wake up after some much needed rest. unsure of how it will be received if she walks out with marty, jennifer sneaks out of the house through the window and walks around to the front door to ring the doorbell as if she walked over from her house. she runs into george and lorraine, who greet her; lorraine pulls her in for a hug and invites her in for breakfast, which floors jennifer. she’s tired, time travel jet lagged, and is having something close to an out of body experience, so she doesn’t notice marty experiencing the same confusion. when biff comes in with the keys to the 4x4, jennifer and marty use that as an excuse to remove themselves from the group, get some fresh air, and try to wrap their heads around what’s going on.

10:38 a.m.: marty and jennifer are about to take a drive in the truck to get a moment to breathe when doc comes back from 2015 and tells them that they both have to come with him to 2015, because there’s something wrong with their kids that needs to be fixed.

BACK TO THE FUTURE, PART II

1985

10:40 a.m.: doc, marty, and jennifer depart from 1985 to 2015. unbeknownst to them, biff has left the mcfly home to show marty the matchbooks for his business. he not only witnesses the delorean fly, he witnesses it depart to 2015.

OCTOBER 21, 2015

4:29 p.m.: doc, marty, and jennifer arrive in the future hill valley. as exciting as the prospect of seeing their future is, jennifer is primarily concerned with the details behind the trouble her and marty’s future kids have gotten themselves into. doc shows them the newspaper story about marty jr. getting arrested, and explains the plan of having marty pose as marty jr. to prevent the deal with griff and his gang from happening, thus preventing marty jr. being arrested.

jennifer’s job is to knock out marty jr. with the alpha rhythm generator. she tracks him down to the diner, goes to knock him out, but has the device aimed backwards, and accidentally ends up knocking herself out as a result. two police women find her and take her to her and marty’s future home in hilldale.

following the hoverboard chase, marty purchases the grays sports almanac. when doc finds out why, he throws it in the trash and lectures marty about abusing time travel; 2015 biff witnesses the whole thing, picks the almanac out of the trash, and follows doc and marty to hilldale, intent on stealing the delorean and giving the almanac to his past self.

7:00 p.m.: jennifer comes to upon arrival at her home in hilldale, and the police women bid her a good evening before leaving. she takes a moment to explore the home and quickly finds that things in her and marty’s life and future are hardly picturesque. her daughter, marlene mcfly, comes downstairs and she hides in the closet so as not to further disrupt the timeline; lorraine and george come to visit, and soon marty of the future returns home from work. she sneaks into an adjacent room to try and find a way out. through eavesdropping, jennifer finds out that marty was in an accident with a rolls royce that injured his wrist and caused him to give up his dreams of pursuing music. she also witnesses marty engage in illegal insider activity and subsequently get fired from his job. she keeps one of the several YOU’RE FIRED! faxes, folding it into her jacket pocket. doc comes up to the window and guides jennifer through opening the door; jennifer nearly runs into her future self, but quickly hides in the bushes until her 2015 counterpart is safely inside.

she, doc, and marty reconvene at the delorean; old biff has since returned from giving his past self the almanac, and, due to altering the past, disappears from the future, due to his death now happening in the mid 1990s ( shot by lorraine ).

this creates 2015A and 1985B as a result.

7:28 p.m.: doc, jennifer, and marty depart from 2015A.

1985B, AKA HELL VALLEY / BIFFHORRIFIC

SATURDAY, OCTOBER 26

9:00 p.m.: doc, jennifer, and marty arrive in hill valley from 2015. doc and marty drop jennifer off at her home before departing to marty’s home.

jen’s house key doesn’t work; she tries picking the lock and her father, danny parker jr., answers the door with a gun drawn. this startles jennifer; he lets her�� in and demands to know why she’s there and not in chicago with her mother. jen is confused, but puts two and two together and figures out they’re divorced as danny is calling jennifer’s mother in chicago. she flees before she’s found out and in even worse trouble.

with nowhere to turn, jennifer goes to doc’s lab in the hopes that she will run into either doc or marty.

she arrives at the lab at 9:45 p.m. where she gives doc the rundown of her own present reality and everything wrong with it.

10:00 p.m.: doc and jennifer go to the library, where they investigate old newspaper records to find out what happened to doc and discover he was committed to a mental hospital.

around 11:00 p.m.: jennifer and doc break into the mental hospital to try and track down 1985B doc, in the hopes that he will be able to shed some light on how this all happened. to their grim misfortune, they discover that the doc of 1985B has been lobotomized.

SUNDAY, OCTOBER 27

12:30 a.m.: doc and jennifer find marty at oak park cemetery, mourning over his father’s grave.

they return to the lab to hatch a plan to find out where and when old biff gave the present biff the sport’s almanac so that they can go and prevent this corrupt timeline from ever existing. jennifer remains with doc while marty seeks out biff to gain information.

