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spockandawe · 3 years

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Well, this is interesting! So, in that post yesterday, there was one line that really baffled me, a thing about people brushing off a character as an asshole “because he shows literally zero growth.” I kind of set that aside because it was such a weird non-sequitur, and guessed that it was just someone’s sentences not quite keeping up with their train of thought, which has happened to me many times. Apparently I was wrong! I already spent long enough on that one post, I’m tired of talking about that, but this is new and interesting.

Okay. I kind of wanted to see if I could talk about this purely in terms of abstracts and not characters, but I don’t think it’ll work. It would be frustrating to write and confusing to read. It’s about Jiang Cheng. Right up front: This isn’t about whether or not he’s an abuser. Frankly, I don’t think it’s relevant. This also isn’t about telling people they should like him. I don't care whether anyone else likes him or not. But I do like him, and I am always fascinated by dissecting the reasons that people disagree with me. And the process of Telling Stories is my oldest hyperfixation I remember, which will become relevant in a minute.

I thought I had a good grasp on this one, you know? Jiang Cheng makes it pretty obvious why people would dislike Jiang Cheng. But then the posts I keep stumbling over were making weird points, culminating in that “literally zero growth” line.

So! What happened is that someone wrote up a post about how Jiang Cheng’s character arc isn’t an arc, it’s stagnation. It’s a pretty interesting read, and I broadly agree with the larger point! The points where I would quibble are like... the idea that it’s absolute stagnation, as opposed to very subtle shifts that still make a material difference. But still, cool! The post was also offered up as a reason why OP was uninterested in writing any more Jiang Cheng meta, which I totally get. I’m not tired of him yet, but I definitely understand why someone who isn’t a fan of his would get tired about writing about a character with a very static arc. Okay!

Now, internet forensics are hard. I desperately wish I had more information about this evolution, because I find this stuff fascinating, but I have no good way to find things said in untagged posts, reblogs, or private/external venues. But as far as I can tell, that “literally zero growth” wasn’t just a slip of the tongue, it’s become fashionable for people to say that Jiang Cheng is an abusive asshole (that it’s fucked up to like) because he doesn’t have a character arc.

Asshole? Yes. Abusive? This post still isn’t about that. This is about it being fucked up to like this character because he did bad things and had a static character arc.

At first, that point of view was still deeply confusing to me. But I think I figured out the idea at the core of it, and now I’m only baffled. I’m not super interested in confirming this directly, because the people making the most noise about this have not inspired confidence in their ability to hold a civil conversation and I’m a socially anxious binch, but I think the idea is: ‘This character did Bad Things, and then did not improve himself.’

Which is alarmingly adjacent to that old favorite standard of ‘This piece of fiction is glorifying Bad Thing.’ I haven’t seen anyone accusing mxtx of something something jiang cheng, only the people who read/watched/heard the story and became invested in the Jiang Cheng character, but things kind of add up, you know?

Like I said, I don’t want to arbitrate anyone’s right to like/dislike Jiang Cheng. That’s such a fucking waste of time. But this is fascinating to me, because it’s like..... so obviously new and sudden, with such a clear originating point. I can’t speak to the Chinese fans, obviously, but exiledrebels started translating in... what, 2017? And only now, in 2021, do people start putting forth Jiang Cheng’s flat character arc as a “reason” that he’s bad? I’m not going to argue if he pings you in the abuse place, I’m not a dick. I’m not going to argue if you just dislike his vibes. I’m just over here on my blog and in the tag enjoying myself, feel free to detour around me. But oh my god, it’s so silly to try to tell other people that they shouldn’t like him because he has a static character arc.

I want to talk about stories. I don’t know how much I’ll be able to say, because it’s impossible to make broad, sweeping statements, because there are stories about change, there are stories about lack of change, there are all kinds of media that can be used to tell stories, and standards for how stories are told and what they emphasize vary across cultures and over time. But I think that what I can say is that telling a story requires... compromise. It requires streamlining. Trying to capture all the detail of life would slow down most stories to an unbearable degree. Consider organically telling someone ‘I made a peanut butter and jelly sandwich’ versus the computer science exercise of having students describe, step by step, how to make one (spread peanut butter? but you never said you opened the lid)

Hell, I’ve got an example in mdzs itself. The largely-faceless masses of the common people. If someone asks you to think about it critically like, yes, obviously these are people, living their own lives, with their own desires, sometimes suffering and dying in the wake of the novel plot. But does the story give weight to those deaths? Or does it just gloss by? Yes, it references their suffering occasionally, but it is not the focus, and it would slow the story unbearably to give equal weight to each dead person mentioned.

Does Wei Wuxian’s massacre get given the same slow, careful consideration as Su She’s, or Jin Guangyao’s? No, because taking the time to weigh our protagonist with ‘well, this one was a mother, and her youngest son had just started walking, but now he’s going to grow up without remembering her face. that one only became an adult a few months ago, he still hasn’t been on many night-hunts yet, but he finds it so rewarding to protect the common people. oh, and this one had just gotten engaged, but don’t worry, his fiancee won’t mourn him, because she died here as well.’ And continuing on that way to some large number under 3000? No! Unless your goal is to make the reader feel bad for cheering for a morally grey hero, that would be a bad authorial decision! The book doesn’t ignore the issue, it comes up, Wei Wuxian gets called out about all the deaths he’s responsible for, but that’s not the same as them being given equal emotional weight to one (1) secondary character, and I don’t love this new thing where people are pretending that’s equivalent.

When Wei Wuxian brutally kills every person at the Wen supervisory office, are you like ‘holy shit... so many grieving families D:’ or are you somewhere between vindicated satisfaction and an ‘ooh, yikes’ wince? Odds are good you’re somewhere in the satisfaction/wince camp, because that’s what the story sets you up to feel, because the story has to emphasize its priorities (priorities vary, but ‘plot’ and ‘protagonist’ are common ones, especially for a casual novel read like this)

Now, characters. If you want to write a story with a sweeping, epic scale, or if you want to tightly constrain the number of people your story is about, I guess it’s possible to give everyone involved a meaningful character arc. Now.... is it always necessary? Is it always possible? Does it always make sense? No, of course not. If you want to do that, you have to devote real estate to it, and depending on the story you want to tell, it could very possibly be a distraction from your main point, like the idea of mxtx tenderly eulogizing every single character who dies even incidentally. Lan Qiren doesn’t get a loving examination of his feelings re: his nephews and wei wuxian and political turnover in the cultivation world because it’s not relevant, and also, because his position is pretty static until right near the end of the story. Lan Xichen is arguably one of the most static characters within the book, he seems like the same nice young between Gusu and the present, right up until... just before the end of the story.

You may see where I’m heading with this.

Like, just imagine trying to demand that every important character needs to go through a major life change before the end of your book or else it didn’t count. This just in, Granny Weatherwax and Nanny Ogg go through multiple novels without experiencing radical shifts in who they are, stop liking them immediately. I do get that the idea is that Jiang Cheng was a ~bad person~ who didn’t change, but asdgfsd I thought we were over the handwringing over people being allowed to like ““bad”” fictional characters. The man isn’t even a canonical serial killer, he’s not my most problematic fave even within this novel.

And here is where it’s a little more relevant that I would quibble with that original post about Jiang Cheng’s arc. He’s consistently a mean girl, but he goes from stressed, sharp-edged teenager, to grief-stricken, almost-destroyed teen, to grim, cold young adult (and then detours into grim, cold, and grief-stricken until grief dulls with time). He does become an attentive uncle tho. He..... doesn’t experience a radical change in his sense of self, which... it’s...... not all that strange for an adult. And bam, then he DOES experience a radical change, but the needs of the plot dictate that it’s right near the end. And he’s not the focus of the story, baby, wangxian is. He has the last few lines of the story, which nicely communicate his changes to me, but also asdfafas we’re out of story. He was never the main character, it’s not surprising we don’t linger! The extras aren’t beholden to the needs of plot, but they’re also about whatever mxtx wanted to write, and I guess she didn’t feel like writing about Jiang Cheng ¯\_(ツ)_/¯

But also. Taking a step backward. Stable characters can fill a perfectly logical place in a story. Like, look at Leia Organa. I’m not saying she has no arc, but I am saying that she’s a solid point of reference as Luke is becoming a jedi and Han is adjusting his perspective. I wouldn’t call her stagnant, the vibes are wrong, but she also isn’t miserable in her sadness swamp, the way Jiang Cheng is.

Or, hell, look at tgcf. The stagnant, frozen nature of the big bad is a central feature of the story. The bwx of now is the bwx of 800 years ago is the bwx of 1500+ years ago. This is not the place for a meta on how that was bad for those around him and for him himself, but I have Thoughts about how being defeated at the end is both a thing that hurts him and relieves him. Mei Nianqing is a sympathetic character who’s also pretty darn static. Does Ling Wen have a character arc, or do we just learn more about who she already is and what her priorities always were? I’m going to cut myself off here, but a character’s delta between the beginning of a story and the end of a story is a reasonable way to judge how interesting writing character meta is, and is a very silly metric to judge their worth, and even if I guessed at what the basic logic is, for this character, I am still baffled that it’s being put forth as a real talking point.

(also, has it jumped ship to any other characters yet? have people started applying it in other fandoms as well? please let me know if this is the case, I am wildly curious)

(no, but really, if anyone is arguing that bwx is gross specifically because he had centuries to self-reflect and didn’t fix himself, i am desperate to know)

And finally. The thing I thought was most self-evident. Did I post about this sometime recently? If a non-central character experiences a life-altering paradigm shift right near the end of the story (without it being lingered over, because non-central character), oh my god. As a fic writer? IT’S FREE REAL ESTATE. This is the most fertile possible ground. If I want to write post-canon canon-compliant material, adsgasfasd that’s where I’m going to be looking. Okay, yeah, the main couple is happy, that’s good. Who isn’t happy, and what can I do about that? Happy families are all alike, while every unhappy family is unhappy in its own way, etc.

It’s not everyone’s favorite playground, but come on, these are not uncommon feelings. And frankly, it’s starting to feel a little disingenuous when people act like fan authors pick out the most blameless angel from the cast and lavish good things upon them. I’m not the only one who goes looking for a good dumpster fire and says I Live Here Now. If I write post-canon tgcf fic, it’s very likely to focus on beef and/or leaf. I have written more than one au focusing on tianlang-jun.

And, hilariously. If the problem with Jiang Cheng. Is that he is a toxic man fictional character who failed to grow on his own, and is either unsafe or unhealthy to be around. If the problem is that he did not experience a character arc. If these people would be totally fine with other people liking him, if he improved himself as a person. And then, if authors want to put in the (free! time-consuming!) work of writing that character development themselves. You would think that they would be lauded for putting the character through healthier sorts of personal growth than he experienced in canon. Instead, I am still here writing this because first, I was bothered by these authors being named as “freaks” who are obsessed with their ‘uwu precious tsundere baby’ with a “love language of violence,” and then I was graciously informed that people hate Jiang Cheng because he experiences no character growth.

#jiang cheng #mdzs #the untamed #disk horse #long post/#abuse/#only tangentially #but better safe than sorry i hope

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liquidstar · 3 years

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I love re:zero so please feel comfortable sharing your thoughts because even if no one else does I sure as hell will enjoy them

oh i genuinely love it too i think its fun (in terms of the story from an outside perspective, not what happens in it, subaru is very clearly not having a fun time) i like the characters and the themes a lot, my personal favorite is the whole theme of "perception of the self through the other" which is like so prevalent in it (but really laid on thick in arc 6 and gluttony:if). and im the type of person that LOVES series and characters i can analyze into bits, i honestly could write an entire novel on that shit. that and part of my enjoyment of it probably does come from a bias of having enjoyed it with my brother tho bc it was fun watching it w him

its a weird show to talk abt tho bc of the association it has with all those weird nerdboys who completely missed the fact that the series is a critique of them because they were too busy jerking off to rem :/ like omg i like the show a lot but i hope to god no one lumps me in with that bunch bc of it 😭 not that i dont think the series doesnt have its fair share of flaws in that regard either, i still am critical of it and all that. and i can totally understand why some people would not have the tolerance for certain stuff in it, both in terms of its issues and its more gruesome moments, so its not a series i recomend to everyone.

still i legitimately love all the characters in it a lot and i think theyre what i enjoy about it the most. the entire emilia camp (save for rosewal. he knows what he did.) just owns my heart honestly. like, i cant even tell you for certain which my favorite is because i love them all. even garfiel who i thought was annoying at first (but then we find out hes actually an 8th grader so everything about him makes sense in retrospect). or ram who i think is totally underrated compared to rem like they both rock equally. and emilia after her character development in arc 4 and frozen bonds, she didnt shine a lot in season 1 but season 2 literally gave her like 90 minutes straight of backstory and development and now i completely understand subaru's willingness to throw away his life for her, i would too.

even subaru whos meant to be unlikable at first totally won me over, because he legitimately grew as a person. and i think the fact that we got his backstory in arc 4 was the PERFECT timing for it, because if we got it at the beginning it would have either been seen as an excuse to justify his behavior (which thankfully the series paints as explicitly in the wrong) or wouldnt hit as hard because youre not meant to like him. but after seeing him cry with his mom and dad youre just like wow hes literally just a kid, like, hes only 17. the trial is absolutely what finally got me to be a subaru fan lol. even before that there were things i liked abt him tho like how he cared about the village kids and how he was able to see rem's individuality. he was never a bad person at heart he just had some of that good ol fashion toxic masculinity early on and im glad he got over it and learned to not see people (esp women) as characters... now if only the nerdboys watching would do that too.

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holyhellpod · 3 years

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Holy Hell: 3. Metanarrativity: Who’s the Deleuze and who’s the Guattari in your relationship? aka the analysis no one asked for.

In this ep, we delve into authorship, narrative, fandom and narrative meaning. And somehow, as always, bring it back to Cas and Misha Collins.

(Note: the reason I didn’t talk about Billie’s authorship and library is because I completely forgot it existed until I watched season 13 “Advanced Thanatology” again, while waiting for this episode to upload. I’ll find a way to work her into later episodes tho!)

I had to upload it as a new podcast to Spotify so if you could just re-subscribe that would be great! Or listen to it at these other links.

Please listen to the bit at the beginning about monetisation and if you have any questions don’t hesitate to message me here.

Apple | Spotify | Google

Transcript under the cut!

Warnings: discussions of incest, date rape, rpf, war, 9/11, the bush administration, abuse, mental health, addiction, homelessness. Most of these are just one off comments, they’re not full discussions.

Meta-Textuality: Who’s the Deleuze and who’s the Guattari in your relationship?

In the third episode of Season 6, “The Third Man,” Balthazar says to Cas, “you tore up the whole script and burned the pages.” That is the fundamental idea the writers of the first five seasons were trying to sell us: whatever grand plan the biblical God had cooking up is worth nothing in face of the love these men have��for each other and the world. Sam, Bobby, Cas and Dean will go to any lengths to protect one another and keep people safe. What’s real? What’s worth saving? People are real. Families are worth saving.

This show plugs free will as the most important thing a person, angel, demon or otherwise can have. The fact of the matter is that Dean was always going to fight against the status quo, Sam was always going to go his own way, and Bobby was always going to do his best for his boys. The only uncertainty in the entire narrative is Cas. He was never meant to rebel. He was never meant to fall from Heaven. He was supposed to fall in line, be a good soldier, and help bring on the apocalypse, but Cas was the first agent of free will in the show’s timeline. Sam followed Lucifer, Dean followed Michael, and John gave himself up for the sins of his children, at once both a God and Jesus figure. But Cas wasn’t modelled off anyone else. He is original. There are definitely some parallels to Ruby, but I would argue those are largely unintentional. Cas broke the mold.

That’s to say nothing of the impact he’s had on the fanbase, and the show itself, which would not have reached 15 seasons and be able to end the way they wanted it to without Cas and Misha Collins. His back must be breaking from carrying the entire show.

But what the holy hell are we doing here today? Not just talking about Cas. We’re talking about metanarrativity: as I define it, and for purposes of this episode, the story within a story, and the act of storytelling. We’re going to go through a select few episodes which I think exemplify the best of what this show has to offer in terms of framing the narrative. We’ll talk about characters like Chuck and Becky and the baby dykes in season 10. And most importantly we’ll talk about the audience’s role, our role, in the reciprocal relationship of storytelling. After all, a tv show is nothing without the viewer.

I was in fact introduced to the concept of metanarrativity by Supernatural, so the fact that I’m revisiting it six years after I finished my degree to talk about the show is one of life’s little jokes.

I’m brushing off my degree and bringing out the big guns (aka literary theorists) to examine this concept. This will be yet another piece of analysis that would’ve gone well in my English Lit degree, but I’ll try not to make it dry as dog shit.

First off, I’m going to argue that the relationship between the creators of Supernatural and the fans has always been a dialogue, albeit with a power imbalance. Throughout the series, even before explicitly metanarrative episodes like season 10 “Fan Fiction” and season 4 “the monster at the end of this book,” the creators have always engaged in conversations with the fans through the show. This includes but is not limited to fan conventions, where the creators have actual, live conversations with the fans. Misha Collins admitted at a con that he’d read fanfiction of Cas while he was filming season 4, but it’s pretty clear even from the first season that the creators, at the very least Eric Kripke, were engaging with fans. The show aired around the same time as Twitter and Tumblr were created, both of which opened up new passageways for fans to interact with each other, and for Twitter and Facebook especially, new passageways for fans to interact with creators and celebrities.

But being the creators, they have ultimate control over what is written, filmed and aired, while we can only speculate and make our own transformative interpretations. But at least since s4, they have engaged in meta narrative construction that at once speaks to fans as well as expands the universe in fun and creative ways. My favourite episodes are the ones where we see the Winchesters through the lens of other characters, such as the season 3 episode “Jus In Bello,” in which Sam and Dean are arrested by Victor Henriksen, and the season 7 episode “Slash Fiction” in which Dean and Sam’s dopplegangers rob banks and kill a bunch of people, loathe as I am to admit that season 7 had an effect on any part of me except my upchuck reflex. My second favourite episodes are the meta episodes, and for this episode of Holy Hell, we’ll be discussing a few: The French Mistake, he Monster at the end of this book, the real ghostbusters, Fan Fiction, Metafiction, and Don’t Call Me Shurley. I’ll also discuss Becky more broadly, because, like, of course I’ll be discussing Becky, she died for our sins.

