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paradisetemporarilymisplaced · 3 years

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So I was being a basic bitch the other day and listening to my true crime podcasts when it occurred to me just how suspicious Nile’s “death” would look to everyone not in the Guard, leading me to a train of thought that, 2200 words later, absolutely got away from me but I can’t let go so I’m inflicting it on all of you!

To set the stage, we know the movie takes place over approximately a week. Here’s what happens to Nile from the military’s point of view:

She dies is very seriously injured

She heals without a scratch

Just before she’s supposed to be shipped out to Germany, she vanishes, leaving two men concussed (and presumably reporting being knocked out by a woman with short hair wearing civilian clothes)

She goes AWOL for several days

They get word from the CIA that she is to be reported killed in action (details unclear)

So, at the beginning of this very weird week, the USMC has to tell Nile’s family of her death critical injury. What her family was told depends on how long she was dead – a Google search tells me that family will be notified in person within 8 hours of a soldier’s death, but we don’t know how long her first death lasted. For an injury, however, they’d get a phone call to notify them and the unit would arrange for them to visit as soon as the soldier is transferred out of a combat zone. Like I remember when I was in high school, a guy from my church who was a Marine was really seriously injured in a helicopter crash in Iraq and from what I could tell, his parents were told immediately and were flown out to Germany to see him, so it stands to reason that Nile’s family would have been informed relatively quickly after her throat was slashed, one way or another.

And then, she goes AWOL. Her family would be notified while the USMC tried to figure out where she went, not least because the military would want to know if she’s contacted them. (And it’s possible that her family may have been on the way to Germany to see her since we know that’s where she was supposed to go!) So for several days:

Nile’s mom and brother have no idea where she is

They know she was seriously injured and most certainly should not have been moving around on her own

They can’t get a hold of her

The military can’t tell them anything

And the next thing they know for sure is that she was “killed in action.” After being injured and vanishing into thin air. And they presumably cannot produce her body or any concrete evidence of her death. In any case, something sketchy is going on, so they’re like. SMELLS LIKE A MILITARY COVERUP.

In a surprise to probably no one, there is a well-documented legacy of mysterious US military deaths, particularly of women of color (TW for sexual assault in these links). The cases of LaVena Johnson and Vanessa Guillenin particular have made national news because of their families’ persistence in seeking justice. Likewise, Nile is a Black woman, and her mom and brother are most certainly hypercognizant of (a) state violence against Black people and (b) these high-profile cases of suspicious military deaths. So her family are seriously side-eyeing the situation, knowing that (a) the military has a serious incentive (and a documented history) of covering up things that make them look bad and (b) nothing about Nile’s disappearance and supposed death are adding up.

And Andy’s right. Nile does come from warriors. And you know who else does? Her brother.

Don’t get me wrong. Nile’s mom would absolutely not back down. She’d know something was up and want to get to the bottom of it. But based on what I know about Gen X parents (mine), they’re not the most technologically savvy. Like they can use the internet, but they didn’t grow up with it the way we young millennials and Gen Z did. So Nile’s brother takes the lead. And what do zillennials do best?

Social media.

Nile’s brother starts going hard on any site he can, trying to get the word out to see if anyone knows what happened to his sister. He starts a Reddit thread. He starts a Facebook group. He reaches out to the media and true crime bloggers and podcasters à la Sarah Turney, getting loud and being a general nuisance in hopes of getting some answers. He gets his friends and Nile’s friends involved. Maybe eventually Dizzy, Jay, and others from Nile’s unit hear about it and reach out, telling him what they saw and how weird it all was. He’s drumming up interest, and soon “Nile Freeman” becomes a household name (at least among the true crime fans).

Copley is, of course, trying his best, but at this point there is just so much that it’s impossible for him to scrub everything. Sure, he can erase new footage of Nile and the Guard, but what can he do about Reddit threads and podcast episodes that are speculating something weird has happened? Maybe he could hack the sites and shut those things down, but honestly, that’s the last thing he’d want to do, because that only adds weight to the theory that Nile’s disappearance is a military coverup. So eventually he has to tell Andy what’s going on.

Andy, obviously, does not take the news well. However, she is also completely computer illiterate, because that’s Booker’s job and he’s the only one who ever bothered to learn what the internet is in any meaningful way. (She probably calls Booker for advice, and for the record, I think Booker would have no qualms about shutting down conspiracy threads, tinhats be damned, but Copley is too concerned about the consequences. He’s ex-CIA for crying out loud, he knows how it’ll look if they scrub every mention of Nile’s name from the internet.) Maybe she confers with Joe and Nicky but, let’s be honest, they’d be equally unhelpful. So at this point, she knows they have to bring in Nile.