2:40 a.m.: doc and jen position the delorean outside of the casino, catching marty before he falls to his death. jennifer knocks biff out by opening the door, and marty climbs in to tell them that they have to go back to november 12, 1955.

2:42 a.m.: doc, jen, and marty depart for november 12, 1955.

SATURDAY, NOVEMBER 12, 1955 ( again )

6:00 a.m.: doc, jen, and marty arrive in 1955 in a delorean technologically improved ( delorean B ) compared to the delorean relying on plutonium to travel through time ( delorean A ). doc sends marty into town with cash to purchase 50s-style clothing so he can blend in with the surroundings while tailing biff and retrieving the almanac.

throughout the day, doc and jennifer work on repairing the time circuits, which keep resetting the destination time setting to JANUARY 1, 1885.

marty contacts jennifer and doc through the walkie talkies to request help because he ends up locked in biff’s garage; doc goes to free marty, trusting jennifer to continue working on the delorean due to her background with car mechanics.

9:29 p.m.: doc and jennifer depart from lyon estates construction to meet marty on the roof of the high school.

9:35 p.m.: doc and jennifer let marty out behind biff’s car so he can steal the almanac back in a last-ditch effort to prevent 1985B from happening.

9:38 p.m.: doc and jennifer witness biff, in a blind and frenzied rage, run marty over with his car, killing him on impact. they immediately go back in time to prevent this.

9:35 p.m.: doc and jennifer return from the not-so-distant future in delorean C and hover above the end of the tunnel, waiting for marty to exit so they can pull him to safety.

realistically this should result in a paradox, with two docs, two jennifers, and two deloreans in close proximity to one another ( not including the other doc, jennifer, and delorean A, near courthouse square at this time ). but because it’s fiction and rory and I do what we want, it’s fine, everything is fine.

9:38 p.m.: jennifer pulls marty, with the almanac, to safety. biff crashes into a manure truck for a second time, and they drive back to the lyon estates construction site, dropping marty off on the ground.

9:41 p.m.: marty burns the almanac, erasing 1985B and saving his father from being murdered, doc from being committed to an asylum, and jennifer’s parents from divorcing.

9:44 p.m.: lightning strikes the hover-converted delorean C with doc and jennifer on board, sending them back in time to JANUARY 1, 1885 due to an on-board malfunction they neglected to correct.

BACK TO THE FUTURE, PART III

JANUARY 1—SEPTEMBER 1, 1885

THURSDAY, JANUARY 1

12:00 a.m.: doc and jennifer arrive, by accident, from 1955. the delorean’s time circuits have been scrambled and shorted out by an overload caused by the lightning bolt, rendering the car useless for time travel and stranding doc and jennifer in the old west.

JANUARY—SEPTEMBER

with no way of traveling back to the future immediately, doc and jennifer settle in hill valley, jennifer assuming the moniker “kitty russell” so as not to draw suspicion in case of records created that could be stumbled upon in the future.

they attempt to repair the delorean so that they can travel back to 1985, but most of the technology needed to repair the time circuits will not be invented until the next century.

doc, with the help of jennifer, devises a detailed list of instructions as well as schematic diagrams so that marty and doc’s 1955 counterpart will be able to repair it with vacuum tubes and transistors. he and jennifer then bury the time machine in the abandoned delgado mine, where it remains preserved and undisturbed for 70 years.

doc becomes adept at shoeing horses and repairing wagons, meanwhile jennifer poses as his niece. doc sets up a blacksmith shop in town and jennifer helps keep record of business, scheduling, balancing books, etc.

at some point in the summer of 1885, doc is hired by buford tannen to shoe his horse, but is never paid.

SATURDAY, AUGUST 29: doc and jennifer attend a town meeting, where doc volunteers to pick up the new schoolteacher.

TUESDAY, SEPTEMBER 1: western union opens in hill valley. doc writes a letter to be delivered personally by western union to marty mcfly on NOVEMBER 12, 1955, 9:45 P.M., to the exact stretch of road the delorean was hovering above when it was struck by lightning. he instructs marty on where to find the delorean and asks him to travel to his current residence in 1885 on JANUARY 25, 12:00 A.M., to retrieve jennifer and return to 1985. he clearly states that the delorean be destroyed once they arrive back in their own time.

the date of JANUARY 25, 1885, 12:00 A.M. is smudged and unreadable by the time marty receives the letter. the only date he has to go off of is SEPTEMBER 1, 1885.

marty was already intent on traveling to 1885 to retrieve jennifer; the plan changes to stay in 1885 when he and the doc brown of 1955 discover the gravestone in boot hill cemetery that marks doc’s burial in 1885 and the circumstances behind his demise. they photograph the headstone to serve as a ripple-effect indicator of marty’s success or failure at preventing doc’s murder in 1885.