Let’s take it back. The Monster At The End Of This Book — written by Julie Siege and Nancy Weiner and directed by Mike Rohl. Inarguably one of the better episodes in the first five seasons. Not only is Cas in it, looking so beautiful, but Sam gets something to do, thank god, and it introduces the character of Chuck, who becomes a source of comic relief over the next two seasons. The episode starts with Chuck Shurley, pen named Carver Edlund after my besties, having a vision while passed out drunk. He dreams of Sam and Dean larping as Feds and finding a series of books based on their lives that Chuck has written. They eventually track Chuck down, interrogate him, and realise that he’s a prophet of the lord, tasked with writing the Winchester Gospels. The B plot is Sam plotting to kill Lilith while Dean fails to get them out of the town to escape her. The C plot is Dean and Cas having a moment that strengthens their friendship and leads further into Cas’s eventual disobedience for Dean. Like the movie Disobedience. Exactly like the movie Disobedience. Cas definitely spits in Dean’s mouth, it’s kinda gross to be honest. Maybe I’m just not allo enough to appreciate art.

When Eric Kripke was showrunner of the first five seasons of Supernatural, he conceptualised the character of Chuck. Kripke as the author-god introduced the character of the author-prophet who would later become in Jeremy Carver’s showrun seasons the biblical God. Judith May Fathallah writes in “I’m A God: The Author and the Writing Fan in Supernatural” that Kripke writes himself both into and out of the text, ending his era with Chuck winking at the camera, saying, “nothing really ends,” and disappearing. Kripke stayed on as producer, continuing to write episodes through Sera Gamble’s era, and was even inserted in text in the season 6 episode “The French Mistake”. So nothing really does end, not Kripke’s grip on the show he created, not even the show itself, which fans have jokingly referred to as continuing into its 16th season. Except we’re not joking. It will die when all of us are dead, when there is no one left to remember it. According to W R Fisher, humans are homo narrans, natural storytellers. The Supernatural fandom is telling a fidelitous narrative, one which matches our own beliefs, values and experiences instead of that of canon. Instead of, at Fathallah says, “the Greek tradition, that we should struggle to do the right thing simply because it is right, though we will suffer and be punished anyway,” the fans have created an ending for the characters that satisfies each and every one of our desires, because we each create our own endings. It’s better because we get to share them with each other, in the tradition of campfire stories, each telling our own version and building upon the others. If that’s not the epitome of mythmaking then I don’t know. It’s just great. Dean and Cas are married, Eileen and Sam are married, Jack is sometimes a baby who Claire and Kaia are forced to babysit, Jody and Donna are gonna get hitched soon. It’s season 17, time for many weddings, and Kevin Tran is alive. Kripke, you have no control over this anymore, you crusty hag.

Chuck is introduced as someone with power, but not influence over the story, only how the story is told through the medium of the novels. It’s basically a very badly written, non authorised biography, and Charlie reading literally every book and referencing things she should have no knowledge of is so damn creepy and funny. At first Chuck is surprised by his characters coming to life, despite having written it already, and when shown the intimidating array of weapons in Baby’s trunk he gets real scared. Which is the appropriate response for a skinny 5-foot-8 white guy in a bathrobe who writes terrible fantasy novels for a living.

As far as I can remember, this is the first explicitly metanarrative episode in the series, or at least the first one with in world consequences. It builds upon the lore of Christianity, angels, and God, while teasing what’s to come. Chuck and Sam have a conversation about how the rest of the season is going to play out, and Sam comes away with the impression that he’ll go down with the ship. They touch on Sam’s addiction to demon blood, which Chuck admits he didn’t write into the books, because in the world of supernatural, addiction should be demonised ha ha at every opportunity, except for Dean’s alcoholism which is cool and manly and should never be analysed as an unhealthy trauma coping mechanism.

Chuck is mostly impotent in the story of Sam and Dean, but his very presence presents an element of good luck that turns quickly into a force of antagonism in the series four finale, “Lucifer Rising”, when the archangel Raphael who defeats Lilith in this episode also kills Cas in the finale. It’s Cas’s quick thinking and Dean’s quick doing that resolve the episode and save them from Lilith, once again proving that free will is the greatest force in the universe. Cas is already tearing up pages and burning scripts. The fandom does the same, acting as gods of their own making in taking canon and transforming it into fan art. The fans aren’t impotent like Chuck, but neither do we have sway over the story in the way that Cas and Dean do. Sam isn’t interested in changing the story in the same way—he wants to kill Lilith and save the world, but in doing so continues the story in the way it was always supposed to go, the way the angels and the demons and even God wanted him to.

Neither of them are author-gods in the way that God is. We find out later that Chuck is in fact the real biblical god, and he engineers everything. The one thing he doesn’t engineer, however, is Castiel, and I’ll get to that in a minute.

The Real Ghostbusters

Season 5’s “The real ghostbusters,” written by Nancy Weiner and Erik Kripke, and directed by James L Conway, situates the Winchesters at a fan convention for the Supernatural books. While there, they are confronted by a slew of fans cosplaying as Sam, Dean, Bobby, the scarecrow, Azazel, and more. They happen to stumble upon a case, in the midst of the game where the fans pretend to be on a case, and with the help of two fans cosplaying as Sam and Dean, they put to rest a group of homicidal ghost children and save the day. Chuck as the special guest of the con has a hero moment that spurs Becky on to return his affections. And at the end, we learn that the Colt, which they’ve been hunting down to kill the devil, was given to a demon named Crowley. It’s a fun episode, but ultimately skippable. This episode isn’t so much metanarrative as it is metatextual—metatextual meaning more than one layer of text but not necessarily about the storytelling in those texts—but let’s take a look at it anyway.

The metanarrative element of a show about a series of books about the brothers the show is based on is dope and expands upon what we saw in “the monster at the end of this book”. But the episode tells a tale about about the show itself, and the fandom that surrounds it.

Where “The Monster At The End Of This Book” and the season 5 premiere “Sympathy For The Devil” poked at the coiled snake of fans and the concept of fandom, “the real ghostbusters” drags them into the harsh light of an enclosure and antagonises them in front of an audience. The metanarrative element revolves around not only the books themselves, but the stories concocted within the episode: namely Barnes and Demian the cosplayers and the story of the ghosts. The Winchester brothers’s history that we’ve seen throughout the first five seasons of the show is bared in a tongue in cheek way: while we cried with them when Sam and Dean fought with John, now the story is thrown out in such a way as to mock both the story and the fans’ relationship to it. Let me tell you, there is a lot to be made fun of on this show, but the fans’ relationship to the story of Sam, Dean and everyone they encounter along the way isn’t part of it. I don’t mean to be like, wow you can’t make fun of us ever because we’re special little snowflakes and we take everything so seriously, because you are welcome to make fun of us, but when the creators do it, I can’t help but notice a hint of malice. And I think that’s understandable in a way. Like The relationship between creator and fan is both layered and symbiotic. While Kripke and co no doubt owe the show’s popularity to the fans, especially as the fandom has grown and evolved over time, we’re not exactly free of sin. And don’t get me wrong, no fandom is. But the bad apples always seem to outweigh the good ones, and bad experiences can stick with us long past their due.

However, portraying us as losers with no lives who get too obsessed with this show — well, you know, actually, maybe they’re right. I am a loser with no life and I am too obsessed with this show. So maybe they have a point. But they’re so harsh about it. From wincestie Becky who they paint as a desperate shrew to these cosplayers who threaten Dean’s very perception of himself, we’re not painted in a very good light.

Dean says to Demian and Barnes, “It must be nice to get out of your mom’s basement.” He’s judging them for deriving pleasure from dressing up and pretending to be someone else for a night. He doesn’t seem to get the irony that he does that for a living. As the seasons wore on, the creators made sure to include episodes where Dean’s inner geek could run rampant, often in the form of dressing up like a cowboy, such as season six “Frontierland” and season 13 “Tombstone”. I had to take a break from writing this to laugh for five minutes because Dean is so funny. He’s a car gay but he only likes one car. He doesn’t follow sports. His echolalia causes him to blurt out lines from his favourite movies. He’s a posse magnet. And he loves cosplay. But he will continually degrade and insult anyone who expresses interest in role play, fandom, or interests in general. Maybe that’s why Sam is such a boring person, because Dean as his mother didn’t allow him to have any interests outside of hunting. And when Sam does express interests, Dean insults him too. What a dick. He’s my soulmate, but I am not going to stop listening to hair metal for him. That’s where I draw the line.

Where “the monster at the end of this book” is concerned with narrative and authorship, “the real ghostbusters” is concerned with fandom and fan reactions to the show. It’s not really the best example to talk about in an episode about metanarrativity, but I wanted to include it anyway. It veers from talk of narrative by focusing on the people in the periphery of the narrative—the fans and the author. In season 9 “Metafiction,” Metatron asks the question, who gives the story meaning? The text would have you believe it’s the characters. The angels think it’s God. The fandom think it’s us. The creators think it’s them. Perhaps we will never come to a consensus or even a satisfactory answer to this question. Perhaps that’s the point.

The ultimate takeaway from this episode is that ordinary people, the people Sam and Dean save, the people they save the world for, the people they die for again and again, are what give their story meaning. Chuck defeats a ghost and saves the people in the conference room from being murdered. Demian and Barnes, don’t ask me which is which, burn the bodies of the ghost children and lay their spirits to rest. The text says that ordinary, every day people can rise to the challenge of becoming extraordinary. It’s not a bad note to end on, by any means. And then we find out that Demian and Barnes are a couple, which of course Dean is surprised at, because he lacks object permanence.

This is no doubt influenced by how a good portion of the transformative fandom are queer, and also a nod to the wincesties and RPF writers like Becky who continue to bottom feed off the wrong message of this show. But then, the creators encourage that sort of thing, so who are the real clowns here? Everyone. Everyone involved with this show in any way is a clown, except for the crew, who were able to feed their families for more than a decade.

Okay side note… over the past year or so I’ve been in process of realising that even in fandom queers are in the minority. I know the statistic is that 10% of the world population is queer, but that doesn’t seem right to me? Maybe because 4/5 closest friends are queer and I hang around queers online, but I also think I lack object permanence when it comes to straight people. Like I just do not interact with straight people on a regular basis outside of my best friend and parents and school. So when I hear that someone in fandom is straight I’m like, what the fuck… can you keep that to yourself please? Like if I saw Misha Collins coming out as straight I would be like, I didn’t ask and you didn’t have to tell. Okay I’m mostly joking, but I do forget straight people exist. Mostly I don’t think about whether people are gay or trans or cis or straight unless they’ve explicitly said it and then yes it does colour my perception of them, because of course it would. If they’re part of the queer community, they’re my people. And if they’re straight and cis, then they could very well pose a threat to me and my wellbeing. But I never ask people because it’s not my business to ask. If they feel comfortable enough to tell me, that’s awesome. I think Dean feels the same way. Towards the later seasons at least, he has a good reaction when it’s revealed that someone is queer, even if it is mostly played off as a joke. It’s just that he doesn’t have a frame of reference in his own life to having a gay relationship, either his or someone he’s close to. He says to Cesar and Jesse in season 11 “The Critters” that they fight like brothers, because that’s the only way he knows how to conceptualise it. He doesn’t have a way to categorise his and Cas’s relationship, which is in many ways, long before season 15 “Despair,” harking back even to the parallels between Ruby and Cas in season 3 and 4, a romantic one, aside from that Cas is like a brother to him. Because he’s never had anyone in his life care for him the way Cas does that wasn’t Sam and Bobby, and he doesn’t recognise the romantic element of their relationship until literally Cas says it to him in the third last episode, he just—doesn’t know what his and Cas’s relationship is. He just really doesn’t know. And he grew up with a father who despised him for taking the mom and wife role in their family, the role that John placed him in, for being subservient to John’s wishes where Sam was more rebellious, so of course he wouldn’t understand either his own desires or those of anyone around him who isn’t explicitly shoving their tits in his face. He moulded his entire personality around what he thought John wanted of him, and John says to him explicitly in season 14 “Lebanon”, “I thought you’d have a family,” meaning, like him, wife and two rugrats. And then, dear god, Dean says, thinking of Sam, Cas, Jack, Claire, and Mary, “I have a family.” God that hurts so much. But since for most of his life he hasn’t been himself, he’s been the man he thought his father wanted him to be, he’s never been able to examine his own desires, wants and goals. So even though he’s really good at reading people, he is not good at reading other people’s desires unless they have nefarious intentions. Because he doesn’t recognise what he feels is attraction to men, he doesn’t recognise that in anyone else.

Okay that’s completely off topic, wow. Getting back to metanarrativity in “The Real Ghostbusters,” I’ll just cap it off by saying that the books in this episode are more a frame for the events than the events themselves. However, there are some good outtakes where Chuck answers some questions, and I’m not sure how much of that is scripted and how much is Rob Benedict just going for it, but it lends another element to the idea of Kripke as author-god. The idea of a fan convention is really cool, because at this point Supernatural conventions had been running for about 4 years, since 2006. It’s definitely a tribute to the fans, but also to their own self importance. So it’s a mixed bag, considering there were plenty of elements in there that show the good side of fandom and fans, but ultimately the Winchesters want nothing to do with it, consider it weird, and threaten Chuck when he says he’ll start releasing books again, which as far as they know is his only source of income. But it’s a fun episode and Dean is a grouchy bitch, so who the holy hell cares?

Season 10 episode “fanfiction” written by my close personal friend Robbie Thompson and directed by Phil Sgriccia is one of the funniest episodes this show has ever done. Not only is it full of metatextual and metanarrative jokes, the entire premise revolves around fanservice, but in like a fun and interesting way, not fanservice like killing the band Kansas so that Dean can listen to “Carry On My Wayward Son” in heaven twice. Twice. One version after another. Like I would watch this musical seven times in theatre, I would buy the soundtrack, I would listen to it on repeat and make all my friends listen to it when they attend my online Jitsi birthday party. This musical is my Hamilton. Top ten episodes of this show for sure. The only way it could be better is if Cas was there. And he deserved to be there. He deserved to watch little dyke Castiel make out with her girlfriend with her cute little wings, after which he and Dean share uncomfortable eye contact. Dean himself is forever coming to terms with the fact that gay people exist, but Cas should get every opportunity he can to hear that it’s super cool and great and awesome to be queer. But really he should be in every episode, all of them, all 300 plus episodes including the ones before angels were introduced. I’m going to commission the guy who edits Paddington into every movie to superimpose Cas standing on the highway into every episode at least once.

“Fan Fiction” starts with a tv script and the words “Supernatural pilot created by Eric Kripke”. This Immediately sets up the idea that it’s toying with narrative. Blah blah blah, some people go missing, they stumble into a scene from their worst nightmares: the school is putting on a musical production of a show inspired by the Supernatural books. It’s a comedy of errors. When people continue to go missing, Sam and Dean have to convince the girls that something supernatural is happening, while retaining their dignity and respect. They reveal that they are the real Sam and Dean, and Dean gives the director Marie a summary of their lives over the last five seasons, but they aren’t taken seriously. Because, like, of course they aren’t. Even when the girls realise that something supernatural is happening, they don’t actually believe that the musical they’ve made and the series of books they’re basing it on are real. Despite how Sam and Dean Winchester were literal fugitives for many years at many different times, and this was on the news, and they were wanted by the FBI, despite how they pretend to be FBI, and no one mentions it??? Did any of the staffwriters do the required reading or just do what I used to do for my 40 plus page readings of Baudrillard and just skim the first sentence of every paragraph? Neat hack for you: paragraphs are set up in a logical order of Topic, Example, Elaboration, Linking sentence. Do you have to read 60 pages of some crusty French dude waxing poetic about how his best friend Pierre wants to shag his wife and making that your problem? Read the first and last sentence of every paragraph. Boom, done. Just cut your work in half.

The musical highlights a lot of the important moments of the show so far. The brothers have, as Charlie Bradbury says, their “broment,” and as Marie says, their “boy melodrama scene,” while she insinuates that there is a sexual element to their relationship. This show never passed up an opportunity to mention incest. It’s like: mentioning incest 5000 km, not being disgusting 1 km, what a hard decision. Actually, they do have to walk on their knees for 100 miles through the desert repenting. But there are other moments—such as Mary burning on the ceiling, a classic, Castiel waiting for Dean at the side of the highway, and Azazel poisoning Sam. With the help of the high schoolers, Sam and Dean overcome Calliope, the muse and bad guy of the episode, and save the day. What began as their lives reinterpreted and told back to them turns into a story they have some agency over.

In this episode, as opposed to “The Monster At The End Of This Book,” The storytelling has transferred from an alcoholic in a bathrobe into the hands of an overbearing and overachieving teenage girl, and honestly why not. Transformative fiction is by and large run by women, and queer women, so Marie and her stage manager slash Jody Mills’s understudy Maeve are just following in the footsteps of legends. This kind of really succinctly summarises the difference between curative fandom and transformative fandom, the former of which is populated mostly by men, and the latter mostly by women. As defined by LordByronic in 2015, Curative fandom is more like enjoying the text, collecting the merchandise, organising the knowledge — basically Reddit in terms of fandom curation. Transformative fandom is transforming the source text in some way — making fanart, fanfic, mvs, or a musical — basically Tumblr in general, and Archive of our own specifically. Like what do non fandom people even do on Tumblr? It is a complete mystery to me. Whereas Chuck literally writes himself into the narrative he receives through visions, Marie and co have agency and control over the narrative by writing it themselves.

Chuck does appear in the episode towards the end, his first appearance after five seasons. The theory that he killed those lesbian theatre girls makes me wanna curl up and die, so I don’t subscribe to it. Chuck watched the musical and he liked it and he gave unwarranted notes and then he left, the end.

The Supernatural creative team is explicitly acknowledging the fandom’s efforts by making this episode. They’re writing us in again, with more obsessive fans, but with lethbians this time, which makes it infinitely better. And instead of showing us as potential date rapists, we’re just cool chicks who like to make art. And that’s fucken awesome.

I just have to note that the characters literally say the word Destiel after Dean sees the actors playing Dean and Cas making out. He storms off and tells Sam to shut the fuck up when Sam makes fun of him, because Dean’s sexuality is NOT threatened he just needs to assert his dominance as a straight hetero man who has NEVER looked at another man’s lips and licked his own. He just… forgets that gay people exist until someone reminds him. BUT THEN, after a rousing speech that is stolen from Rent or Wicked or something, he echoes Marie’s words back, saying “put as much sub into that text as you possibly can.” What does Dean know about subbing, I wonder. Okay I’m suddenly reminded that he did literally go to a kink bar and get hit on by a leather daddy. Oh Dean, the experiences you have as a broad-shouldered, pixie-faced man with cowboy legs. You were born for this role.