WEDNESDAY, SEPTEMBER 2, 1885

doc and jennifer keep an eye out for any sign of buford tannen, so as to collect the money he owes doc. unbeknownst to them, marty has arrived in hill valley at 8:00 a.m. and has spent most of the day resting at the mcfly farm, due to falling down a hill and hitting his head on the fence.

THURSDAY, SEPTEMBER 3, 1885

10:15 a.m.: jennifer is on her way to work when she sees buford tannen and his gang ride into town and go into the palace saloon. she makes her way to the blacksmith shop as quickly as she can to tell doc.

10:20 a.m.: jennifer and doc enter the center of town to see buford attempting to hang marty; doc saves marty from certain death and proceeds to argue with buford over the eighty dollars buford says doc owes him ($5 for the bottle of whiskey he broke when his horse threw his shoe, and $75 for the horse that buford subsequently shot in anger). this cements the feud that leads to doc’s death in this timeline.

doc and jen take marty back to the shop so he can clean up,�� and he tells them about doc’s impending death and infatuation with clara clayton. in order to prevent the timeline from being too deeply disrupted, doc decides it’s best for him to return to 1985 with marty and jennifer.

marty then informs doc of the busted fuel line; doc reveals that gasoline will not be available until the next century, which renders the delorean unable to get up to the 88MPH it needs to reach in order to send them back to the future.

with six horses, doc, marty, and jennifer ride out to the cave where marty stashed the delorean and attempt to use the horses to get the car up to 88MPH on their way back to hill valley, but prove unsuccessful.

FRIDAY, SEPTEMBER 4, 1885

doc attempts to use whiskey as an alternative fuel for the delorean, but blows the fuel injection manifold, rendering the car completely powerless. doc, marty, and jen brainstorm various ways to get the delorean up to 88MPH, but nothing seems practical.

a train pulls into hill valley station, giving the three of them the idea of using the train and tracks to push the delorean up to 88MPH.

doc, marty, and jennifer ride out to carson spur, near the incomplete shonash ravine bridge, ultimately deciding that it is the perfect stretch of level track for them to push the delorean up to 88MPH with the locomotive just before they run out of track.

as they survey the bridge, clara clayton’s wagon runs away after a snake spooks the horse pulling it. doc comes to her rescue; much to marty’s dismay, it’s love at first sight. jennifer, however, is supportive. due to clara being rescued, shonash ravine will not be renamed to clayton ravine in her honor and memory. despite this, marty is insistent on getting the delorean ready to get them back to the future.

SATURDAY, SEPTEMBER 5, 1885

doc and jennifer fit the delorean with flanged steel railroad wheels, and doc demonstrates the plan to get them back to 1885 with a railroad model. immediately after, clara arrives and asks doc to repair her telescope that was damaged when it fell off the wagon the day before. doc agrees to do so, free of charge, becoming even more smitten with her.

8:00 p.m.. doc, marty, and jennifer attend the hill valley festival. they have their photograph taken in front of the new courthouse clock.

while at the festival, doc and clara dance, jennifer mingles with some of the townspeople, and marty participates in the colt firearms demonstration.

marty and jennifer are sampling pies when buford interrupts the festival and attempts to shoot doc. marty prevents this from happening by throwing a pie tin at buford; they get into an altercation and buford challenges marty to a duel on monday morning. marty agrees to duel him at 8:00 a.m. monday morning.

jennifer and marty leave the festival; jennifer is not happy with marty. even after he points out that he did, in fact, save doc from certain death, she can’t help but be worried about him.

jennifer has not yet told marty that she witnesses him die once already, in 1955. the fact that the time machine can only get up to 88MPH by being pushed by train in an already extremely restrictive mission to get back to 1985 does not help this; if marty dies, that’s it. there’s no going back in time and fixing that.

SUNDAY, SEPTEMBER 6, 1885

8:00 a.m.: marty, doc, and jennifer reconvene in town. they look at the photograph and confirm doc is safe from certain death; they find that history has been rewritten, and the gravestone now says CLINT EASTWOOD (marty’s alias).

later in the evening, doc, marty, and jennifer haul the delorean out to carson spur, where they unload the car onto the tracks in preparation for their trip back to 1985.

while jen and marty sleep, doc comes clean to clara and says his goodbyes; clara doesn’t believe him; both are broken-hearted. doc goes to the palace saloon for a drink. clara prepares to leave hill valley.

MONDAY, SEPTEMBER 7, 1885

7:25 a.m.: jennifer and marty wake up at carson spur and find that doc is not there; they ride into town to track him down and meet up with him at the saloon.

8:00 a.m.: marty has his showdown against buford. he, doc, and jennifer sneak out the back door of the saloon, but are spotted by buford and his gang. they scatter, with marty diving into a nearby building for cover. buford’s gang gets the grab on jennifer and buford holds her hostage, threatening to shoot her if marty doesn’t come out to face buford.

marty decides to face buford; buford shoots marty in the chest, but marty survives thanks to using a cast iron plate to protect himself. he then knocks buford out after landing several punches, causing him to collapse into a manure cart.

with marty surviving the duel and buford and his gang getting arrested, the gravestone disappears completely from the photograph. with no time left to waste, doc, marty, and jennifer take off for the train.

doc and marty hijack the train, stopping it just before it hits the switchtrack at carson spur. jennifer is waiting for them in the delorean.

jennifer and marty remain in the delorean while doc works to get the train up to speed to accelerate the delorean to 88MPH.

while doc is about to climb aboard the delorean, the train whistle blows; clara has tracked them down to confess her love for doc. doc convinces clara to climb out to him so she can come with them to 1985; she stumbles when the red log blows in the engine; with quick thinking, marty slides doc the hoverboard so he can save clara from falling under the train. they fly off into the sunset, presumably to live happily ever after.

9:00 a.m.: marty and jennifer depart from 1885.

SUNDAY, OCTOBER 27, 1985

11:00 a.m.: marty and jennifer return from 1885. almost immediately after, they jump from the stopped delorean before it is demolished head-on by a diesel locomotive approaching the eastwood ravine bridge from the opposite direction.

marty walks jennifer home and she checks on the state of things; her mother and father are still living under the same roof, are still married, and her father is no longer a police officer with the hill valley PD. she rejoins marty and they walk back to his house to make sure his family is still as they should be; they are.

marty and jennifer take the 4x4 for a spin. they run into needles, who challenges marty to a drag race; he leads needles on into thinking he will, but he doesn’t. as a result, he never hits the rolls royce, never injures his wrist, and potentially alters the future jennifer saw them living in 2015.

marty and jennifer return to the wreckage of the delorean by eastwood ravine bridge; there isn’t much left to salvage aside from the now damaged photograph from the festival in 1885.

shortly after they arrive, doc, clara, and their two sons, jules and verne, show up in a steam-powered locomotive time machine to check on them, retrieve einstein, and present them with a souvenir; a copy of the photograph taken at the festival in 1885.

after leaving them with one last piece of wisdom (your future is whatever you make it, so make it a good one! both of you!), doc, clara, and the boys depart for times and places unknown.

#portrayal notes.#long post #long post for ts #long post /#long post for ts /#anyway if you read through this whole mammoth of a post pls just know that i love you so much #and i'm gonna have another one for the comics and the game coming #splitting them up bc if i didn't this post would LITERALLY be a novel

4 notes · View notes

tidalwavesmusic · 2 years

Photo

JOHN HICKS TRIO 'IS THAT SO?'

In the late 1980s, the renowned American jazz pianist, composer, and arranger John Hicks formed one of the most influential ensembles consisting out of musicians that had played music at the highest level all their lives and gained their status as both stand-alone artists and important sidemen. Each of them had participated in many of jazz’s great moments and all shared the ability, documented on many albums, to inspire their fellow musicians to even greater heights. The ‘John Hicks Trio’ had several line-up changes over the years that included greats such as Clifford Barbaro (Strata East, Blue Note, Sun Ra Arkestra, Charles Tolliver), Clint Houston (Prestige, Nina Simone, Roy Ayers, Azar Lawrence), Curtis Lundy (Pharoah Sanders, Frank Morgan, Cole Porter), Marcus McLaurine (Muse, Verve, Weldon Irvine, Kool & The Gang) and Victor Lewis (Steve Grossman, Stan Getz, Charles Mingus, Cedar Walton, Chet Baker).

On the album we are presenting you today (Is That So? from 1991) the trio consists out of some of the biggest and best players in the jazz, funk and soul scenes:

On piano we have the Atlanta based trio’s bandleader JOHN HICKS (1941-2006). He served as a leader on more than 30 albums and played as a sideman on more than 300 other recordings. After being taught piano by his mother, Hicks went on to study at Lincoln University of Missouri, Berklee College of Music, and the Julliard School. After playing with a number of different artists during the early ’60s (including Oliver Nelson and being part of Pharoah Sanders’s first band) he joined Art Blakey & The Jazz Messengers in 1964. In the early ’70s he taught jazz history and improvisation at Southern Illinois University before resuming his career as a recording artist. Next to his many solo recordings for labels such as Strata East and Concord, Hicks would collaborate with all the big names in the scene, including Archie Shepp, Alvin Queen, Mingus and Curtis Lundy. In 2014 & 2015, J Dilla payed homage to John Hicks by sampling two of his songs.

On drums we have the legendary IDRIS MUHAMMAD (1939-2014) who to this day is still considered as one of the most influential drummers covering a multitude of genre-transcending styles. Born in New Orleans, he showed early talent as a percussionist and began his professional career while still a teenager, playing on Fats Domino’s ‘Blueberry Hill’. He then toured with Sam Cooke and would later go on to work with Curtis Mayfield. Next to his landmark solo recordings for Prestige Records, Idris would collaborate with iconic musicians and acts from the likes of Pharoah Sanders, Manu Dibango, Ahmad Jamal, Melvin Sparks, Charles Earland, Walter Bishop, Ceasar Frazier, Roberta Flack, Gato Barbieri, Nathan Davis, Sonny Rollins, Lou Donaldson, Galt MacDermot, Lonnie Smith…and countless others. Idris Muhammad’s work was sampled by renowned performers such as Drake, Beastie Boys and Fatboy Slim.