Metatron is my favourite villain. As one tumblr user pointed out, he is an evil English literature major, which is just a normal English literature major. The season nine episode “Meta Fiction” written by my main man robbie thompson and directed by thomas j wright, happens within a curious season. Castiel, once again, becomes the leader of a portion of the heavenly host to take down Metatron, and Dean is affected by the Mark Of Cain. Sam was recently possessed by Gadreel, who killed Kevin in Sam’s body and then decided to run off with Metatron. Metatron himself is recruiting angels to join him, in the hopes that he can become the new God. It’s the first introduction of Hannah, who encourages Cas to recruit angels himself to take on Metatron. Also, we get to see Gabriel again, who is always a delight.

This episode is a lot of fun. Metatron poses questions like, who tells a story and who is the most important person in the telling? Is it the writer? The audience? He starts off staring over his typewriter to address the camera, like a pompous dickhead. No longer content with consuming stories, he’s started to write his own. And they are hubristic ones about becoming God, a better god than Chuck ever was, but to do it he needs to kill a bunch of people and blame it on Cas. So really, he’s actually exactly like Chuck who blamed everything on Lucifer.

But I think the most apt analogy we can use for this in terms of who is the creator is to think of Metatron as a fanfiction writer. He consumes the media—the Winchester Gospels—and starts to write his own version of events—leading an army to become God and kill Cas. Nevermind that no one has been able to kill Cas in a way that matters or a way that sticks. Which is canon, and what Metatron is trying to do is—well not fanon because it actually does impact the Winchesters’ storyline. It would be like if one of the writers of Supernatural began writing Supernatural fanfiction before they got a job on the show. Which as my generation and the generations coming after me get more comfortable with fanfiction and fandom, is going to be the case for a lot of shows. I think it’s already the case for Riverdale. Correct me if I’m wrong, but didn’t the woman who wrote the bi Dean essay go to work on Riverdale? Or something? I dunno, I have the post saved in my tumblr likes but that is quagmire of epic proportions that I will easily get lost in if I try to find it.

Okay let me flex my literary degree. As Englund and Leach say in “Ethnography and the metanarratives of modernity,” “The influential “literary turn,” in which the problems of ethnography were seen as largely textual and their solutions as lying in experimental writing seems to have lost its impetus.” This can be taken to mean, in the context of Supernatural, that while Metatron’s writings seek to forge a new path in history, forgoing fate for a new kind of divine intervention, the problem with Metatron is that he’s too caught up in the textual, too caught up in the writing, to be effectual. And this as we see throughout seasons 9, 10 and 11, has no lasting effect. Cas gets his grace back, Dean survives, and Metatron becomes a powerless human. In this case, the impetus is his grace, which he loses when Cas cuts it out of him, a mirror to Metatron cutting out Cas’s grace.

However, I realise that the concept of ethnography in Supernatural is a flawed one, ethnography being the observation of another culture: a lot of the angels observe humanity and seem to fit in. However, Cas has to slowly acclimatise to the Winchesters as they tame him, but he never quite fit in—missing cues, not understanding jokes or Dean’s personal space, the scene where he says, “We have a guinea pig? Where?” Show him the guinea pig Sam!!! He wants to see it!!! At most he passes as a human with autism. Cas doesn’t really observe humanity—he observes nature, as seen in season 7 “reading is fundamental” and “survival of the fittest”. Even the human acts he talks about in season 6 “the man who would be king” are from hundreds or thousands of years ago. He certainly doesn’t observe popular culture, which puts him at odds with Dean, who is made up of 90 per cent pop culture references and 10 per cent flannel. Metatron doesn’t seek to blend in with humanity so much as control it, which actually is the most apt example of ethnography for white people in the last—you know, forever. But of course the writers didn’t seek to make this analogy. It is purely by chance, and maybe I’m the only person insane enough to realise it. But probably not. There are a lot of cookies much smarter than me in the Supernatural fandom and they’ve like me have grown up and gone to university and gotten real jobs in the real world and real haircuts. I’m probably the only person to apply Englund and Leach to it though.

And yes, as I read this paper I did need to have one tab open on Google, with the word “define” in the search bar.

Metatron has a few lines in this that I really like. He says:

“The universe is made up of stories, not atoms.”

“You’re going to have to follow my script.”

“I’m an entity of my word.”

It’s really obvious, but they’re pushing the idea that Metatron has become an agent of authorship instead of just a consumer of media. He even throws a Supernatural book into his fire — a symbolic act of burning the script and flipping the writer off, much like Cas did to God and the angels in season 5. He’s not a Kripke figure so much as maybe a Gamble, Carver or Dabb figure, in that he usurps Chuck and becomes the author-god. This would be extremely postmodern of him if he didn’t just do exactly what Chuck was doing, except worse somehow. In fact, it’s postmodern of Cas to reject heaven’s narrative and fall for Dean. As one tumblr user points out, Cas really said “What’s fate compared to Dean Winchester?”

Okay this transcript is almost 8000 words already, and I still have two more episodes to review, and more things to say, so I’ll leave you with this. Metatron says to Cas, “Out of all of God’s wind up toys, you’re the only one with any spunk.” Why Cas has captured his attention comes down more than anything to a process of elimination. Most angels fucking suck. They follow the rules of whoever puts themselves in charge, and they either love Cas or hate him, or just plainly wanna fuck him, and there have been few angels who stood out. Balthazar was awesome, even though I hated him the first time I watched season 6. He UNSUNK the Titanic. Legend status. And Gabriel was of course the OG who loves to fuck shit up. But they’re gone at this stage in the narrative, and Cas survives. Cas always survives. He does have spunk. And everyone wants to fuck him.

Season 11 episode 20 “Don’t Call Me Shurley,” the last episode written by the Christ like figure of Robbie Thompson — are we sensing a theme here? — and directed by my divine enemy Robert Singer, starts with Metatron dumpster diving for food. I’m not even going to bother commenting on this because like… it’s supernatural and it treats complex issues like homelessness and poverty with zero nuance. Like the Winchesters live in poverty but it’s fun and cool because they always scrape by but Metatron lives in poverty and it’s funny. Cas was homeless and it was hard but he needed to do it to atone for his sins, and Metatron is homeless and it’s funny because he brought it on himself by being a murderous dick. Fucking hell. Robbie, come on. The plot focuses on God, also known as Chuck Shurley, making himself known to Metatron and asking for Metatron’s opinion on his memoir. Meanwhile, the Winchesters battle another bout of infectious serial killer fog sent by Amara. At the end of the episode, Chuck heals everyone affected by the fog and reveals himself to Sam and Dean.

Chuck says that he didn’t foresee Metatron trying to become god, but the idea of Season 15 is that Chuck has been writing the Winchesters’ story all their lives. When Metatron tries, he fails miserably, is locked up in prison, tortured by Dean, then rendered useless as a human and thrown into the world without a safety net. His authorship is reduced to nothing, and he is reduced to dumpster diving for food. He does actually attempt to live his life as someone who records tragedies as they happen and sells the footage to news stations, which is honestly hilarious and amazing and completely unsurprising because Metatron is, at the heart of it, an English Literature major. In true bastard style, he insults Chuck’s work and complains about the bar, but slips into his old role of editor when Chuck asks him to.

The theory I’m consulting for this uses the term metanarrative in a different way than I am. They consider it an overarching narrative, a grand narrative like religion. Chuck’s biography is in a sense most loyal to Middleton and Walsh’s view of metanarrative: “the universal story of the world from arche to telos, a grand narrative encompassing world history from beginning to end.” Except instead of world history, it’s God’s history, and since God is construed in Supernatural as just some guy with some powers who is as fallible as the next some guy with some powers, his story has biases and agendas. Okay so in the analysis I’m getting Middleton and Walsh’s quotes from, James K A Smith’s “A little story about metanarratives,” Smith dunks on them pretty bad, but for Supernatural purposes their words ring true. Think of them as the BuckLeming of Lyotard’s postmodern metanarrative analysis: a stopped clock right twice a day. Is anyone except me understanding the sequence of words I’m saying right now. Do I just have the most specific case of brain worms ever found in human history. I’m currently wearing my oversized Keith Haring shirt and dipping pretzels into peanut butter because it’s 3.18 in the morning and the homosexuals got to me. The total claims a comprehensive metanarrative of world history make do indeed, as Middleton and Walsh claim, lead to violence, stay with me here, because Chuck’s legacy is violence, and so is Metatron’s, and in trying to reject the metanarrative, Sam and Dean enact violence. Mostly Dean, because in season 15 he sacrifices his own son twice to defeat Chuck. But that means literally fighting violence with violence. Violence is, after all, all they know. Violence is the lens through which they interact with the world. If the writers wanted to do literally anything else, they could have continued Dean’s natural character progression into someone who eschews the violence that stems from intergeneration trauma — yes I will continue to use the phrase intergenerational trauma whenever I refer to Dean — and becomes a loving father and husband. Sam could eschew violence and start a monster rehabilitation centre with Eileen.

This episode of Holy Hell is me frantically grabbing at straws to make sense of a narrative that actively hates me and wants to kick me to death. But the violence Sam and Dean enact is not at a metanarrative level, because they are not author-gods of their own narrative. In season 15 “Atomic Monsters,” Becky points out that the ending of the Supernatural book series is bad because the brothers die, and then, in a shocking twist of fate, Dean does die, and the narrative is bad. The writers set themselves a goal post to kick through and instead just slammed their heat into the bars. They set up the dartboard and were like, let’s aim the darts at ourselves. Wouldn’t that be fun. Season 15’s writing is so grossly incompetent that I believe every single conspiracy theory that’s come out of the finale since November, because it’s so much more compelling than whatever the fuck happened on the road so far. Carry on? Why yes, I think I will carry on, carry on like a pork chop, screaming at the bars of my enclosure until I crack my voice open like an egg and spill out all my rage and frustration. The world will never know peace again. It’s now 3.29 and I’ve written over 9000 words of this transcript. And I’m not done.

Middleton and Walsh claim that metanarratives are merely social constructions masquerading as universal truths. Which is, exactly, Supernatural. The creators have constructed this elaborate web of narrative that they want to sell us as the be all and end all. They won’t let the actors discuss how they really feel about the finale. They won’t let Misha Collins talk about Destiel. They want us to believe it was good, actually, that Dean, a recovering alcoholic with a 30 year old infant son and a husband who loves him, deserved to die by getting NAILED, while Sam, who spent the last four seasons, the entirety of Andrew Dabb’s run as showrunner, excelling at creating a hunter network and romancing both the queen of hell and his deaf hunter girlfriend, should have lived a normie life with a normie faceless wife. Am I done? Not even close. I started this episode and I’m going to finish it.

When we find out that Chuck is God in the episode of season 11, it turns everything we knew about Chuck on its head. We find out in Season 15 that Chuck has been writing the Winchesters’ story all along, that everything that happened to them is his doing. The one thing he couldn’t control was Cas’s choice to rebel. If we take him at his word, Cas is the only true force of free will in the entire universe, and more specifically, the love that Cas had for Dean which caused him to rebel and fall from heaven. — This theory has holes of course. Why would Lucifer torture Lilith into becoming the first demon if he didn’t have free will? Did Chuck make him do that? And why? So that Chuck could be the hero and Lucifer the bad guy, like Lucifer claimed all along? That’s to say nothing of Adam and Eve, both characters the show introduced in different ways, one as an antagonist and the other as the narrative foil to Dean and Cas’s romance. Thinking about it makes my head hurt, so I’m just not gunna.

So Chuck was doing the writing all along. And as Becky claims in “Atomic Monsters,” it’s bad writing. The writers explicitly said, the ending Chuck wrote is bad because there’s no Cas and everyone dies, and then they wrote an ending where there is no Cas and everyone dies. So talk about self-fulfilling prophecies. Talk about giant craters in the earth you could see from 800 kilometres away but you still fell into. Meanwhile fan writers have the opportunity to write a million different endings, all of which satisfy at least one person. The fandom is a hydra, prolific and unstoppable, and we’ll keep rewriting the ending a million more times.

And all this is not even talking about the fact that Chuck is a man, Metatron is a man, Sam and Dean and Cas are men, and the writers and directors of the show are, by an overwhelming majority, men. Most of them are white, straight, cis men. Feminist scholarship has done a lot to unpack the damage done by paternalistic approaches to theory, sociology, ethnography, all the -ys, but I propose we go a step further with these men. Kill them. Metanarratively, of course. Amara, the Darkness, God’s sister, had a chance to write her own story without Chuck, after killing everything in the universe, and I think she had the right idea. Knock it all down to build it from the ground up. Billie also had the opportunity to write a narrative, but her folly was, of course, putting any kind of faith in the Winchesters who are also grossly incompetent and often fail up. She is, as all author-gods on this show are, undone by Castiel. The only one with any spunk, the only one who exists outside of his own narrative confines, the only one the author-gods don’t have any control over. The one who died for love, and in dying, gave life.

The French Mistake

Let’s change the channel. Let’s calm ourselves and cleanse our libras. Let’s commune with nature and chug some sage bongs.

“The French Mistake” is a song from the Mel Brooks film Blazing Saddles. In the iconic second last scene of the film, as the cowboys fight amongst themselves, the camera pans back to reveal a studio lot and a door through which a chorus of gay dancersingers perform “the French Mistake”. The lyrics go, “Throw out your hands, stick out your tush, hands on your hips, give ‘em a push. You’ll be surprised you’re doing the French Mistake.”

I’m not sure what went through the heads of the Supernatural creators when they came up with the season 6 episode, “The French Mistake,” written by the love of my life Ben Edlund and directed by some guy Charles Beeson. Just reading the Wikipedia summary is so batshit incomprehensible. In short: Balthazar sends Sam and Dean to an alternate universe where they are the actors Jared Padalecki and Jensen Ackles, who play Sam and Dean on the tv show Supernatural. I don’t think this had ever been done in television history before. The first seven seasons of this show are certifiable. Like this was ten years ago. Think about the things that have happened in the last 10 slutty, slutty years. We have lived through atrocities and upheaval and the entire world stopping to mourn, but also we had twitter throughout that entire time, which makes it infinitely worse.

In this universe, Sam and Dean wear makeup, Cas is played by attractive crying man Misha Collins, and Genevieve Padalecki nee Cortese makes an appearance. Magic doesn’t exist, Serge has good ideas, and the two leads have to act in order to get through the day. Sorry man I do not know how to pronounce your name.

Sidenote: I don’t know if me being attracted aesthetically to Misha Collins is because he’s attractive, because this show has gaslighted me into thinking he’s attractive, or because Castiel’s iconic entrance in 2008 hit my developing mind like a torpedo full of spaghetti and blew my fucking brains all over the place. It’s one of life’s little mysteries and God’s little gifts.

Let’s talk about therapy. More specifically, “Agency and purpose in narrative therapy: questioning the postmodern rejection of metanarrative” by Cameron Lee. In this paper, Lee outlines four key ideas as proposed by Freedman and Combs:

Realities are socially constructed

Realities are constituted through language

Realities are organised and maintained through narrative

And there are no essential truths.

Let’s break this down in the case of this episode. Realities are socially constructed: the reality of Sam and Dean arose from the Bush era. Do I even need to elaborate? From what I understand with my limited Australian perception, and being a child at the time, 9/11 really was a prominent shifting point in the last twenty years. As Americans describe it, sometimes jokingly, it was the last time they were really truly innocent. That means to me that until they saw the repercussions of their government’s actions in funding turf wars throughout the middle east for a good chunk of the 20th Century, they allowed themselves to be hindered by their own ignorance. The threat of terrorism ran rampant throughout the States, spurred on by right wing nationalists and gun-toting NRA supporters, so it’s really no surprise that the show Supernatural started with the premise of killing everything in sight and driving around with only your closest kin and a trunk full of guns. Kripke constructed that reality from the social-political climate of the time, and it has wrought untold horrors on the minds of lesbians who lived through the noughties, in that we are now attracted to Misha Collins.

Number two: Realities are constituted through language. Before a show can become a show, it needs to be a script. It’s written down, typed up, and given to actors who say the lines out loud. In this respect, they are using the language of speech and words to convey meaning. But tv shows are not all about words, and they’re barely about scripts. From what I understand of being raised by television, they are about action, visuals, imagery, and behaviours. All of the work that goes into them—the scripts, the lighting, the audio, the sound mixing, the cameras, the extras, the ADs, the gaffing, the props, the stunts, everything—is about conveying a story through the medium of images. In that way, images are the language. The reality of the show Supernatural, inside the show Supernatural, is constituted through words: the script, the journalists talking to Sam, the makeup artist taking off Dean’s makeup, the conversations between the creators, the tweets Misha sends. But also through imagery: the fish tank in Jensen’s trailer, the model poses on the front cover of the magazine, the opulence of Jared’s house, Misha’s iconic sweater. Words and images are the language that constitutes both of these realities. Okay for real, I feel like I’ve only seen this episode max three times, including when I watched it for research for this episode, but I remember so much about it.

Number three: realities are organised and maintained through narrative. In this universe of the French Mistake, their lives are structured around two narratives: the internal narrative of the show within the show, in which they are two actors on a tv set; and the episode narrative in which they need to keep the key safe and return to their own universe. This is made difficult by the revelation that magic doesn’t work in this universe, however, they find a way. Before they can get back, though, an avenging angel by the name of Virgil guns down author-god Eric Kripke and tries to kill the Winchesters. However, they are saved by Balthazar and the freeze frame and brought back into their own world, the world of Supernatural the show, not Supernatural the show within the show within the nesting doll. And then that reality is done with, never to be revisited or even mentioned, but with an impact that has lasted longer than the second Bush administration.

And number four: there are no essential truths. This one is a bit tricky because I can’t find what Lee means by essential truths, so I’m just going to interpret that. To me, essential truths means what lies beneath the narratives we tell ourselves. Supernatural was a show that ran for 15 years. Supernatural had actors. Supernatural was showrun by four different writers. In the show within a show, there is nothing, because that ceases to exist for longer than the forty two minute episode “The French Mistake”. And since Supernatural no longer exists except in our computers, it is nothing too. It is only the narratives we tell ourselves to sleep better at night, to wake up in the morning with a smile, to get through the day, to connect with other people, to understand ourselves better. It’s not even the narrative that the showrunners told, because they have no agency over it as soon as it shows up on our screens. The essential truth of the show is lost in the translation from creating to consuming. Who gives the story meaning? The people watching it and the people creating it. We all do.