On bass we have RAY DRUMMOND (born 1946) who originated from Massachusetts. Drummond was a well-respected bass player (and a master of his instrument), composer, arranger, bandleader, educator and producer who was part of performances and recordings of renowned acts and artists such as Pharoah Sanders, Horace Tapscott, Art Farmer, George Coleman, Leon Thomas, Johnny Lytle, Freddie Hubbard, John Hicks, Houston Person, Toots Thielemans, Lalo Schifrin, Art Blakey…and many others!

The ‘Is That So?’ album was recorded at the legendary Studio 44 (Holland) in July 1990 and released on the Dutch label TIMELESS in 1991. On this amazing piece of work you’ll find ten majestic tracks (including an excellent Sonny Rollins cover-tune). The album was produced by John Hicks and Timeless Records owner Wim Wigt and is a remarkable outing of advanced musicianship by three jazz-giants in their prime, delivering an inspirational gem of an album. Is That So? sounds as successful, young and vibrant as ever! Expect supercharged Post Bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. The up tempo none stop Latin beat is complimented by the terrific drum solos of Idris Muhammad and the rhythmic bass stokes of Ray Drummond. This electrifying set of tracks makes this release a bonafide hit and a must have for any self-respecting jazz fan or collector.

Tidal Waves Music now proudly presents the FIRST ever vinyl release (these recordings were never issued on vinyl before) of John Hicks Trio “Is That So?”. This unique album comes as a deluxe 180g DOUBLE vinyl edition (strictly limited to 1000 copies worldwide) with obi strip. The jacket features exclusive pictures shot by legendary Dutch photographer Joost Leijen (known for his work with artists such as Chet Baker and Pharoah Sanders), also included is an insert with liner notes by renowned author and producer Russ Musto. This is also the FIRST time Is that So? is being released in North America and in the UK. Released exclusively for Record Store Day Black Friday 2021 and available in participating stores on November 26, 2021.

#John Hicks Trio #timeless #jazz #bebop #recordstoreday #RSDBF21 #black friday #tidalwavesmusic #idris muhammad #John Hicks #1991

5 notes · View notes

roseisread · 5 years

Photo

My Year in Movies: Favorite Non-2018 Feature Films (Part 1)

I watched a LOT of movies this year. At last count, I had logged 229 features and 126 shorts; and that doesn’t count rewatches--only movies that were new to me.

I set a few challenges for myself as well this year. The first one was to watch at least one non-English language/US release per week--this exposed me to so much world cinema and some really amazing filmmakers. Anyone who avoids foreign films because “I don’t like subtitles” is really missing out, and I found myself craving these narratives from voices I don’t ordinarily get exposed to in my everyday life.

Other personal challenges: Watching as many horror movies as possible in October (with horror defined pretty loosely so I could include entries from silent era and onward, as well as some comedy cult classics that have horror/thriller elements); participating in Noirvember (in addition to attending Noir City in Chicago); crossing off some major blindspots from my list (such as Bicycle Thieves, The Producers, Lethal Weapon, A Few Good Men, Grease, Home Alone 2, Brazil, and Indiana Jones & the Temple of Doom); and trying to watch movies and short films from every decade that motion pictures have existed.

In 2019, I hope to do similar personal challenges with a focus on movies made by women, LGBTQ+, and people of color, in addition to filling in the gaps of my classical/canonical movie knowledge.

OK, so that’s enough preamble. Let’s get to the list! For this list, I’m excluding movies that were released in 2018--that’s coming but this is for movies released before that.

50. Linda Linda Linda (2005, directed by Nobuhiro Yamashita, country of origin: Japan)

High school girls recruit the Korean exchange student (Doona Bae, of Cloud Atlas and Sympathy for Mr. Vengeance) to join their rock band a few days before the school talent show. This is just a feel good film, recommended if you enjoyed the likes of Sing Street, We Are The Best!, and The Runaways. Unfortunately, it’s out of print in physical form; but last I checked someone had uploaded it to YouTube so you might want to get on that before it’s removed. You can watch the trailer here.

49. The Blue Dahlia (1946, directed by George Marshall, country of origin: US)

This film noir stars Veronica Lake and Alan Ladd, and like any good noir, it deals with dark subjects including murder, blackmail, political corruption, and PTSD. It’s been on my watchlist for a long time, and thanks to Noir City Chicago, I got to see it on the big screen at the Music Box Theatre. For small screen viewing, you can catch up with it via rental on Vudu, Amazon, iTunes... the usual suspects.

48. Siren of the Tropics (1927, directed by Mario Nalpas and Henri Etievant, country of origin: France)

My dearly departed Filmstruck had a spotlight on the films of Josephine Baker, and this was among them. I fell in love instantly with the lively, beautiful Baker, here playing a woman named Papitou who deals with some super scummy dudes but manages to be herself in the face of all that nonsense. Silent films can sometimes be tougher to engage with for modern audiences, but this one flies by and contains some unexpectedly racy sequences for the time. Its racial politics don’t meet today’s cultural standards, but considering Baker’s parents were former slaves and their daughter went on to become the first woman of color to star in a major motion picture, this is still a landmark film worthy of our consideration. She broke down many barriers and contributed a great deal to both the entertainment world and the Civil Rights movement, and this serves as a nice entry point into her career. It’s available on DVD through Kino Lorber, and hopefully one day soon it’ll pop up on another streaming service that carries on the Filmstruck legacy.

47. I Don’t Feel At Home in This World Anymore (2017, directed by Macon Blair, country of origin: US)

Here’s a film that goes to some unexpected places. I had no idea what to expect from Macon Blair, who frequently appears in the movies of Jeremy Saulnier; but in his debut feature for Netflix, he pulled out all the stops. Hilarious, violent, and intense, with memorable performances from stars Melanie Lynskey and Elijah Wood, this is a movie about getting in over your head and just going for it anyway. I don’t want to tell you about the plot because it’s best discovered through watching--just go to your nearest device and add it to your Netflix queue.

46. Song of the Sea (2014, directed by Tomm Moore, country of origin: Ireland)

Absolutely gorgeous animation from the team that previously brought us The Secret of Kells, and a touching story that combines family and mythology. I adored this one. Watch it on Netflix or rent on the usual streaming sources--for a preview, click here.

45. Yankee Doodle Dandy (1942, directed by Michael Curtiz, country of origin: US)

I always watch Independence Day on the Fourth of July; but in 2018, I decided to mix it up and cross this patriotic musical off the watchlist. I’d seen James Cagney’s gangster movies like White Heat and The Public Enemy, but seeing him sing and dance was a whole new joyous discovery. This movie is entertaining, funny, touching, and full of iconic sequences that other films would go on to borrow from. I absolutely loved it. Pretty sure I saw this on Filmstruck originally, but since that’s no longer possible you should be able to find it at your local public library or you can rent it for a couple bucks on Amazon, YouTube, iTunes, and the like.

44. The Man Who Cheated Himself (1950, directed by Felix Feist, country of origin: US)

This tightly wound noir thriller pits brother against brother against the backdrop of 1950s San Francisco. Lee Cobb plays an aging bachelor and an accomplished police detective who falls for the wrong dame. His younger brother, played by John Dall (Gun Crazy, Rope), has just joined the police force and idolizes his older brother. Trouble strikes when the dame murders her no good husband and needs help from Cobb to cover it up. Naturally, Dall gets assigned to the case and as he begins to piece together the clues, he doesn’t like where they’re leading him. The climactic sequence is one of my favorite endings to a noir film, and I’ve seen a lot of them. Watch it for free if you have Amazon Prime; otherwise, there are a few versions uploaded to YouTube of varying quality or you could wait for it to pop up on TCM.

43. Los Angeles Plays Itself (2003, directed by Thom Andersen, country of origin: US)

This documentary edits together clips from movies of every era that were filmed or set in Los Angeles, and explains through voiceover narration the significance of each location and the history of the motion pictures in LA. That’s it--very simple concept but also fascinating. I split this up over a couple nights because it’s pretty long, but if you’re a film fan or a Los Angeles native, this is well worth your time. The voiceover is kind of hilariously flat in its delivery--kind of a Steven Wright sound actually--but that sort of adds to the charm for me. Get a taste by watching the trailer, and then you can rent it on YouTube for $1.99.

42. A Simple Plan (1998, directed by Sam Raimi, country of origin: US)

It’s been almost two years since we lost Bill Paxton; I don’t know about you but I don’t think any other actor can really fill those shoes. This year I caught up with three films that showcased his talent: A Simple Plan, One False Move, and Frailty. He plays very different characters in each one but in many ways they all start off with a similar premise: Ordinary guy dreams of becoming more. What that “more” is for each character is what sets each film and performance apart, but Paxton provided a great canvas to paint these unique characters onto. He inhabited the ordinary man better than just about anyone.

In this film, which I watched during Noirvember, Paxton plays Hank, a college-educated guy working a blue collar job in a small town, trying to make a better life for himself and his family. He’d like to get away from those small town roots, but his socially awkward brother Jacob (Billy Bob Thornton) relies on him. Unfortunately, Jacob is often accompanied by the hard-drinking loose canon Lou (Brent Briscoe). When the unlikely trio discover a crashed plane in the woods containing a suitcase full of cash, they each have ideas for how to handle the situation. Of course things escalate from there, and the way the movie explores human nature and family ties set this story apart. Available for online rental on the usual platforms.