Lee says that humans are predisposed to construct narratives in order to make sense of the world. We see this in cultures from all over the world: from cave paintings to vases, from The Dreaming to Beowulf, humans have always constructed stories. The way you think about yourself is a story that you’ve constructed. The way you interact with your loved ones and the furries you rightfully cyberbully on Twitter is influenced by the narratives you tell yourself about them. And these narratives are intricate, expansive, personalised, and can colour our perceptions completely, so that we turn into a different person when we interact with one person as opposed to another.

Whatever happened in season 6, most of which I want to forget, doesn’t interest me in the way I’m telling myself the writers intended. For me, the entirety of season 6 was based around the premise of Cas being in love with Dean, and the complete impotence of this love. He turns up when Dean calls, he agonises as he watches Dean rake leaves and live his apple pie life with Lisa, and Dean is the person he feels most horribly about betraying. He says, verbatim, to Sam, “Dean and I do share a more profound bond.” And Balthazar says, “You’re confusing me with the other angel, the one in the dirty trenchcoat who’s in love with you.” He says this in season 6, and we couldn’t do a fucken thing about it.

The song “The French Mistake” shines a light on the hidden scene of gay men performing a gay narrative, in the midst of a scene about the manliest profession you can have: professional horse wrangler, poncho wearer, and rodeo meister, the cowboy. If this isn’t a perfect encapsulation of the lovestory between Dean and Cas, which Ben Edlund has been championing from day fucking one of Misha Collins walking onto that set with his sex hair and chapped lips, then I don’t know what the fuck we’re even doing here. What in the hell else could it possibly mean. The layers to this. The intricacy. The agendas. The subtextual AND blatant queerness. The micro aggressions Crowley aimed at Car in “The Man Who Would Be King,” another Bedlund special. Bed Edlund is a fucking genius. Bed Edlund is cool girl. Ben Edlund is the missing link. Bed Edlund IS wikileaks. Ben Edlund is a cool breeze on a humid summer day. Ben Edlund is the stop loading button on a browser tab. Ben Edlund is the perfect cross between Spotify and Apple Music, in which you can search for good playlists, but without having to be on Spotify. He can take my keys and fuck my wife. You best believe I’m doing an entire episode of Holy Hell on Bedlund’s top five. He is the reason I want to get into staffwriting on a tv show. I saw season 4 episode “On the head of a pin” when my brain was still torpedoed spaghetti mush from the premiere, and it nestled its way deep into my exposed bones, so that when I finally recovered from that, I was a changed person. My god, this transcript is 11,000 words, and I haven’t even finished the Becky section. Which is a good transition.

Oh, Becky. She is an incarnation of how the writers, or at least Kripke, view the fans. Watching season 5 “Sympathy for the Devil” live in 2009 was a whole fucking trip that I as a baby gay was not prepared for. Figuring out my sexuality was a journey that started with the Supernatural fandom and is in some aspects still raging against the dying of the light today. Add to that, this conception of the audience was this, like, personification of the librarian cellist from Juno, but also completely without boundaries, common sense, or shame. It made me wonder about my position in the narrative as a consumer consuming. Is that how Kripke saw me, specifically? Was I like Becky? Did my forays into DeanCasNatural on El Jay dot com make me a fucking loser whose only claim to fame is writing some nasty fanfiction that I’ve since deleted all traces of? Don’t get me wrong, me and my unhinged Casgirl friends loved Becky. I can’t remember if I ever wrote any fanfiction with her in it because I was mostly writing smut, which is extremely Becky coded of me, but I read some and my friends and I would always chat about her when she came up. She was great entertainment value before season 7. But in the eyes of the powers that be, Becky, like the fans themselves, are expendable. First they turned her into a desperate bride wannabe who drugs Sam so that he’ll be with her, then Chuck waves his hand and she disappears. We’re seeing now with regards to Destiel, Cas, and Misha Collins this erasure of them from the narrative. Becky says in season 15 “Atomic Monsters” that the ending Chuck writes is bad because, for one, there’s no Cas, and that’s exactly what’s happening to the text post-finale. It literally makes me insane akin to the throes of mania to think about the layers of this. They literally said, “No Cas = bad” and now Misha isn’t even allowed to talk in his Cassona voice—at least at the time I wrote that—to the detriment of the fans who care about him. It’s the same shit over and over. They introduce something we like, they realise they have no control over how much we like it, and then they pretend they never introduced it in the first place. Season 7, my god. The only reason Gamble brought back Cas was because the ratings were tanking the show. I didn’t even bother watching most of it live, and would just hear from my friends whether Cas was in the episodes or not. And then Sera, dear Sera, had the gall to say it was a Homer’s Odyssey narrative. I’m rusty on Homer aka I’ve never read it but apparently Odysseus goes away, ends up with a wife on an island somewhere, and then comes back to Terabithia like it never happened. How convenient. But since Sera Gamble loves to bury her gays, we can all guess why Cas was written out of the show: Cas being gay is a threat to the toxic heteronormativity spouted by both the show and the characters themselves. In season 15, after Becky gets her life together, has kids, gets married, and starts a business, she is outgrowing the narrative and Chuck kills her. The fans got Destiel Wedding trending on Twitter, and now the creators are acting like he doesn’t exist. New liver, same eagles.

I have to add an adendum: as of this morning, Sunday 11th, don’t ask me what time that is in Americaland, Misha Collins did an online con/Q&A thing and answered a bunch of questions about Cas and Dean, which goes to show that he cannot be silenced. So the narrative wants to be told. It’s continuing well into it’s 16th or 17th season. It’s going to keep happening and they have no recourse to stop it. So fuck you, Supernatural.

I did write the start of a speech about representation but, who the holy hell cares. I also read some disappointing Masters theses that I hope didn’t take them longer to research and write than this episode of a podcast I’m making for funsies took me, considering it’s the same number of pages. Then again I have the last four months and another 8 years of fandom fuelling my obsession, and when I don’t sleep I write, hence the 4,000 words I knocked out in the last 12 hours.

Some final words. Lyotard defines postmodernism, the age we live in, as an incredulity towards metanarratives. Modernism was obsessed with order and meaning, but postmodernism seeks to disrupt that. Modernists lived within the frame of the narrative of their society, but postmodernists seek to destroy the frame and live within our own self-written contexts. Okay I love postmodernist theory so this has been a real treat for me. Yoghurt, Sam? Postmodernist theory? Could I BE more gay?

Middleton and Walsh in their analysis of postmodernism claim that biblical faith is grounded in metanarrative, and explore how this intersects with an era that rejects metanarrative. This is one of the fundamental ideas Supernatural is getting at throughout definitely the last season, but other seasons as well. The narratives of Good vs Evil, Michael vs Lucifer, Dean vs Sam, were encoded into the overarching story of the show from season 1, and since then Sam and Dean have sought to break free of them. Sam broke free of John’s narrative, which was the hunting life, and revenge, and this moralistic machismo that they wrapped themselves up in. If they’re killing the evil, then they’re not the evil. That’s the story they told, and the impetus of the show that Sam was sucked back into. But this thread unravelled in later seasons when Dean became friends with Benny and the idea that all supernatural creatures are inherently evil unravelled as well. While they never completely broke free of John’s hold over them, welcoming Jack into their lives meant confronting a bias that had been ingrained in them since Dean was 4 years old and Sam 6 months. In the face of the question, “are all monsters monstrous?” the narrative loosens its control. Even by questioning it, it throws into doubt the overarching narrative of John’s plan, which is usurped at the end of season 2 when they kill Azazel by Dean’s demon deal and a new narrative unfolds. John as author-god is usurped by the actual God in season 4, who has his own narrative that controls the lives of Sam, Dean and Cas.

Okay like for real, I do actually think the metanarrativity in Supernatural is something that should be studied by someone other than me, unless you wanna pay me for it and then shit yeah. It is extremely cool to introduce a biographical narrative about the fictional narrative it’s in. It’s cool that the characters are constantly calling this narrative into focus by fighting against it, struggling to break free from their textual confines to live a life outside of the external forces that control them. And the thing is? The really real, honest thing? They have. Sam, Dean and Cas have broken free of the narrative that Kripke, Carver, Gamble and Dabb wrote for them. The very fact that the textual confession of love that Cas has for Dean ushered in a resurgence of fans, fandom and activity that has kept the show trending for five months after it ended, is just phenomenal. People have pointed out that fans stopped caring about Game of Thrones as soon as it ended. Despite the hold they had over tv watchers everywhere, their cultural currency has been spent. The opposite is true for Supernatural. Despite how the finale of the show angered and confused people, it gains more momentum every day. More fanworks, more videos, more fics, more art, more ire, more merch is being generated by the fans still. The Supernatural subreddit, which was averaging a few posts a week by season 15, has been incensed by the finale. And yours truly happily traipsed back into the fandom snake pit after 8 years with a smile on my face and a skip in my step ready to pump that dopamine straight into my veins babeeeeeeyyyyy. It’s been WILD. I recently reconnected with one of my mutuals from 2010 and it’s like nothing’s changed. We’re both still unhinged and we both still simp for Supernatural. Even before season 15, I was obsessed with the podcast Ride Or Die, which I started listening to in late 2019, and Supernatural was always in the back of my mind. You just don’t get over your first fandom. Actually, Danny Phantom was my first fandom, and I remember being 12 talking on Danny Phantom forums to people much too old to be the target audience of the show. So I guess that hasn’t left me either. And the fondest memories I have of Supernatural is how the characters have usurped their creators to become mythic, long past the point they were supposed to die a quiet death. The myth weaving that the Supernatural fandom is doing right now is the legacy that will endure.

References

I got all of these for free from Google Scholar!

Judith May Fathallah, “I’m A God: The Author and the Writing Fan in Supernatural.”

James K A Smith, “A Little Story About Metanarratives: Lyotard, Religion and Postmodernism Revisited.” 2001.

Cameron Lee, “Agency and Purpose in Narrative Therapy: Questioning the Postmodern Rejection of Metanarrative.” 2004.

Harri Englund and James Leach, “Ethnography and the Meta Narratives of Modernity.” 2000.

https://uproxx.com/filmdrunk/mel-brooks-explains-french-mistake-blazing-saddles-blu-ray/

#transcripts #supernatural #supernatural podcast #<60mins #this is first and foremost a podcast about cas and misha collins

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nc7dr3am · 3 years

Text

IF LILY DATED...

HI this is a long post. the idea for this was inspired by my favorite @delicatejisung who also has an nct dream oc that you MUST follow. also i know the edit sucks. also also i write very light nsfw stuff in this. like mentions but no smut cuz i don’t do that. HOWEVER there are no nsfw mentions w jisung. ik teens do whatever and lily is only a year older than him but 1.) i will not do that because he is still a minor and 2.) they just aren’t like that together. they don’t need it

THIS IS ALL HYPOTHETICAL NONE OF IT IS OFFICIALLY CANON. lmk which ones sound cute cuz even tho it’s not gonna happen .. lilno and chenlil might have stolen my heart

mark:

you can bet they’d be so completely in love with each other

very sweet, very romantic

“baby” “babe”

in front of the camera they’re normal, the same amount of affection as usual, oftentimes less

lily, when mark is talking or being unintentionally attractive: *bites bottom lip, looks up a little, seems like she’s trying not to smile*

he does his rap in mfal to her randomly and it’s cringey and funny but he does it to make her smile because he knows it’s her fav title track

when she sings he smiles so wide because in his opinion. there is no sound more beautiful than her voice

they talk to each other so well. like. they can sit for HOURS just talking and it never gets old to them

writes genuine love letters to her but will cringe and hate himself if he gives them to her until she gets teary and smiles

her basically giving him book reports about the books she reads and he literally falls more in love with her when she’s screaming about the novels because she is so PASSIONATE

her falling asleep in the practice rooms or studio late at night because she INSISTS on staying with him

and when he kisses her he likes to tilt her chin up with his hand of holds both sides of her face

hyuck taking credit for the whole relationship

she has a collage of polaroids of them, of him (including some of the ones from qtah) that are separate from her other photos of friends (she has a lot)

mark has a few polaroids of her that he keeps by his bed and he always smiles when he sees them

HE 10000% WRITES SONGS FOR HER AND SHOWS HER BUT HES REALLY NONCHALANT ABOUT IT

she never calls him oppa (even a bit before they start dating tbh)

when she has to do sexy performances or just acts sexy you will 100% find mark at his most awkward

they will have fun doing ANYTHING they’ll be happy through anything if they’re together

they could go through five watermelons in a day

konglish all the time. and getting excited/thinking something is funny and jumping and screaming

“can i have your netflix password, lils?” “mark you’re literally richer than me and still use all of my accounts”

her getting embarrassed by him and giggling

she will continue her campaign to get mark to play spiderman

lazy days making music, him watching her cook, binge watching american reality shows she likes, and literally just days where theyfe in bed and make out and talk and make out

shopping trips all the time

they love to do activities together. like, they’ll go places and try new things

she’s desperate to visit his home and his family

and they have their ideal life planned. like. if they weren’t idols they’d get an apartment together. they wanna have some pets together. they have trips they’d like to go on together

they grew up together, they’ve loved each other for years, they’ve been pillars of support

but as much as they’ve loved each other they grew to be IN love with each other

but teased by every unit especially 127. wbk.

they’re more.. private than the others. they’re alone together a lot and don’t overdo it in front of the others

SLIGHT nsfw below. no smut but. and then some fluff near the end <3

ummm so like. vanilla for the most part even tho lily is a bit more ✨wild✨

oh um. ass grabs. when they’re alone but. constantly

when they get comfy with each other (read: when mark finds confidence and is comfy) he will always have his hands on her ass

even just resting there

mirror selfies with his hand on her ass

if he can’t touch her ass, it’s always a hand on her thigh

very affection when alone together, moderate when they’re with others

he likes to lay on her stomach and she loves when he lays on her shirtless

so many days where they just lay in bed together, tangled in lily’s blankets, music playing in the background, lazy makeout sessions... need i go on? CUTE SHIT

mark isn’t great at expressing his emotions publicly, and they hold so much of their relationship just between them. they both always know how much they love each other

renjun:

so they’re SOFT

song covers together

she tries to learn mandarin but. she ends up getting frustrated that she can’t get it and renjun kisses it better

he tells her the wrong words in mandarin a lot and it has fucked her over a lot, especially in lives

“oppa, how do you say ‘i bought that shirt for renjun?’”

*in mandarin* “i am in love with renjun”

they’d be a bit more obvious about their feelings, a bit more touchy

when they confess, they’re together right away, no questions asked. they literally need each other

sleepovers every night and they’re generally really cozy

lily reading, renjun drawing, a movie playing on her laptop that they aren’t paying too much attention to

renjun has specific articles of clothing he puts aside in his closet because he KNOWS she’s gonna take those specific ones

he is very into giving her flowers and little gifts

shes asked him to give her mf art lessons LMAO

ended with them covering each other in paint and making a MESS

they’re silly together, they’re the couple who knows how to cook but starts playing with the ingredients and makes a mess

they leave sticky notes for each other everywhere

lily jumping into his arms

constant pecks on the lips. the dreamies are sick of it. so sick of it.

deep talks late at night

lily being funny and having a box of his stuff in her room even though they live in the same place

nomin threatening renjun

but then lily fourth wheeling with them all

somehow they become even more of a savage duo

when they make eye contact while performing they’ll make faces at each other

he turns the koala joke into her pet name

so he calls her koala and she calls him a pain in her ass

SOFT KISSES he always cups one side of her face

he braids her hair a lot or does cute little styles

lots of cafe dates

will KILL any of the others if they wake her up when she’s sleeping

the type of romance that’s sappy but also they can most definitely roast each other

she likes to wrestle him LMAOO

the way they’re basically chenji’s babysitters is SO FUNNY it started to happen a lot right after they got together

they want to adopt a puppy and name him moomin

SLIGHT nsfw below. no smut but. and then some fluff near the end <3

okay so it’s kinda.. more hesitant and sometimes she takes the lead more than he does

their make out sessions are more heated but don’t always lead to something

like the way it’s going youd THINK it’d be something, but then they just decide to watch a movie and go to bed

he really likes her neck and collarbones but can’t do much to her neck because yknow they’re idols

there’s almost no insecurity in their relationship

it’s very relaxed and loving, and everyone around them can see and feel the love

jeno:

a bit unexpected

a ✨whirlwind romance✨

lilno? more like lilmino because jaemin is always there

a part of her was genuinely sad that she broke up nomin and everyone looks at her like she’s crazy

torn between her love for him and letting him go if jaemin confessed

they can be a bit more obvious in front of fans than the others, because for some reason there isn’t much suspicion there

in front of czennies he lowkey flexes and picks her up over his shoulder a lot, has his arm around her a lot, and they wink at each other from across the set

he holds her waist a lot, and he’s super protective

but also the !! softness !!

have literally been walked in on several times of them just peppering each other with kisses and laughing and its literally lowkey a movie romance

working out together

practicing dances together

the type of guy to literally ignore everything she’s saying because her beauty distracted him

she hits him on the arm for that

passionate kisses

there have been too many times where the others walk in the kitchen and lily is sitting on the kitchen counter with her arms around jeno’s neck as they’re just making out

they’re the couple that’s yelled at by the dreamies the most because sometimes they need to chill out

LMAO THEYRE LIKE THE HORMONAL HIGH SCHOOL COUPLE

and like they love each other deeply and fully, it’s not high school in that regard

but they giggle too much and are kinda all over each other sometimes

they use pet names just a BIT too much

the older guys are a bit more protective of her with him than they would be with any of her other options

cuz while they’re softies

they escalate their relationship super quick

and it’s RIGHT for them

but the hyungs are protective

jeno surprisingly isn’t that jealous because if he could actually get lily

he knows neither of them are going anywhere

him constantly telling her how beautiful she is

her encouraging him and telling him he’s so talented and more than he thinks he is

when they ride the tandem bikes (i think that’s what they’re called? the bikes with two people?) it’s just jeno pedaling

OH and when they make eye contact during stages it only enhances their stage presence because they both wanna look sexy for their boo

jeno is rooting for lily solo because he knows she deserves it

super sweet and wholesome and they make each other smile so WIDE

she pops his zits for him LMAO

cuddles for DAYS and jeno’s fav thing is when she falls asleep in his arms

touches his muscles all the time

SLIGHT nsfw below. no smut but. and then some fluff near the end <3

they make out so much OMG

a bit wilder than she would be with others

she loves to run her hand down his abs

when she does that or touches his biceps it lowkey turns him on

jeno is a bit more reserved than the others at times, but with lily he feels utterly HIMSELF

he doesn’t feel like the jeno who is just a hot rapper. he feels more than that with her

they bring the light out in each other

hyuck:

another unexpected pair but a lot more expected than jeno/lily would be

they’re both literal sunshine and they would be such a beautiful couple

lily aka the only human alive to fluster hyuck

and even THAT doesn’t happen very often

hyuck’s lap = lily’s seat

SO touchy and affectionate but not in the way lily/jeno would be

it’s like constant hand holding, hugging, sitting on each other, leaning on each other, stars in there mf EYES

while they still tease each other and mess around

i have a very specific image in mind of them waking up together, hyuck leaning over her, the biggest smiles on their faces, and then kissing each other

and lily’s just like “hi” with the cutest smile, and then he says it back with the same smile

it might surprise you but hyuck POSSESSIVE

will gatekeep her and not let anyone hug her

always calls her his girlfriend in front of the members

he stands behind her with an arm around the middle of her torso a lot and she’s just absentmindedly playing with his fingers

only a tiny, lil bit obvious in front of czennies because they’re both so affectionate?? and before they dated lily would call him the love of her life?? and keep her face close to his?? this is NORMAL for them

but one of the biggest clues is hyuck being physically unable to not stare at her lips sometimes

they read each other’s tarot nearly every day HAHAH

very romantic as well

she sings him “you are my sunshine” all the time, just stroking his face and staring at him with all of the love in the world

like i said, they still tease the fuck outta each other and roast each other and are at each other’s throats but then they can flip INSTANTLY

he kisses her knuckles and traces her face

he games and she’s falling asleep on his lap

127 squad doesn’t like when they’re being forward because haechannie is the maknae

she loves life cuz more hyuck = more taeil

he will move mountains to make her laugh or see her smile

he’s begging sm for a sexy dance break with the two of them

she’s obsessed with how gorgeous his skin is

the type of boyfriend that notices the tiny little things

he’ll do things/get things for her just because he thought of her or remembered something she said

SLIGHT nsfw below. no smut but. and then some fluff near the end <3

another one that’s a bit wilder

theyre not shy LMAO

steamy intense makeouts like

how is he so good? lily is very satisfied

overall they’re such a fun beautiful HAPPY couple

theyre both so loving and wonderful and there is not one single doubt in anyone’s mind that they love each other fully

jaemin:

literally impossible in any universe

chenle:

lily and chenle have always been two sides of the same coin and he had been waiting for so long

the SMILES

the most beautiful happy smiles at each other ALWAYS because how did they get so lucky?

they were each other’s first proper kiss (canonically, as well)

it’s perfect because they’re best friends and always have been

nothing much changes except the affection and little things because they’re both still best friends

jisung being on all of their dates

he always buys her expensive shit and she hates it so much

she puts on lipstick JUST to kiss his cheek

jisung has walked in on them vibing, on them making out, and yeah he’s sick of it and so happy he only saw them kissing

always sleeping in the same room (usually at his place 👀) but theyre a huge mess when they sleep at night and someone ends up hitting the other because chenle moves too much for her liking

they’re still competitive and of course they still have their alliance

because dating or not, they would fight to the death on that rooftop

chenle literally will kiss every inch of her face because he likes hearing her giggles and he can’t believe he finally got his lily

CUDDLING ALL THE TIME and they’ve fallen asleep on the couch in the dorms and when they’re sleeping HARD the others like to see how many things they can balance on their heads

he will HYPE HER UP ALWAYS

but then say summ like “her face is weird tho” after and unless they’re in front of fans he ends up kissing her after she hits him

when she has to be sexy on stage, he is HERE FOR IT even if the stage is with another person because!! YES his girlfriend is hot, he’s LUCKY

she loves going to his house!! mostly because his family but also

they get to have privacy and be a couple

they’ll hold hands on camera cuz they don’t give a single fuck

they’re definitely outed and have to go public

which just makes their competitive streak and constant roasts WORSE

she loves the sound of his laugh but will yell at him if it hurts her ears

threatens to get one of his predebut photos tattooed on her

a big part of them loving each other is annoying each other and being soft behind the scenes

always together

SLIGHT nsfw below. no smut but. and then some fluff near the end <3

the more intimate aspects of the relationship were really weird at first

but they’re very compatible so it was just fun to them

he WILL honk her boob. has done it in front of the others by accident and jaemin forbid her to see him for a few days

they kinda taught each other how to kiss way before they dated so it was funny when they did it as a couple

peak friends-to-lovers and even czennies can’t help but love then

jisung:

god their shyness is kinda annoying

really confident in private- they talk a lot, they’re very good at just chilling

but lily has to be the one to hold his hand because he’ll get nervous even when he’s so comfy in the relationship

i mean not that the dreamies have time to be in a relationship, but jisung was so SCARED to kiss her and have his first kiss

she thought it was funny

clumsy duo and they tease tf outta each other for it

chenle always being around

they can’t tell who the members are more protective over in the relationship

hugs!!! she loves to backhug him and he thinks it’s cute cuz she’s so tiny

they watch harry potter too much

she has almost convinced him to ride a rollercoaster but ended up failing

he makes fun of her height a lot and then she’ll trip him or something

he’s kinda protective and gets insecure that he’s younger than her sometimes but she just kisses his cheek and tells him to stop worrying

tbh they’re the most innocent, wholesome couple

they wanna go out on dates and they do but catch another member tagging along to babysit them

she gets wine drunk next to him and he can’t drink so he just has this drunk woman on his hands and doesn’t know what to do but honestly she just wants him to cuddle her to sleep

his voice is her favorite sound and she wants him to sing more

whenever anyone says something weird about jisung they both hold up the handcuffs cuz

they’re super weird they can be so confident and then one of them gets flustered and will be a shy baby

trading lines in concerts

lily making cute faces at him, staring at him blankly, winking at him, acting cute to him in front of fans

they share one braincell together and probably accidentally outed themselves by using pet names and like. holding hands on live

and then the OH SHIT face happens

they’ve given the older members heart attacks because he’ll give her a piggyback ride, they’ll hug really tight, or WORSE... they’ll give each other a lil kiss

they’re more innocent by nature but they love kissing and he loves holding her face because her skin is pretty and soft

he wears her perfume on his wrist so he can smell her and smile

the type of boyfriend who is CLUELESS about girl stuff

he wants her to try a different hair color. like a weird one

she refuses

taeyong actually loves them together so much

them dating and being IN LOVE and jisung still gives her cash for her birthday

the “i love you’s” are so. cute. and full. of. LOVE

she is merciless when theyre playing something against each other. she’ll TRY to get him out

usually lily is clingier but when she’s standing and jisung is sitting with his arms around her waist and his head squished to her side it’s so cute

he gets randomly really clingy at times and won’t let go of her

emotional bub will get teary because he loves her so much

#na jimin #na lily #nct addition #nct dream addition #nct dream oc #nct oc #kpop addition #kpop oc #nct 22nd member #nct dream 8th member

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shijiujun · 4 years

Text

[SPOILERS KIND OF] TLTR2 - Thoughts on the last 10 episodes + EVERYTHING

Ahhhhh the found family trope gets me every single damn time!!! Honestly Zhu Yilong’s TLTR is the best I’ve seen!

Okay first things first, TLTR as a whole was EXCELLENT in terms of characters, script, twists, SETS (wow damn TLTR creeps me out episode after episode) and the whole premise seems a little far-fetched but actually melds together really well. Pacing could be slightly better (HAHAHAHA like Wu Xie was stuck in Warehouse 11 on his own like FOREVER in the first half) but they remedied that with S2, the pacing was spot on and I was literally jumping on my feet EVERY WEEK. Reunions? Check. Xiao Ge badass catwalk from the shadows every time Wu Xie is in danger? Check. TEAM BONDING WITH LIU SANG WHUMP?! CHECK. HAPPY ENDING?!!! CHECK (could have done with an alive Jia Ke Zi to be honest, but we’ll take what we can get).

And one thing TLTR does really, really well is like touching, reminiscing scenes? Even with Er Jing?!!! And of course everytime Pang Zi and everyone else thinks Wu Xie is dying, and when Wu Xie himself thinks he’s literally going to die the next moment, wow the script is amazing?!!! I cried (okay but I admit that I cry really easily) soooo many times?!

On Er Jing - The Mole

The moment when Wu Xie recalls Er Jing saving him when he was younger, and how much he trusted Er Jing, and I do feel so sad for both Er Jing and Wu Xie? Like I don’t believe each moment for Er Jing was spent like scheming and tbf he’s not that good of a schemer, ISTG his greed and glee shows up EVERY SINGLE TIME the second he steps into warehouse 11 and Pang Zi is right, “It’s so obvious it’s Er Jing please.” Wu Xie says it as well - if Er Jing truly was a scheming little bij, he would have been seen throughout the 20 years?! So Er Jing perhaps through the years, did think about Er Shu and Wu Xie as his family, I do believe that. It’s just sad af that he chose treasure that he never saw over riches with Er Shu ya know?!

Not sure if Er Jing and his band of crazy friends are dead or alive? Seems at the last episode Wu Xie asked to send doctors down to treat them, but I guess...

On Liu Sang

In the book apparently Er Jing isn’t the mole but Liu Sang (in a different setting, not the same situation if I recall correctly), but San Shu admits that he was drunk or smth when he was writing the ending and Liu Sang and Xiao Bai ‘disappeared’ LOLOL but San Shu has been supportive always in Liu Sang’s character, so I am soooooo glad my Liu Sang BB is pure, innocent, sometimes scheming, always whump?!! AHHHHH LIU SANG!!!!!

Liu Chang as Liu Sang is fricking amazing damn I LOVE HIS LOOK? Honestly, Liu Chang is my new obsession, I love this man. I really, really do. I love his hair, I love him with glasses, anything tbh.

And he’s so protective of Xiao Bai?!!! LIKE LEGIT GENTLEMAN?!!! The first time when he tried to save Xiao Bai from Boss Jiao’s people in the cave, and then in the last ep, when the black thingys came flying over, he shielded her with his coat?!!! Not that it would have made a difference but damn, my pure, competent bb Liu Sang.

Also Liu Sang still DOES NOT GET HIS HUG FROM XIAO GE ISTG?!!! XIAO GE HUGS EVERYONE BUT HIM. DAMN. I REST MY CASE.

On IRON TRIANGLE + 4th sister Xiao Bai

Wu Xie is amazing. ZYL is damn frickin amazing too, and Chen Minghao as Pang Zi IS GOLD. HE’S SO DRAMATIC ASS?!!! And young Huang Junjie as Xiao Ge, damn. This is the best trio I’ve ever seen. This is the best trio you need. All the brotherhood shit, all the meaningful stares between Xiao Ge and Wu Xie, COME ON!!!!

And also Pang Zi taking care of Xiao Mei?!!! And Xiao Mei calling him dad?!!! I love it. AHAHAHAHA

Xiao Bai, I don’t even know where to begin. I think it’s cute, her and Wu Xie, and when Wu Xie called her and she didn’t pick up and in the last ep when Xiao Bai left him behind to run towards Pang Zi and the rest and Wu Xie’s AFFRONTED LOOK, I think he’s fond of her somewhat too. Although to what degree, in what sense, well... I just think it’s cute (ALSO DID YOU GUYS KNOW THAT MAO XIAOTONG WHO PLAYS XIAO BAI IS THE SAME AGE AS ZHU YILONG?!!! LET THAT FARKING SINK IN. THEY ARE BOTH 32 YEARS OLD OKAY?!!)

Hei Yang Jing, Huo Dao Fu, Li Jia Le, Kan Jian, Xiao Hua

AHAHAHAHA I just wanna laugh at these few - LJL especially was so mean in Warehouse 11 but the moment S2 starts he’s just a cute, clumsy bun bun who keeps getting KO-ed, glad he’s alive tho!!! Kan Jian too, so skinny and crying all the damn time, who loves his boss so much, he’s the cutest. I see a lot of fics shipping Kan Jian and Liu Sang, and tbh, in S1 I did see it quite a bit.

Hei Yan Jing and Chu Chu is frickin alive?!! Damn Xiao Hua, I knew you would have done something. Honestly, if you have so much damn money, and you let Chu Chu go without a fight after warning her that you take HYJ’s request to keep her safe seriously?!!! DAMN THE REVEAL IN THE LAST EP. Hope they meet. Baron Chen is... gosh, I love this man. Also Baron Chen and Huang Junjie were in The Pillow Book tgt and oooooof I love it I love it.

And all of you know just how much I love YOUTIAO DOC?!!! He was such a major side character in the second half of like S2 and I am all for it. His sass, his eye rolls, the way he takes care of Wu Xie and does things for him even tho he grumbles about it?!!! Damn. I need a friend like that.

On Er Shu

Honestly Er Shu was the mastermind in the novel? If I recall, it was his plan basically to get Wu Xie to go to Thunder City to get himself cured, because Wu Xie would not have done it otherwise. In fact, everyone except Wu Xie knew it was Er Shu’s plan to get him to go and that he schemed it all?!!

And when the reveal happened, everyone was like “yeah we knew it was him and that we’re all part of his plan but we didn’t say anything” because no one knew which roles they were playing in Er Shu’s plan?! And then yeah Liu Sang turned out to be a mole but I didn’t manage to see why, but he was kind of a morally ambivalent character? And Wu Xie in the novel at one point said that he believes in the kind of person Liu Sang is and that he’s not all that bad after the reveal, so... anyway, ER SHU WAS MEANT TO BE MORE BADASS THAN THIS?!!!

I’m so sad he was really paralysed ;-; I legit thought when he stood up in Ep 29 it was really him and I freaked out but it was HYJ CRIESSSS

Overall this was definitely a drama of friendship? Forged over creepy tombs that were a mix of Frankenstein, The Mummy Returns, Aliens vs Predator and Indiana Jones?!!! FRIENDSHIP!!!! At the end of it all, Wu Xie found so many new friends that are definitely going to come running the next time they have to find another tomb?

Like I was sad Liu Sang didn’t turn up in the last scene but he’s alive thank god, and you can imagine that the next time they need help, Liu Sang will roll his eyes but turn up?!!! And LJL also maybe?! And HDF, everyone!!!!

One thing I wanna know is what the hell is going to happen to the Wu family business?!!! Wu Xie looks like he not going to deal with the power shit, argh IDK he’s back to hobo-ing with his bros which I guess is best life.

EVERYTHING WOULD HAVE BEEN GREAT IF ER JING WASN’T A MOLE ARGH I’M SO MAD. AND IF JIA KE ZI DIDN’T DIE?!!

I’D WATCH THIS WHOLE DAMN THING AGAIN. 10/10 FOR BROMANCE, FRIENDSHIP, FAMILY AND CREEPY ASS TOMBS.

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lillupon · 3 years

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So, I've got a very long rant/opinion here and Idk really know how to say this without coming off kinda bad but I'm gonna say it anyways. I agree with the fact that the seventeen tag has been kinda dry lately on most fanfic places, but it's really only in the smut area. It's the sane way with other groups too I feel like. All of the nice little innocent tags are boomin to this day and thats completely fine. I think the smut tag is dry tho bc lately I feel like a few social issues (like sexualizing people and disrespecting them and their identity) have crossed over into kpop and have been ?blown out of proportion? Lately there's been a rampage of people who like to say that writing smut about someone is disgusting and is dehumanizing because people want to assume that it would make the idols uncomfortable which could equate to some morality issues on how you are reducing someone only to their body without their consent and a bunch of stuff like that. It kind of pisses me off bc this is fiction. About grown adults. Clamping down on horny people who simp over hot asian men isn't going to solve the issues we face in real life. I think a shit ton is wrong with the world we currently live in, and deciding to come after something that isn't even real bothers me. Like what does that actually accomplish. But yeah, I think thats a reason why smut has been dying down. I mean, on youtube almost every video about unpopular opinions, or things they dont like about kpop will include something about shipping idols in fanfics. And then everyone in the comment section will talk about how its all fine and dandy in moderation, but once people start writing smut it's crossing the idols personal boundaries. It's something I've been seeing a lot more often and I think people who are interested in writing smut are being turned away from it bc we've gotten to a point where people are being called disgusting for having fantasies.

Hi Anon, thank you for sending in this Ask.

I want to preface this by saying: when I write or talk about Mingyu and Wonwoo fucking on my blog, it is a fantasy. I am not speculating about what the real Mingyu and Wonwoo might be like in bed. I am imagining the versions of Mingyu and Wonwoo that I have created in my head, that exist only in my stories. None of it is real. I understand that this can be a blurry boundary for some people. But for me, the separation between fantasy and reality is well-defined. Now, on to your Ask!

You’ve hit the nail on the head with this one. You’ve also touched on many of the issues I have been struggling with myself as of late. It’s difficult to argue about morals since everyone has a different set of values, as well as different comfort levels. Some people think real person fiction (RPF) is a gross invasion of privacy. Others are fine with it. And others don’t care one way or another. There is no single answer; I can only offer my answer. Which means, of course, people are welcome to disagree with it, or parts of it.

In this essay (LOL But forreal: this is an essay), I will be sharing my experience in the k-pop fanfic community from 2014 to present, the etiquette I personally abide by as a reader and writer of RPF, as well as my stance on RPF in general.

I started reading and posting fanfics back in 2014/2015 on a website called AsianFanfics (AFF). Obviously, no one on that site had a problem with RPF, since AFF is a platform made specifically for sharing stories about Asian celebrities. For many years, I read and enjoyed RPF with zero guilt. I scribbled away by myself in my own corner of fandom and curated my own content. I didn’t interact much with other fans, readers, or writers. I didn’t have a Twitter, and I only used tumblr to reblog memes. As a result, I’ve been able to avoid a lot of anti-shipping discourse, as well as purity and cancel culture. I had no idea there were so many negative opinions about RPF. It wasn’t until I became active on the subreddit r/Fanfiction last year that I learned about all the discourse surrounding RPF.

This newfound ‘awareness’ does make me feel guilty at times—but only because after mulling this over, I still don’t think this is something to feel guilty about.

Here’s what I remember, first and foremost, when I create and consume RPF: fanfics and my favourite ships are fictional, and fiction is fantasy. This is basic etiquette when it comes to RPF, and most people in the k-pop fandom understand this. Delusional fans exist, of course, but they are not representative of the entire k-pop community.