41. The Iron Giant (1999, directed by Brad Bird, country of origin: US)

Given my obsession with Vin Diesel in the early 2000s, it’s pretty shocking I never saw this movie til now--sure, he and his glorious muscles don’t appear on screen, but he does provide the voice of the title character after all. When the Iron Giant made a controversial cameo in this year’s film adaptation of Ready Player One, I decided it was time I saw the source material for myself.

This gorgeously animated fable unfolds during the Cold War era, and features an ET-inspired story arc of a young boy befriending an unlikely being that the government is looking for. If you’ve never seen it, this is definitely a must-watch. Currently available on Netflix, but rentable on other platforms too.

40. The Unsuspected (1947, directed by Michael Curtiz, country of origin: US)

I adore Claude Rains, star of this film and supporting actor in Curtiz’s more famous work, Casablanca. Here, he plays the host and narrator of a popular radio show that revolves around tales of murder--basically the Law and Order: SVU of its day. We learn early on that he sometimes draws inspiration for his broadcasts from real life criminals. When people in his own life start dropping dead, the plot thickens and he finds himself at the center of the action. A very suspenseful and well-plotted film noir, which is available from the Warner Archive collection on DVD. I got to see it at Noir City Chicago, and loved every second of it.

That’s all for this entry--stay tuned for part two of this list, posting soon!

9 notes · View notes

lorilane33 · 7 years

Text

Let Me Help Pt. 5

Summary: It’s the morning after Dean’s drunken confrontation, and he’s feeling a bit guilty. Your favorite green eyed hunter also comes to a realization.

Pairing: Dean x Reader Word count: 1,408

Warnings: Hungover Dean, umm... fluffish? Yeah... we’ll go with fluffish

A/N: Part 5 is here! I’ve gotten part 6 written, and now I’m just trying to knock out the rest of it. Hope you enjoy it! :)

FEEDBACK IS ENJOYED AND APPRECIATED!!

Missed out? Here’s Part 1 Part 2 Part 3 Part 4

Here’s my entire masterlist for your enjoyment

(gif not mine)

Reader’s POV

Sun is shining through your curtains as you stretch in bed, thinking about the events of the night before. ‘Why had Dean seemed so upset that you’d keep in contact with Sam over him? He hadn’t been in a place to care.’ Realizing you still have a hungover man on your couch you throw on some shorts under your t-shirt and head to check on him.

Arriving in your living room you lean over the back of the couch quietly to check on Dean, noticing that he had grabbed the pillow at some point in the night and is currently cuddling the hell out of it. Chuckling to yourself you leave him be, letting him sleep off as much of last night as possible. You decide to make breakfast for the green-eyed hunter as a peace offering, hoping to ease the tension between the two so you turn and head to the kitchen.

While you are cooking scrambled eggs, you turn away to get out some water and tylenol for Dean. As you rummage around in the cabinet for the tylenol you hear a loud groan followed by the sounds of a body shifting coming from the living room. Smiling to yourself, you quickly plate the finished eggs, and put it all on a tray to take into the living room for Dean.

You set the tray of food on the coffee table, and sit on the edge of the couch. Reaching for the meds and water you gently say, “Hey, Dean. You should probably roll over and take this before the hangover hits too hard.”

“Noooo. Five more minutes, y/n.” You vaguely make out coming from under the pillow.

“Dean, come on. I know you have to work on the case today and the last thing you need is a wicked hangover on top of that.” Placing your hand on his shoulder you start to lightly nudge him.

With a groan, Dean reluctantly rolls over, squinting out from under his blanket at the ceiling. “I feel like I’ve been hit by a truck. And then he reversed and ran over me.” He starts to slowly make his way out of his blanket burrito and sits up. Taking the tylenol from you, he looks anywhere but at you. “Thanks y/n,” he mumbles and reaches for the water.

“No problem, Dean. I’ve got some eggs here for you too if you want them.” You smile and nod to the tray of food. “Figured you’d want something in your system.”

Still not looking at you Dean responds. “You really didn’t have to do that for me, y/n. I remember everything that happened last night and you have every right to be so pissed at me. I can’t believe I said some of those things.”

“Hey, Dean, it’s okay. If you remember what I said last night, I forgave you the second I left. I don’t hold any of last night against you. It’s been a long four years, and you had every right to be upset with me. It wasn’t fair of me.” You smile sadly, remembering how much not talking to Dean had hurt you.

“No. I shouldn’t have even been here. I was drunk. I should have gone back to the motel instead of coming here.” Dean is now at this point looking anywhere but at you, clearly avoiding you. He looks so hurt, like he’s upset with himself.