Another point of etiquette is to keep fanfics within fandom spaces. I would never push my fics into celebrities’ faces, or go around claiming that my fanfics are accurate representations of a k-idol’s life or personality, in any way, shape, or form. I would also discourage directing ship-related questions to official accounts, or bringing them up during fansigns or other face-to-face interactions; I believe that in these instances, shipping does have the potential to strain real-life relationships.

So with basic etiquette out of the way, let me share my approach to RPF in general.

As much as we like to think we know our favourite celebrities, we really don’t. All we see is their public persona. And this public persona is intentionally controlled, managed, and curated by a team of people: directors, tabloids, editors, makeup artists, publicists, etc. How “real” are these celebrities? We are so distanced from them that they may as well be fictional.

I draw from the public persona that idols project, and I work them into my own writing. But at the end of the day, these personalities are my own interpretation. My interpretation is probably nothing like an idol’s actual personality. I just use the “public persona/character” that idols portray as inspiration for my own stories, which are set in wildly different universes.

More than anything, I think of k-pop idols as “actors” in my fic. You know how when you write an original novel, you scroll through Google images, looking for the perfect person to portray your original character? RPF is literally that, except you might build upon pre-existing dynamics and personalities.

When it comes to explicit fanfiction, two main concerns are prevalent: one of consent, and one of sexualisation.

If we argue against explicit RPF due to lack of consent, we should be willing to apply the same lens to all explicit works. How do we know that the creator of a movie, book, series, etc., is okay with us using their characters in our stories, explicit or not? We don’t. Perhaps some creators encourage fanfiction, but don’t want their lovingly crafted characters engaging in sexual acts or experiencing trauma. We just don’t know. I feel this line is even more blurred when we talk about characters from movies or TV series.

Let’s take Steve Rogers and Bucky Barnes, as portrayed by Chris Evans and Sebastian Stan, from the Captain America movies as an example. I am willing to bet that when people consume and create explicit fanfiction about Steve and Bucky, they are imagining Chris Evans and Sebastian Stan in their heads. I doubt many people are imagining the 2D cartoon versions of Steve and Bucky, even though they’re technically the exact same characters. Why? Well, it could be because movies are more readily and easily consumed than comics, and so people are unfamiliar with comic book Steve and Bucky. But it might also be because fans find Chris Evans and Sebastian Stan attractive. Is this really any different from RPF, where fic authors make up everything about a celebrity’s life?

When readers and writers of fanfic talk about how hot Steve Rogers or Bucky Barnes is, those comments are about Chris Evans and Sebastian Stan’s bodies. When reading explicit stories, fans are going to picture Chris and Sebastian’s bodies in their head, doing sexual things. Can we say, “Well, it’s not really you, Chris/Sebastian”, when in a way, it is?

The reality is, people are going to thirst over celebrities, regardless of whether or not explicit fanfiction exists. They’re going to post thirst tweets on Twitter. They’re going to talk to friends and strangers online about how hot [insert celebrity name here] is. They’re going to fantasize about dating and having sex with their favourite celebrity. Or, as it is in my case, they’re going to make up stories in their heads about their favourite idols dating and banging each other. People are going to do all of this without ‘getting consent’ from the celebrity. Cracking down upon and shaming writers of RPF isn’t going to change any of that.

To be honest, I’m not sure why people think it is disgusting to imagine sexual scenarios about real people. It is okay and normal to have these kinds of fantasies. I suppose the alternative is to fantasise about having sex with cartoon characters instead? It’s a very binary way of thinking to say that if you imagine/write real people in explicit scenarios, you are immediately sexualising, dehumanising, or objectifying them. There is more to dehumanisation than writing smut about our favourite celebrities. For one thing, you can love someone and appreciate all parts of them, and still want to fuck their brains out. And generally, fanfics come from a place of love—love that is not only sexual in nature.

Is it the sharing aspect inherent to fanfiction? The possibility that a celebrity might stumble upon explicit works about them? The chances are very low, I think, of the k-pop idols I enjoy writing about coming across my English fics. But I also believe in curating your own content, and that applies to celebrities too. Perhaps a celebrity should not go searching for fanfics about themselves. And of course, people should not show celebrities their fanfics, unless invited.

Another argument I hear against (explicit) RPF is, “How would you feel if someone wrote fanfiction about you?” First off, I don’t like this argument because there’s a difference between someone who decides to be a public figure versus someone who decides to remain a regular private citizen. Celebrities should and do know what they’re getting into when they choose their occupation. (This is not to say, “They are celebrities; sexualise them all you want because that’s what they signed up for.” Here, I am only acknowledging that people might have sexual fantasies about celebrities they are attracted to. Presumably, celebrities are cognizant of this.)

If someone (whose existence I am not even aware of, mind you) decides they want to write explicit fanfiction of me in some tiny corner of the Internet, I wouldn’t care so long as: (1) they don’t shove it into my face, and (2) they don’t harass me and ask invasive questions about my personal life and relationships. It’s not hurting me or negatively affecting my life, so it wouldn’t even register as a blip on my radar. When fanfiction remains within its appropriate spaces, it is largely harmless.

Now, if a k-pop idol were to ask their fans to stop writing fanfiction about them, would I? Yes, I would. However, I can’t imagine that happening. Judging by the number of ‘sexy’ concepts, fanservice moments, and variety shows such as ‘We Got Married’, I am certain that k-pop idols realise they are the stars of many fantasies—some of which are explicit in nature. Considering the prevalence of shipping in the k-pop industry, I would argue that shipping is subtly encouraged.

It’s sad that so many talented writers are shamed out of fandom, or feel that k-pop cannot be the medium through which they tell their stories, or explore their sexuality, or cope with trauma, or simply have fun. Professional works and Hollywood love their RPF—readers and writers of fanfics should be able to, as well.

As you said Anon, “clamping down on horny people who simp over hot asian men isn't going to solve the issues we face in real life” (this is a lovely sentence, by the way). The kind of person who dehumanises another and reduces them to a sexual object will do so some other way, if not via fanfiction. I don’t think the issue of fetishisation can be fixed simply by telling people not to write explicit RPF. In my experience, people who read and write RPF are more respectful and thoughtful about these things than the general public. We’ve all seen the general public say highly sexual things about celebrities in the media and to their faces, or tag celebrities in their thirst tweets. Are these things less invasive than fanfiction? Personally, I don’t think so. And in my opinion, there are more pressing and damaging issues in stan culture than fanfic.

In conclusion, I don’t think there is anything wrong with creating and consuming RPF, both explicit and non-explicit so long as we:

Remember we are writing fiction

Keep RPF within its appropriate space, and

Do not harass celebrities about their personal lives and relationships

RPF is not for everyone. There may be people who enjoy RPF, but draw the line at explicit stories. This is fine. Everyone has their own personal preferences. What is not fine, however, is attacking people for creating things you don’t like. I’m not sure what kind of moral crusade people are on and what they hope to achieve by shaming writers of RPF, explicit or otherwise. Ultimately, fic authors are writing a fantasy. It’s not real; no one is being hurt. I think it’s important for people to curate their own content, and AO3 makes it very easy to filter out explicit works and unwanted tags.

Maybe this is me trying to justify my own participation in explicit RPF—I don’t know. What I do know is that I love k-pop, and fandom is an important part of my media and entertainment experience. I adore the k-pop idols I write about, and I just want to imagine them being happy and getting lots of love and orgasms. Let a bitch be horny, goddamn…

Some bonus fun facts!

At the time I am writing this, on AO3:

26.2% of Stray Kids fanfics are rated M or E

26.3% of Seventeen fanfics are rated M or E

29.0% of Merlin fanfics are rated M or E

34.9% of Captain America (Movies) fanfics are rated M or E

40.1% of BTS fanfics are rated M or E ( ͡° ͜ʖ ͡°)

Coincidentally, I saw this post on Reddit this morning: Can we have a RPF positivity post?

#asks #my writing #fic & fandom #I keep coming back to fiddle and add things to this answer #but I think I've said all I wanted to now...

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thunderheadfred · 4 years

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We finished all of Hannibal and of course I have Thoughts but they’re obviously pretty spoilery and I’m too lazy to get my computer out and write a real post with a read more, so suffice it to say

The s2 finale / s3 opener was so committed to pulling the rug out that it forgot that Hannibal does in fact have priorities other than spraying as much blood on his carpet as possible, and the show (and Will???) immediately forgives him for throwing a heartless murder tantrum because awwwww, look, he made bad art out of a dead guy. he’s sowwwyyyy

this show fridged the same character THREE. TIMES. and not even in the funny literal way

I have So Many Thoughts about how they bungled that... but again, spoilers. Let us just say that if I ever wrote a fix it fic, certain someones would be A) not murdered for cheap shock value and B) doing the stabby stabby themselves, because “gutted” as a literal metaphor is exactly the level of beat-you to-death non-subtlety this show truly deserves

Season 3 was definitely more competent and less Halloween Spooky Bin but they just couldn’t resist having that ONE super extra (ARTICULATED?!?) craft project corpse. Did Will post it to his Insta stories or,,,,,,

Everyone is now a Batman villain. E ve r y o ne. Apparently interacting with Hannibal for any length of time will turn you into a ruthless, well-dressed psychopath. It’s transmissible.

Thanks for attempting to give us Hannibal’s boo hoo sad back story I guess? They seem to have given up halfway, explaining fuck all just so they could randomly add Chiyo the inexplicable super-sniper as a flimsy deus-ex-machina and then completely forget about her again? I read the Harris novels approximately ten thousand years ago and I can’t remember if she even exists in the books? God are we in the expanded universe now is that what’s happening

I guess breaking your spine turns you gay and nets you a trippy sex scene with your hot rich future spouse. Conclusion: Will Graham needs his back broke

I have no idea what was going on but I cheered when Chiyo pushed Will off the train. See above.

Hannibal was scarier in this season, like actually kind of legit scary again, even tho they just lifted a bunch of lines verbatim from the Ridley Scott film and used them less effectively while somehow bending the timeline into an AU pretzel but hey, that ice pick scene still got me good. n-ice

Tara from True Blood!!! She was great. Protect her

I really wanted to love Armitage as Dollarhyde but... I didn’t. I can’t tell if it was the direction or just his performance but it just.... didn’t work for me. Still INFINITELY preferred him over the freak of the weeks from s1-2, holy shit. Can’t imagine why.

I cannot BELIEVE someone’s non-con Verger Manor pwp torture porn got put on network television. I cannot BELIEVE real life actual actor Mads Mikkelsen—who has no right to look that put-together while naked, branded, and hog tied—has actually paraded himself around in the viscera of AO3’s ugliest tags for our entertainment like it was a sexy negligee

Gillian Anderson is a GIFT and I love every second she spends in anything. The crush is real, but that still can’t fix that her character made zero sense in s3, at all.

That said, Bedelia and Will sniping over Who Gets To Be Hannibal’s Tortured Love Interest was A+ trash

The whole last episode(s) is worth all the mess. Why couldn’t that have happened earlier. Yes I WILL watch a season 4, I don’t care how sloppy it is. This show is built of ridiculousness, I do NOT care. Netflix, please make it worse somehow. I dare you.

My husband spent most of this experience yelling at Will and Hannibal to kiss whenever they were onscreen.

#hannibal #as always i am years late #anyways #my steaming hot takes #fred watches hannibal

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plush-anon · 4 years

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after many hours spent pausing the show bc good lord why did they do that, i have now finished Love Never Dies

annnnnd yikes 😬😬😬

I’ll start with the few positives I did enjoy from the recorded Australian production on Youtube:

1.) the camera work. This is the kind of thing I dream of for professionally recorded shows - it really allows for some lovely close-up shots of how the emotions play over their faces, it’s lush

2.) the costumes are well-crafted, and I desperately Want the Phantom’s long-ass swooshy trenchcoat cape thing he wore for the first half-hour

3.) the sets used throughout this are honestly very impressively used and put together for some really fantastic shots

4.) the opening, with ‘Til’ I Hear You Sing Once More’. This song is honestly very lovely, and really articulates the Phantom’s loss and heartache for Christine. It’s sung very earnestly, and had the rest of the show been more like this I might have liked it more.

5.) the Fucking Song, ‘Beneath a Moonless Sky’, is a guilty pleasure. It’s so over the top, and it is only about recounting that One Time they totally banged yo, and I love it. I think it’s the orchestration, but it’s also enjoyably silly even while it takes itself 100% serious.

6.) As much as I hate to say this? ‘Devil Take the Hindmost’. While I hate the gist of the song - that being Raoul and Erik betting on who Christine will choose, and pretty much deciding for her who will get to be her one true love forever, completely negating the entire point of the OF musical where her choice was the most important factor for all of them - the pacing and the lyrics as they dance around each other are absolutely fantastic. It’s kind of sad to say, but Raoul and the Phantom, in this scene alone, display more chemistry in their singing than they do with anyone else. Let the hatefcuking commence~

7.) Some parts of ‘The Beauty Underneath’ I enjoy, particularly the ending scene where the Phantom is trying to talk Meg down. It’s very slow, melodic, and shows his more manipulative side, as well as how he can crawl into someone’s head, I love it.

8.) This very interesting visual with a mirror in Christine’s dressing room. There are two separate scenes where someone is in the mirror singing. The first is the Phantom, between Raoul and Christine. The second is Raoul between the Phantom and Christine. It’s honestly a nice touch.

9.) The main three are excellent singers.

Unfortunately, that’s all on the list of what I liked. Everything else is a Giant Fcuking Mess.

1.) The Phantom is no longer a complex, messed-up, but still somewhat sympathetic character, no; this is just a giant asshole who takes everyone for granted and barely realizes that anyone else exists except Christine, and even then only really as his personal instrument.

He never actually apologizes to Christine for the shit he’s put her through and continues to put her through, but still demands obedience and forgiveness and understanding. It completely negates the entire point of POTO’s ending, where he actually realizes he’s done wrong by her and his actions pertaining her, and lets her go from his world entirely, and RESPECTING HER CHOICES AND LEAVING HER ALONE.

Not to mention This Bitch also threatens to kidnap/possible “lose” her child if she doesn’t sing for him, keeps pushing her around and telling her what to do, and manipulating her life to change her decisions for her.

AND HE’S FRAMED AS THE BETTER OPTION HERE

2.) Which reminds of me of the next big asshat: Raoul de Chagny, who has now become an alcoholic gambler who pushes his wife to do things she’s not comfortable doing to repay his debts, neglects his son entirely, and also is abrasive and controlling of Christine, to the point he yanks her back and forth on doing shit. Play this role! We should leave bc he was an asshole! No now we should leave bc Phantom is back! No take the role he’s paying triple! I’ll make a bet on whether she loves me to pay my debts! No wait you should quit ten minutes before you go on-stage bc I don’t want to lose you! MAKE UP YOUR GODDAMN MIND YOU MISERABLE PISSANT SHUT UP SHUT UP SHUT UP

Like I can understand being overprotective to a certain degree, which could eventually morph into being controlling. But neglecting your son, your wife, drinking and gambling your fortune away? ALL of that?!? Really???

Shouldn’t he be desperate to keep his wife and son close to him at all times after the events of POTO? Never leave, never go anywhere, only do what’s safe? You COULD have set this up as a continuation of Safety versus Freedom with Raoul and the Phantom, show the good and bad of both and have her choose from there. Show the dichotomies and hypocrisies of both men’s standards.

But nope! We’re just totes gonna make the husband like this for no goddamn reason, especially since Raoul doesn’t start suspecting that Gustave (his son) isn’t really his until Devil Take the Hindmost. He’s just that much of an idiot!

3.) The presence of Madame Giry and Meg Giry. Oh gods, where to even begin? They’re pretty much only here so that Sir Andy doesn’t have to make new characters with different backstories and motivations and introduce them accordingly. Nope! Now both women are blaming Christine for leaving the Phantom Man-Baby, and talking about everything they sacrificed to help him make his stupid-ass circus, and talking about how they love him and GAAAAAAAAAAAAAAAAAAAAAAAH Madame Giry in the POTO musical YOU LED RAOUL DIRECTLY TO THE PHANTOM’S LAIR SO HE COULD RESCUE CHRISTINE WHY ARE YOU COMPLAINING ABOUT HOW SHE BETRAYED HIM

And, oh, Meg... she reaaaaaaaaaaaaally got the short end of the stick here. I just... poor dear, she was horribly treated in this.

Neither of them deserved to be like this, honestly.

4.) Christine, to a lesser extent. Experienced Literal Character Assassination, forced to choose between two horrible options, stripped of her agency entirely, used as a bet in a game between said two horrible options, lied to and dragged around constantly, should have taken Gustave and run off with Meg to run a music store together. Fcuk you Sir Andy, for using POTO characters to act out your bitterness and frustration at your ex.

5.) The entirety of the whole Boardwalk Circus schtick, spawning an additional Fuck You to Frederick Forsythe, who thought this was a tenable option for the story to progress.

6.) The Phantom’s deformity was literally just four lines drawn onto his face with crayon and some smeared lipstick:

what even the fcuk, you couldn’t make the make-up crayon drawing more detailed??? take more than ten minutes to draw it on???

I never thought I would say this, but even the 2004 film’s depiction was better than this! At least that one partially drew from a real medical condition, Sturge-Weber Syndrome. What the fcuk is your excuse LND?!?

7.) The Lyrics. Oh gods, the lyrics. Some songs were decent, mostly the ones I listed up top. But the rest? Did someone forget to give the writer a more advanced/creative guide to rhyming lyrics? I wrote better shit in middle school than Glenn Slater did for the majority of these lyrics.

Glenn my dude, what the fcuk is this nonsense? You’ve written good shit like the Tangled songs and stuff for Galavant! Why are you writing worse than an angst-ridden middle schooler? It is immensely frustrating, to say the least.

8.) The really WEIRD direction in acting. No one here acts like they know how to move their arms or hands naturally; there’s a lot of really odd and unnecessary gesturing that makes it look like everyone has just had their limbs replaced with faulty robotic arms. There’s also a lot of leaning the characters do, with their arms perfectly straight by their side and it just looks wrong.

9.) The Phantom’s pseudonym is Mr. Y. No, they never explain why it is he chose that particular moniker.

10.) Bathing Beauty. Just... all of it, here, tied to POTO, present and here.

11.) It’s been exactly 10 years since Christine saw/banged the Phantom, and her son is precisely 10 years old.

That’s... not how pregnancy works. At all.

12.) This weird scene with the American press, where they are absolutely obsessed with Christine, despite the facts they present, such as:

- She hasn’t performed in 10 years anywhere.

- She was a French performer, and

- She only starred in three operas at the Populaire (Hannibal, Il Muto, and Don Juan Triumphant, which wasn’t even finished. So technically 2.2 operas that we know of).

Why, precisely, would American reporters be so obsessed with her upon hearing she’s coming? I could see some interest given the whole shebang with the Phantom, but after 10 years of radio silence, would she really garner an entire crowd of reporters and photographers... in America, no less?

France I could definitely see. America? Not so much.

13.) Gustave is a flat, generic kid character, who apparently is totes the Phantom’s son because... he can play the piano well. And also has the same ideas of music as the Phantom, despite never being taught about them, or discussed such things with his mother.

Is musical talent only inherited through the father’s side of the family in this universe? I mean, we never learn about Christine’s mother, just her famous violinist father. Otherwise, why is it Gustave’s musical talent isn’t attributed to - oh, I don’t know - HIS FAMOUS OPERA SINGER MOTHER?!?

14.) Apparently the Phantom is also now the one who invented cars OH I MEAN “horseless carriages” 🙄 A carriage with no engine and a “ghost horse” appears, and everyone is just fcuking stunned by this, like they’ve never seen a vehicle move without a horse before. In 1907. 22 years after the first functional automobile was invented. Ugh.

15.) seriously tho who thought basing a sequel on the Frederick Forsythe novel was a good idea why did nobody think to stop him apart from Sir Andy’s pet cat Otto. why.

16) The Phantom’s interactions with Gustave are distinctly creepy and unsettling. I keep getting pedo vibes from him and I Do Not Like It.

17.) The death scene at the end is so goddamn over-the-top and out of nowhere I just want to throw something, ugh

18.) And finally, my last gripe with this mess: This takes place in 1907, and declares that it’s ten years after the original musical. Despite the fact that the OG took place in 1885. Yippy skippy. 😑

I can honestly say I am Not a Fan of this musical as a whole, mostly based on the plot and the character assassinations (one quite literal) and the poor lyrics. I can admire the camera work, the basic singing ability, the scenery and costumes, and maybe two or three songs. But I just do not enjoy it. It took me two days to finish watching it because I kept cringing from what shit kept happening, and had to walk around and listen to other shit to get it out of my head.

HOWEVER: People do enjoy this one on the sake of it being so bad and over-the-top, and I can honestly see the whys. It helps that most of the cast can sing, and the orchestration is done well. There’s a TON of stupid to mock, and a lot of over-the-top awkwardness to laugh at. This is a good one to watch and mock with friends, IMO.

For those of you who do enjoy it, I’m afraid I have to disagree on most of it. Still, it is nice being able to watch this one for free, even if it is a giant hot mess.

And that’s all for me on this one! Have a good week guys!

#plush reviews: final thoughts #lnd #love never dies #poto #musicals #this was an ordeal and a half i tells ya

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escapekissed · 4 years

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Lucky do you have any favorite pieces of media from the psychological horror genre? Feels like its a genre that matches ur interests very well 👉🏽👈🏽

there are a couple that really speak to me!

first is rule of rose, which is a game that is incredibly formative to me. in a time where i was looking for representation as a young gay person and REALLY into looking up wiki pages for horror games, rule of rose showed me the symbolic trauma of puberty and toxic ‘love’ between girl children and the violence of patriarchal figures that i was looking for. it showed such cruelty but also such strength in its main character, and the symbolism? exquisite.... it also just has such a creepy atmosphere and the fact that the game is near impossible to play along with its shitty graphics for the enemies makes it so. peculiar and creepy in a very special way to me.

catherine is another atlus game near and dear to my heart, tho i dont think i’m ever going to be playing full body for that exact reason. it’s a game basically about eugenics and misogyny, about gods&devils thinking of women as only reproductive objects and the men in their lives that ‘waste their reproductive time’ being tortured and killed for it, taking away a woman’s choice. i always thought it would be so interesting to do trans and lesbian takes on this game, and i have never really? stopped thinking about how this game is so thrilling in its themes of entitlement and stopping people’s freedom to love as they wish. this is also one of the only horror games in which the ‘human element’ actually interests me. so many horror games give u terrible people and i dont give a FUCK ABOUT THEM. but the way this game shows u just snippets of his life as a ‘break’ from the excruciatingly scary (to me, because time limits scare me LOL), stressful as hell puzzles. and u get to figure out the mystery of what is going on in people who would otherwise be boring to you, but in this game are shrouded in just enough mystery that ur actually interested in their boring day-to-day lives. its so satisfying just to drink with ur buds. its like really great gameplay to me tbh. i also just love katherine and catherine and they frusturate me so much and that’s exactly what they’re supposed to do which i LOVE. extremely effective atmosphere setting and worldbuilding, basically.

the lighthouse is my favorite horror movie tbh because it does suspense so well. the movie is literally themed around suspense, the suspense of not getting sexual satisfaction to completion, of being touch starved and lonely and repressed, of being able to hold ur boss but never kiss him, of being fed lobster but it tastes flavorless and bland and u can smell ur boss’s farts the whole time while he prattles on with disturbing sailor’s tales and barks out orders until he’s lulled into his drink. i honestly love this movie. and the acting is brilliant and unhinged

there’s a few indie games i really like that have been either formative to me or i just??? really like their vibe and i can basically tell from them i would like every game in the ‘genre.’

pocket mirror to me is like, this beautiful game about your own inner toxicity and escaping from yourself. i love indie 64-bit games like this, the background art is so beautiful, and while i’ve never played all the way through it because it scares me too much---i love ib and all the games in the ‘ib’ genre LOL.

doki doki literature club i know is a very strange game to like, but i enjoy it for letting the women be actual characters with their own thoughts and feelings. the pychological horror movie ‘i’m thinking of ending things’ is the exact opposite of this game.'i’m thinking of ending things’ is a backwards approach to feminist horror in my opinion. it’s from a male’s perspective of his hallucinations of a girl that once didn’t give him a second glance and his violence towards her in these fantasies. it takes itself painfully seriously. it pretends to deconstruct something that the director helped soldify (the manic pixie dream girl trope) in the public eye. doki doki literature club on the other hand, the passive character who ‘things happen to’ is the man. the active roles all go to the women in the game and what they do to themselves in order to be loved by not just a man, but the player, and in doing so they often become the all-knowing god of their own prison. like tell me that’s not the dopest thing u’ve ever heard of!

twilight zone is a big one for me but 5 episodes in particular have shaped how i view horror forever. ‘to serve man’---where the greatest, scariest thing in the world is not being able to understand the language another person is actually using and for them to manipulate u using ur own, actually wishing u harm as they placate you with your own interpretations. the episode where a rich man’s last will and testament is for his vain, selfish relatives to wear a mask until midnight that reveals symbolically how ugly they are to him. they bicker all night with petty squabbles, and then at midnight he reveals the mask has permeanantly shaped their faces to reveal who they really are and the abuse he suffered under them. the cornfield episode still scares the shit out of me as someone with an entitled younger brother whose entitlement and anger is often enabled by those around us, and i’ve always thought that it was such a good show of like, how patriarchy enables little boy’s violence. the episode ‘all the time in the world’ where an abused man with a shitty life is finally the last man on earth and he can do anything he’d like to do and all he wants to do is read but then he breaks his glasses. and finally! the episode where toys in a box come to life and bemoan their fate as they realize they will be trapped there forever in clothes and identities they do not recognize. these episodes always scare the shit out of me LOL.

besides that i really like. low-budget passion project indie games. the first that comes to mind is ‘the path’ which is about a family of four sisters of various ages all inspired by little red riding hood who stray from the path and are hunted by the woodsman. and then the game that YOU my dear myers! showed me! that haunts me to this day. basically a tape talks to you about the areas of a house and then starts to talk about the house as a living creature. and the living creature is hungry, without you inside it. the living creature is tired of being alone, it’s tired of being abandoned, it’s tired, and it’s eyes are empty with no one in the windows, and it’s mind is blank with no one in the bedroom, and it’s hangry there’s no one in its basement to feast on, to torment as it has been tormented by disuse.

last but not least, i really enjoy the book ‘sharp objects.’ which is not technically a horror novel. but it is about a serial killer, and about women and abuse and it has some of the best writing ever. so i highly recommend it AND the miniseries (watch the miniseries first then read the book bc the miniseries is like. directed better? but the novel is written and characterized better. it’s also very short u can finish it in like a day and a half).

honorable mentions for horror In General (not necessarily psychological horror) are: 1) the birdcage. i honestly consider this movie entirely unsettling. robin williams failing to portray a man that is actually attracted to nathan lane, which could be because they have simply been married so long but also is just awful to me in general bc it makes me feel like even our outwardly gay but still more masc gay men can’t love and be attracted to femme camp gays even when they’re married to them. the fact that both these men that could be so in love, that were so in love at one time, you can at the very least imagine, are told by their only son that they need to go back in the closet to impress some old ass republicans, giving the message that no matter how succesful you are in the gay community, no matter how bright and wonderful a presence you are, no matter how loving you are, no matter how much you love, no matter how interwoven you are in lgbt-ness, the straight people you love most will still try to change you to impress the wold. horrifying.

2) coraline. its children’s horror but that’s still horror baby! i think lately about how much the movie talks about mothers and birth. coraline calls whybie ‘why born’ and i just think about how much she thinks about creating a new life with a new mother, and how going through that small door into a long tube... it’s like crawling into a new womb and being reborn to a new mother that loves you. and that’s horrific from a feminist perspective in and of itself---that your child would feel so unloved and unimportant to you that she would literally... rather die in this life, technically, rather be ‘unborn’ to you and born anew to someone, someone just like you but better, someone just like you but what SHE wants a mother to be, feminine and skirted and smiling. and then there’s the fact that coraline only gives this up when she realizes her other mother basically wants to change her more to suit her liking in ways that would cause her pain, at which point she realizes this whole fantasy is a lie, not real, something meant to entice her and control her and make her ‘perfect’---the same way she wants her mother & father to be ‘perfect’ in a way that causes her to act out and hurt them. it’s psychological horror that’s technically not psychological horror in the best way, something you can really dig your teeth into, something that has so many layers to it. and the animation! gorgeous!

3) finally i have recently watched annihilation. and it kind of changed my life a little bit.... so often we’re used to viewing monsters as either 1) malicious or 2) romantic/sad/sexy. but the monster in this movie is literally a metaphor for cervical cancer.

to me, the monsters and the corpses and all the beautiful scenery in this movie, in every color u can think of, a muted rainbow of flowers and nature at its best and most bizarre and sprawling. i often say that monsters are beautiful, but tbh, i feel like... somehow i always mean that in a way that is near-fetishitic, somehow self-depcrating way, where i want to consider what other people think is ‘ugly’ is ‘beautiful to me’ because what i am also ugly to other people as a monster to the cishet white patriarchy. there are things i consider beautiful, certainly, purely beautiful. but when i talk about monsters being beautiful, it is in the way the sublime is beautiful. it scares me, it haunts me, i love it, i want to possess it as part of me, a totem to carry in my back pocket to make the strength in my own ugliness stronger.

when i saw the monster in this movie (SPOILERS) i was immediately unnerved at this bad cgi abomination that bloomed from the most beautiul cgi cancer death cosmos imaginable. it scared me and i had to sleep with a light on for 2 days after LOL. but i was also moved by its gentleness. by the fact that the cervical cancer alien, when it tried to hurt you, wasn’t trying to hurt you at all. it was simply copying your movements. in the movie, it says that the creature wants nothing. it was simply copying. it was simply changing. it’s a prism of nature---and it corrupts yes, and it can hurt people and things and turn them into scary but still terribly unique and beautiful things that also kill---but the movie says that it wants nothing. it simply exists. it’s a part of nature, same as us, a part of the same universe and cosmos, despite being alien to us and stange and hurting us sometimes in ways that it doesn’t understand.

i don’t know. if i quite believe the movie when it says that, though. because i think if you copy someone, like a child would, you are trying to understand them. you are trying to understand yourself. you are trying to form yourself in another’s image when you have none, and you are failing at that, and hurting people and creating monsters in the process, but you are trying as best as you can to be whole and beautiful and sane like the lovely creatures you’ve met on this earth, or this body. to be part of something great and beautiful. to be part of another world.

maybe it doesn’t want anything. but do WE want anything as children, when we copy adults? why did the bear and the alligator try to eat our heroes if they were not hungry? did the bear and the alligator not WANT to eat? i think everything wants to live, and everything wants to grow, and if it can learn to live better and grow better it Will learn even if that is not its explicit intention. does the alien have feelings? does nature? do we have to personify things to understand them? no. does personifying things make us understand them less? no, yes, sometimes. we ask animals and nature to copy us, follow us, so that we can understand them better. the relationship in between----from the hurt, from the pain, from the droughts and the food shortages and the hurricanes and the fireworks---forms from our kindness and understanding. that our crops are useful, and the man-made mutation of our crops and the help of the ran and the sun is also useful. that our animals may not love us, but they need us, and we love them for putting their paw on our thighs to be pet, for following us into the bathroom even when we just wanted a moment alone.

regardless of its intentions, the alien, cancer, every creature, every human, they simply want to grow. in copying others---in trying to touch, to change, to understand, and be close---we learn to live in the same body, learn to live in the same world. the togetherness--the new sight the prism brings---it’s beautiful. it is beautiful to copy, however poorly. it is beautiful to try. we all shape others to our own standards---we sometimes forget we too, were made in own own perception of others’ image.

#ooc: replies #this took me all day to answer because i had to go to COSTCO in the middle. LOL #destructiveglitch

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kuvvydraws · 4 years

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I'm not sure if you've answered this question already, but I'm honestly very curious- why do you write fanfiction? I certainly enjoy it as much as you and have written a few things of my own, but I know it can be quite a personal topic for many writers. If it's too personal for you, don't feel any pressure to answer, but it's always interesting to see the writer's perspective outside of the story they've written :). I hope you understand what I'm trying to say-

Hey!

I actually enjoy the words and the rush your brain gets when they join without effort to create a reality.

Now, let me break that down XD

I've always had a book in my hands as far as my memory goes. My dad used to read to me when I was very little and from the second I could do it on my own, that was the best thing ever (yes, that means when I was punished for doing some shit, my books were taken away and I had to sneak them into my schoolbag and read in class like a heathen).

Not only I enjoyed books but I always found myself wanting to partake in the stories, and my brain was always running with the words and the scenes. (I discovered during my teenage years that brains have different ways to process thoughts and mine did it in words, so writing just sort of came naturally to me at that point in my life).

I discovered ffnet when I was 12, I think, but I had tried my hand at original works (that is, about five or six starts of different novels that never saw the light) and some "fanfiction" (about Nightmare Before Christmas because I had a big ass crush on Jack and I unassumingly created my first xReader ever) without knowing what the hell I was doing.

I just knew I wanted to write stuff and I did as much.

The thing is, I introduced one of my friends, who also loved to read and write, to ffnet, and we started writing together. The first thing we wrote was a Sesshomaru x OC fic, the second one was a Sasori x OC fic, and we dipped out toes into some Kuroshitsuji x OC...... all of them handwritten stories we promised we would type in a computer eventually (we didn't, they were horrible [I still have the notebooks we used for each of them and they are cringey as fuck]).

But we wrote for ourselves and we were happy like that.

So we were rampant and wild and having the best time. Back then I still wrote in Spanish (because I hardly knew any English and I didn't care for it), and I remember mixing Spain's Spanish with the ones from South America because obviously the percentage of writers in ffnet who used a different "dialect" Spanish was huge if you compare a single, tiny country with a whole continent.

At the same time I wrote with my friend, I wrote for myself. Naruto, Kuroshitsuji, Bleach, Hetalia.... And I met so many people, nice people, who loved my works (they were random fics, all of them x OC because I didn't know x Reader ones were a thing -they weren't at that time, and x Reader are harder to write in Spanish because all the words and pronouns are gendered one way or another-) and I got so much enjoyment from sharing them.

The thing about books I love the most is the fact that you can convey so many emotions with a few symbols, and you can create worlds out of ink and you can change views and inspire others. So, if none of my dumbass teenage novels were to roam the word, I still could share, in a free, open and fast way, my words with others.

Again, I was going to write them with or without posting them because I found -and still find- great pleasure when a scene creates itself in your brain and all you have to do to make it real is to write it down. (Sometimes my brain still does this and even when I'm daydreaming, my imagination is "written, described and dialogued" as if someone was reading a novel out loud. It makes writing so much easier).

And then I got hate.

I somehow had managed to miss all of the fandom drama that's so toxic in the internet because I didn't bother to interact with anyone in the fandoms beyond the reviews they left in my fics, and ffnet has a -sort of- specific search engine to help you find whatever you want, so I could never willingly find the "problematic stuff" because I was literally not trying to find it.

The hate comment I got was anonymous and very specific about everything that was wrong in a particular fic I had just updated -from plot and characterization to grammar and continuity-, and later on I discovered it came from a couple of authors who shared an account and who I admired greatly for their works. Turns out they were out for blood and hating on every fic that had updated that week and that had any members of their OTP shipped with some other character. (It was a Hetalia fanfic, I was writing SpUK and they were pro FrUk, if anyone is interested).

I was contacted by some other authors asking about this because they had gone through the very same thing -same specific hate, same hate comment- and I remember not giving a fuck.

I was 16 when I got the hate, writing for fun and trying to find a way to go through my shitty highschool days without falling into the black out of depression that haunted me. I remember not wanting to write anything anymore, leaving a fic I was very invested in writing to gather dust and rot in the forgotten folders of my computer because every time I tried to get on with it and progress, it felt wrong.

That thing I said about words just happening? It stopped. My brain was silent as a grave and trying to get my words out became painful. I remember struggling to even write regular project for my school.

I kept reading, of course -it was my only comfort and I really, really didn't want to give up on it-, but I abandoned the fandoms I enjoyed so much before. My new focus became the sci-fi, and I remember being hooked on Predator. Imagine my joy when I discovered there were thousands of works from that fandom! I was extasic.

Problem? They were written in English.

I didn't know shit about English besides being a language I was supposed to handle in school, memorize the unreasonably spelt words that were pronounced illogically regarding the fucking spelling and the stupid ass irregular verbs.