“Dean. Will you at least look at me?” You see his eyes close at he clenches his jaw and turns his face to the back of the couch. Placing your hand on his shoulder you ask again. “Dean? I want you to know that it’s all okay. Please look at me. ”

Dean still doesn’t budge, so you move your hand from his shoulder and gently place it on his stubbled cheek.

Dean’s POV

Your hand is so soft on his cheek and he can’t help but lean into your touch; the touch he’s missed and apparently craved for four years. Gently pulling him to face you, Dean finally looks at you, making eye contact with your striking y/e/c eyes. Suddenly, something settles in his chest. He suddenly feels like a teenager who is seeing his crush for the first time. He sees the way you are looking at him a realization comes to him. He’s in love with you. He’s been in love with you since you were kids. Looking at you, he sees the way you’re looking back.

Your eyes hold forgiveness as well as something else he can’t quite place. He wants to say love, but he knows that can’t be. Not with how he’s treated you. He realizes that the reason he’s been so angry about you staying in touch with his brother isn’t because he actually thinks it was unfair, but he’s been angry because he’s jealous of the fact that you chose Sam over him.

Taking a moment, he allows himself to look over your face. He notices how your hair is a different style, and decides that this one fits you better. He notices the slope of your petite nose, almost like Cindy Lou from that one Christmas movie you enjoy so much. He notices the color of your eyes. A stormy blue, almost grey stares softly back at him and he can’t believe it took him this long to realize that he loves you. The smile you are sending him is encouraging to him and he thinks maybe you could love him back.

Another thought suddenly fills his mind and his heart plummets. You can’t possibly love him back… you left him without a word four years ago. There’s no way you would have left him if you really loved him. With that thought in mind he closes his eyes and clenches his jaw again. Trying to reign in the emotions currently running through his mind.

“Y/n… I just.. I can’t-” Dean’s cell starts ringing and he pulls away to grab it. The caller ID tells him that it’s Sam. He sighs begrudgingly and answers it. “Hey, Sam.” He listens to Sam talking on the other end. “No, I’m okay. Just hungover.” Another pause, and Dean’s face falls as Sam mentions the police finding another victim. “Yeah, I’ll be there soon. Okay, see you soon. Bye.”

Looking at you, he sighs. “Sammy called with another vic. I gotta get goin’.” Sitting up he reluctantly pulls on his boots and watches as you take the tray of untouched food into the kitchen. Soon he’s standing and sliding into his coat, feeling for the keys that aren’t there. “Hey, y/n? You seen my keys?”

Coming around the corner you point to the coffee table. “Yeah, I set them right there. Didn’t want to put them somewhere where I’d forget where they were. Do you have to go? Feels like you just got here.”

“Okay, thanks.” He responds as he leans down to grab his keys. “Yeah, I know. But we’ll have another chance to talk. I’m gonna head out. Listen, I’m still really sorry for how I acted last night. You didn’t deserve me showing up on your doorstep like that.”

Smiling at him, you walk to him and wrap your arms around his torso, placing your head on his chest. Seconds later he brings his arms up to hold you to him. “Dean, how many times do I have to tell you that it. Is. all. Right. This has been a crazy last day or so and we both have questions and things that we need to talk about. But right now, you need to go help your brother with this shapeshifter. We’ll talk later.”

He feels you pull away from him and look up at him, smiling that smile he has fallen for. He thinks for a second that you might kiss him. “Yeah, we definitely need to have a conversation later. But I gotta go, okay?” He leans forward and places a lingering kiss to your forehead, holding his lips there. He pulls his lips away just far enough to whisper into your skin, “I’ve missed you so much.” Pecking your forehead again, he finally lets go of you and walks out your front door. Continuing his stride until he’s at the door of Baby, sliding into her seat. Turning the ignition he lets her idle for a second before he heads off down the street.

Pts 6&7

Tags: @bringmesomepie56 @aorma22 @torrentmgc @savetheimpalaridedean @vaisabu @madithemagicalfangirl @dancingalone21 @anokhi07 @green-love-red-fantasyhearts @scarletsxies @smoothdogsgirl @superromijn @pretty-odd-jenn @my-own-paradise-fuckers @wevegotworktodo @inmysparetime0 @i-dont-know-how-to-write @rattyretro-blog-blog @arryn-nyxx @sis-tafics @jalove-wecallhimdean @dustycelt @supernatural-jackles @deansdirtylittlesecretsblog @spnfanficpond @27bmm @pinknerdpanda @emilywritesaboutdean @just-a-touch-of-sass-and-fandoms @babybrotherdean@babypieandwhiskey @nichelle-my-belle @iwantthedean @dreamingintheimpalawithdean @ravengirl94 @eyes-of-a-disney-princess @wantingtobekorra

#Supernatural fan fic #spn family #supernatural #dean x reader #dean winchester #dean winchester x reader #dean winchester fan fiction #Let Me Help

44 notes · View notes