But I learnt English because I wanted a hot piece of alien ass XD

Back to the topic of fanfics, I still roamed ffnet, keeping 15 tabs open and reading until 5 am... But now there was a world of possiblities in front of me because of course everyone on this goddamn Earth writes in English.

So, for the next years I did that, and my words didn't come. It was fine, tho, because I had so many new things to read.

It wasn't until fall of 2018 that I dabbed into the idea of maybe considering to perhaps give writing a try again????? I was neck deep into Undertale -still am, I'm a shameless skeleton fucker and there's no cure for that shit- and its many AU's and somehow I had managed to avoid fandom wars again, so my brain started toying with words... The same way it worked with novels: I got myself into the fics other people wrote (this is so much easier to do with x Reader fics, and I'm so happy about that and the massive boom they had just when Undertale came out, you can't even understand it).

So I kept doing my shit and daydreaming about skeletons and ribs and ecto-stuff for a very long time. It was kinda reassuring and nice to see other writers projecting on their x Readers so much because that's what I had done before.

And then Good Omens happened.

As I've said before, I actually discovered Gomens back in 2012 and it is, to the date, the worst translation to Spanish I've seen in my entire life to this date. And, despite it, I fell in love with it.

Now, barely in 2019, my dad gets Amazon Prime and the first thing he fucking sees is the font of Gomens on the screen. I had fangirled hard about Gomens in book version, so much and so annoyingly that I wouldn't leave my dad alone until he gave it a chance. It's the only book my father hasn't finished because the translation is that bad. He hates it.

Yet.

The particular font they use for the show is the same from the book's title. My dad of course recognized it immediately and knew I would want in on the news.

I confess I watched Gomens the show at least seven times before giving it a break because I liked it so much and the novel was so fucking good and it's honest to God the best adaptation I've ever seen to the screen. It's so good I'm fucking sure I was crying actual tears after watching it for the first time because my dreams and all the feelings that book had given me over the years and the many re-reads were "true" and so well done and it reached deep into my heart.

And then, for the first time in six years, my words came back.

Another thing Good Omens has given me, I have to say.

I don't know if I can stress this enough, but just imagine spending six years of radio silence, sending longing stares to the void and hoping to see something yours returning back, something you've lost and you're not sure you're getting back, something you think you don't need or want but that would be nice to have again. If only. You can live without that something, and no one but you cares about it, and it's not that big of a deal and-

Then you see a spark in the dark.

My words came back.

They weren't in Spanish, and it was hard to manage them at first, only being able to listen to them in short bursts over long periods of time.

But they were my words and they were back.

Writing is still hard, and I have a lot of work to do to improve my skills, to get them not only back but to refine them because I'm not writing in my native language and all I know is what I've learnt from other authors and their knowledge. I project a lot on my projects -I don't intend to stop because it's such a relief, the biggest scape from reality I get by doing so; it helps me deal with my problems, it gives me a break and a way to take a breath when I can't keep going...

Fanfics are where I can say what I want to say to the world in the most honest way, and that allows me to be me, and to express myself and indulge in the fantasies I dream about without having to force myself to think of them over and over and over. I can just sit back and enjoy content I know I like without being judged for it.

I can fucking make that content, too.

Writing feels like home, even if sometimes I still struggle, if I can't find my words or the expression is not quite like that in English, or if I can't find the words or if I'm suffering a block... because there's nothing scarier and more free than a blank page ready to be written.

#this is long as fuck #sorry for the trip because damn that's some heavy backstory i just puked #i still have my ffnet account but its been years since I've used it #only for predator and hp content i have to say #i have over 600 bookmarks there but who cares #kuvvytalks about some personal crap

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vrenaewrites · 4 years

Text

HUSH HUSH by Becca Fitzpatrick thoughts: Ch 12 - end

Full video here.

CHAPTER 12

Nora’s mom is on her way home

Nora goes to visit V

“I love drugs” LMAO

She goes into a diatribe about her doctor only eating easter candy i’m crying

It was a guy!!! He had dark eyes and he was wearing a ski mask!!!!!

After thought: was jules just manipping them SO HARD they couldn’t keep a grip on what the ski masked person looked like? If so...why keep wearing a ski mask as your calling card??

V had told elliott they were going shopping

Nora tells V about hitting the guy in the ski mask

Ooh nora told patch about shopping too!!!!

Too short and too skinny to be elliott though

V is like “the more i think about it, i really think it was patch”

Nora doesn’t get a chance to tell V about elliott before the drugs kick in hard

“I brought your homework, where do you want it?” she pointed to the trash can LMAO V IS THE BEST

She goes home and hugs her mom

CHAPTER 13

She and V go to borderline where patch works to get info from his coworkers

Nora is sweaty lmao

Nora literally wrote interrogations on one side of a piece of paper and flirting prompts on the other side this girl is ridiculous

V brought slutty heels to make Nora more seductive I’m dead

V invited Jules and Elliott...she’s been seeing Jules

Nora goes to tell V about Elliott but he shows up before she can

Jules doesn’t show up

Nora is like so Elliot if the prep school is so great why did you transfer basically challenging this potential murderer

Elliott is like “heard the girls were hotter at your school”

I am beyond confused as to why V invited these guys who know who Nora is, but also expects Nora to put on a whole ass disguise in the bathroom and go talk to the bartender… Why would you invite these guys along? This just makes it way more difficult…

Nora goes to the bartender and tries to make conversation; is terrible at it, basically asks him is it possible to get hired here with a felony, can I see patch’s job application, does patch have a girlfriend?

Patch is covering a shift so he is NOT off as originally expected

Patch confronts her in the girl’s bathroom and he’s like “are you following me?” POT KETTLE BITCH

She goes to take the high heels off and drops the list of interrogation questions and patch picks it up and I am nervous

Patch had a girlfriend but she’s dead

Gonna call it: she’s the girl who was hanged at kinghorn that Elliott was questioned about

Chapter 14

Her mom “Blinked owlishly” excuse me??

Nora’s mom wants to sell their house because it’s too much $

So Nora decides not to tell mom about the ski mask guy

She asks her mom about knowing if she loved dad and if she was ever afraid of dad

When the pats lost her dad would chop down trees with a chainsaw lmaoooooo what

Nora‘s mom says “ooh a boy is he on chess team? Student council? Tennis team?”

And Nora says… He likes pool… and her mom says “ooh a swimmer” LMAO

Someone ripped her room APART

It’s the ski mask guy!!!!! He jumped out the window

One of the cops looks like patch…

Nothing is messed up when the cops look at the room…

Is Nora going insane or is it angel shit

Unfortunately I think this book would be so much more interesting if I didn’t already know that patch was a fallen angel and I don’t know if that’s my bad for trying to fine just like a quick summary of what the book was about on the Internet, or if like the back of the book let you know that this is about an angel… I mean the cover let you know it’s about an angel but I would’ve thought these dudes are like…serial killers or something and that Nora had some kind of mental issue or they had messed with her iron supplements to make her go nuts…Which might’ve been more interesting than whatever is going on here

Chapter 15

Nora finally tells V about the article and v doesn’t believe her

Nora thinks that she has a great point because Elliot transferred schools after he was questioned… I’m sure it was really hard to keep going to school with people who knew you were a murder suspect...so…

Nora wants to go to kinghorn and question the students about elliott

The fact that this all somehow ties back to fallen angels is really pissing me off because we are halfway through it, and we have not even really from Nora’s point of you introduced the idea of Angels

Nora is suddenly like why the fuck is Jules always sick

Also how is he always around if kinghorn is such a difficult school

Nora realizes the article that she printed about Elliot was missing from her room after the ski mask guy broke in so now she is convinced Skimask guy is Elliot

I will say that I have absolutely no idea where this is going so it is keeping my attention because again I don’t understand how this is going to tie back to angels and why the girl died and etc.

Coach makes V and Patch switch places

“I didn’t do homework” “who did you do?” Bro come on

“The subjects pulse increased on contact”

She goes to her appointment with Miss Green and somehow Miss Green knows that patch took her home from the pier and that patch went into her house what the fuck is going on

I really really really hope that all of this weird shit comes together in the last like five chapters and I end up like screaming OH DUH putting all this together… But because this was recommended as part of my cringe series, I have a very strong feeling that is not going to happen and all of this means nothing

“something about Miss Green bothered me, it was almost like she had an agenda“ yeah bitch she knew a guy took you to your house and came inside, she is stalking you

Chapter 16

Nora runs into Marcy at the library and basically Marcy says V got attacked because someone mistake her for a bear or a moose because she’s fat, and then they have a name calling back-and-forth of skank, slut, anorexic pig like real vile shit

Nora goes to the underground tunnel to get to the parking lot even though...she didn’t drive…

Patch is in the tunnel

“His smile looked like he didn’t play by the rules”

She immediately is like “if he’s gonna rape me he cornered me in the perfect place” JESUS

I mean all women think like that in a dark space but she likes this guy and they go to school together and...damn that was a jump!

Nora gets a car between them and they have like a run around while she’s asking him questions

“Was it a coincidence that the last normal day in my life had been right before that fateful day?” Editor fight me

She lets him take her home again

I am starting to feel like we are back to after, where the same things keep happening over and over for no reason… She was so determined to get answers and then she let it go because he turned the conversation on her...she should’ve just held her ground and then like I am not leaving until you tell me what the fuck is going on, but she didn’t, so does she care or not

He asks her out…

Chapter 17

She is so infuriating, she’s getting ready for this date but thinking about kissing him rather than thinking about getting answers on if this dude is stalking her / reading her mind...it’s so frustrating

The detectives show up

Asking about Marcy…?

Marcy got beat up!!!! By patch??

She lies that patch isn’t on his way

They go to the arcade

He’s behind her showing her how to play pool fuck yeah

He’s like “if I hit this, take off your jacket”

A guy named Rickson shows up, him and patch start roughhousing and we see patch’s giant back scars

They call him patch because he used to get his ass beat in bar fights and had to get patched up a lot lmao

Chapter 18

He leaves her in the Jeep while he gets dinner and she goes sleuthing

So in chapter 18 she is saying she would settle for finding his cell phone number but...she called him at Boze arcade in like the third chapter so what number was that, did you not write it down once you washed it off your hand, or was that the arcades phone... why do you not have his phone number anymore

He has a metal flashlight with blood on it in his glove compartment, making Nora think he had beat up Marcy after all

I swear to God, if he gets back in the car and she starts getting horny for him after finding this flashlight I am not gonna finish this book I am going to quit

He pulled out a gun?!?!?!?!!?!?!???!?!?

Paintball gun. He says it’s paint on the flashlight?? Sure Jan

He gives her a snow globe of the pier, cute!

Mom catches them lmaooo

Chapter 19

So Nora is on the phone with V and she’s like how did the date go with patch and Nora said something about him giving her pool pointers and he says I bet he could give you pointers in other areas… And then the next sentence is V trying to convince Nora once again that patch is the one who broke her arm… So… Why the fuck do you want your best friend to fuck the guy who broke your arm????????

Nora realizes that the angels that were painted on the roller coaster have the same scar that patch has

“My voice was strewn with cobwebs” huh?????

She goes on their home computer to google “angel wings scars” LMAO why did every girl in a YA novel in the early 2000s google what their monster boyfriend was

Info dump re angels: they talk to humans in their minds, can possess them during the unholy Hebrew month

“I filed everything away that I had just read in my mind, and stamped ‘scary’ on the outside“ lmao

“V, do you believe in superheroes? Do you think the Bible is real?”

Chapter 20

Elliott is at her house...drunk

He punches the side of her house

He invites her to go camping with him Jules and V...after he acknowledges she doesn’t like him

He rips her out of the house and throws her against it when she says she doesn’t wanna go

Thank god her mom wakes up

V tries to talk Nora into going, and Nora tells her what happened at the house, and V is like “well he was drunk”

Insert pic of unamused Kristen Stewart face

PLEASE tell me she’s being controlled by the angel powers because wtf

“Maybe you’re trying so hard to pin the ski mask on Elliott because you know it’s patch deep down” she’s not wrong tho patch is also a terrible dude who is stalking(?) her

Nora goes to Portland to investigate Elliott, and kierstens death

She throws away her questions this time, smart

She interrogates the waitress at kierstens old job, who is NOT amused but agrees to tell her some tea if she gets food and tips her big

Kiersten and Elliott were hooking up

Elliott bought kierstens apartment so he def coulda planted the note

Elliott and Jules were in the restaurant talking about a test that Jules has failed...I get the feeling it wasn’t academic

Chapter 21

Someone’s watching herrrr

V is in Portland with Elliott…? But she’s alone...she wants Nora to come get her

Red flag

She gets hustled by a homeless woman for her coat

She left her phone in the coat

She witnesses a shooting...of the bag lady...who was wearing her coat and hat!!!!!!!!!!

She calls patch and he comes to get her

V went home with the boys

“The water was smooth black poison” wut

The Jeep dies on the highway and a storm rolls in

Chapter 22

They get a room to wait out the storm because the lights and phones are down

She still is like wary of him but she doesn’t really have a choice at this point, fair.

Also, favorite trope: there’s only one bed

Her clothes are wet so she makes him blow out the candles so he can’t see her in her underwear….

She touches his scar and gets sucked into blackness?!?!

Chapter 23

There are 8 chapters left and I have a BAD feeling that we’re in sequel bait territory

She’s in like a flashback from 8 months ago

Miss green meets patch at bo’s, he calls her Daubria

“Your kind and my kind don’t mix” she’s an angel and he’s a fallen one, I just know it “it’s not easy getting down here”

“If you save a human life, you can get your wings back”

“Now tell me why you’re really here”

Something about the book of Enoch and him wanting to recreate it

He wants a name from her list since she’s a death angel

Daubria says Nora’s name and patch asks who wants to kill her and Daubria says, “you”

So…..if he stops himself….he can get his wings?

She comes back and patch pins her to the bed, pissed

So she has just found out that he wants to kill her, he has her pinned to the bed, and she asks “is Daubria your girlfriend???” Why do you literally care and why do you not have any self-preservation skills

He kisses her?!?!

She bites the shit out of his lip

He did try to kill her on the archangel but couldn’t do it, he was gonna stab her in her house, couldn’t do it

She’s passing out because she needs her iron pills

He calms her down

He lets her touch his scars again so she’ll trust him

Chapter 24

She wakes up next to a skeleton in a graveyard

The Irish guy is talking to patch there

Patch wants to become human, as he heard in the book of Enoch

She comes back

Patch feels through a “sheet of glass” unless he possess a body

Patch is the angel from the prologue I think

“If you can’t feel, why did you kiss me?” “Because I can feel it in my heart”

He fell because he lusted after a human girl

He didn’t know Daubria was still on earth…

She now thinks Daubria is the ski mask person

Chapter 25

Patch goes to get the car and leaves Nora there

They get her home and patch checks the house for her

V doesn’t answer her phone

Daubria is there!!

She says she isn’t the one who has been spying

She planted the idea in V’s mind that patch attacked her

Her birthmark means she’s Chauncey’s descendant, and the book says if patch killed his vassal’s descendant he can be human (according to Daubria)

She goes to kill Nora so she’ll be out of the way

Daubria is v hurt by him falling and “falling” for the human girl

Daubria goes full angel, using tk, glowing, trying to stop Nora

Daubria sets the house on fire

Patch comes back and tells her to drive his Jeep to Delphic

She starts to search for V in the meantime

Chapter 26

She goes to the movies and gets a ticket for the sacrifice, remarking on the irony of the title

V isn’t at the movies

But patch is?!?!

“Shut up or I’ll get security” “yeah, get security, this guy wants to kill me” “I want to kill you”

“I’ll tell you what I’ve done: I’m not good, but I was worse”

He’s now saying she’s worth falling for basically

“I don’t kill people who are important to me, and you top the list”

Patch ripped daubria’s wings off

“Let’s be honest, you got it bad for me, and I’ve got it bad for you.”

“You don’t need me to help you fight her.” “What do I need you for?” “We have unfinished business”

They making OUT in this theater bathroom

Her phone rings, V and the guys broke into school, and Elliott says “Nora come play or there’s a tree in the courtyard with V’s name on it”

Listen. To. Me. If these two plots have nothing to do with each other, I am going to rip my hair out. These could have been 2 different books.

Chapter 27

She tells patch about the article

Patch says he doesn’t remember Jules being at the arcade…

Jules is an angel I bet

The jeeps tires are slashed so they pay an employee to take his car

He tells Nora to stay in the car

Chapter 28

Elliott calls Nora and says he’s watching her

Nora GETS OUT OF THE CAAAAAAR

AND GOES INTO THE SCHOOL NORA HE TOLD YOU NOT TO FUCKING GET OUT

Nora tripped over Jules’ dead body…

Elliott is in the library, basically dead…

The lights keep going on and off…

The ski mask person is here!!!!!!!

IT IS JULES?!?!

He’s an angel!!!! Called it, He’s been fucking with her mind

He throws her in the bio room, and she sees a scalpel on the ground and grabs it

Jules was Elliott’s benefactor and made him choose between love and money…

Jules really wanted patch, but patch can’t be hurt...so he’s using Nora to get to him

Jules is patch’s vassal!!!!! So he’s fucking PISSED

HE IS CHAUNCEY!!!!!!

The guardian presence she felt wasn’t her dad, it was Jules

She stabs him, but bumps a table as she tries to escape…

He passes out

Chapter 29

She finds V in the e-zine lab

All the doors are chained…

She ends up trapped in the gym

Jules has a gun!!!!

He beat up Marcy because he didn’t want anyone messing with “his girl”

Patch finds them, Jules holds her at gun point, patch possesses Nora to beat the SHIT out of Jules

He couldn’t stay long enough to kill Jules, and the effort made him pass out

She climbs up the air shaft despite being afraid of heights and Jules is fucking with her, making her think she’s falling

Patch helps her anchor to reality

They’re both on the rafters

She realizes if she sacrifices herself, patch can be human

She throws herself off the rafter

Chapter 30

She hears a clock and wings, but then she slides backwards instead

She wakes up in her bedroom, with patch

Patch turned down her sacrifice so she could live

“What good is a body if I can’t have you?”

He’s a guardian angel because he saved her

V and Elliott are fine

The police think Jules killed himself

V says “shoe-shopping therapy” instead of retail therapy why

The book ends with patch coming back to give her a kiss...boring

There’s an exchange that’s the last sentence of the book where he pulls away and she’s like “more” “more?” “more”

#reading #book review #cringe books #booktube #hush hush #becca fitzpatrick #patch cipriano #nora grey #negative review

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