But the thing about Nile is that she, too, knows how to use the internet (duh). Aside from her being a young millennial/digital native, we know from the cave scene where she’s giving Booker suggestions on how to track Copley that she clearly is even more computer savvy than the average person. And for that reason she almost definitely took over the day-to-day tech stuff after Booker’s exile. So I think it would be foolish to expect her to be unaware of what’s happening. She’s not contacting her family or posting on the message boards or anything, but she knows what’s up. So Copley and the team probably sit her down to “break the news,” but we know the girl does not have a poker face (see: literally shooting herself in the foot and not being able to play it cool whatsoever) and cracks immediately, telling them she’s seen everything about her case – she’s not interacting with any of it, she certainly didn’t instigate anything, but she knows. (And she is so goddamn proud of her brother.)

At this point, I’d like to pause and consider Nile’s role in the overall narrative of this movie. She’s set up as a foil to Andy, obviously, but she’s also a foil to Booker. Booker, who, like Andy, is a serious pessimist, but who, unlike Andy, still has very fresh memories and trauma associated with being the new kid, which have destroyed him. In his mind (and Andy’s), if Nile communicates with her family, she’ll become just like him in a century or two – bitter, alone, and stuck with her grief and memories of watching her family die and knowing they died resenting her. It’s a small sample size, but this is the only experience they have to go off of.

But it doesn’t have to be like that.

There’s been a lot of discussion of TOG being a fundamentally queer movie – a group of people brought together because of something inherent about themselves that is different, that must be hidden, that causes others to hate, fear, and reject them. Booker’s backstory is the archetypal traumatic “coming out” story – his family learns who he is, hate him for it, and attempt to cast him out of their lives. He’s stuck with his trauma, his pain, his loss, and it consumes him.

But what if Nile’s family would be the opposite? What if her “coming out” to them as immortal is met with acceptance, love, celebration? What if her family is just overjoyed to have her back, and they don’t care what the circumstances are? I'm reminded of this incredible post from @shitty-old-guard-deaths a while back, where Nile’s mother hits Booker with a frying pan because “my baby let me believe she was dead for FIVE YEARS based on your bad advice???” (which may or may not have inspired this whole tangent). Nile takes the advice of someone who did the same thing she wants to do because she doesn’t want to risk her family’s rejection. She wants the good memories with her family and is afraid that showing them her true self will bring her unbearable pain, forever replacing those memories. But, with high risk comes high reward.

Anyway. Nile and the team are trying to come up with a plan for how to handle this whole thing, but she’s not really participating because she’s too afraid to hope. Until finally, quickly, so she doesn’t lose her nerve, she suggests she reach out to them, knowing that, realistically, that’s the only solution before things snowball even further out of control. The team is shocked, but realize that she has a point. They decide that Copley should actually be the first point of contact, posing as a US government official to talk with them and test the waters.

So Copley goes to Nile’s family’s house to talk with her mom and brother. They’re probably distrustful and apprehensive, but nonetheless secretly ecstatic that their work has paid off. They talk and review all of the information that they’ve collected, including testimonials from the people on Nile’s base and recent sightings (along with photos) of Nile (with the same three people) over the last few years that people have sent them but they haven’t posted publicly. At this point, Copley’s like, yeah this is about to blow up, we gotta put our cards on the table. He convinces them to come with him to some safe house/black site/whatever he can get that is technologically impenetrable (I’m picturing them in like, an interrogation room at a police station kind of deal), takes their phones, locks the doors, and brings in Nile.

What follows is the most delightful reunion scene of all time, bringing Joe, Nicky, and even Andy to tears as they watch and listen from outside the room. With Copley’s help, Nile tells her mom and brother about her immortality and what’s been going on since she died (within reason, of course), and they are thrilled. They don’t understand why (because no one does) but they don’t question it and they see it as a gift from God – she’s been resurrected, she will live, and she has a purpose. Her mother and brother are so happy to see her again and are willing to agree with pretty much anything to stay in her life as long as they can.

So. They set up some complicated agreement (they bring in the other three for support/intimidation as needed) setting the terms of their relationship. They swear Nile’s family to secrecy, maybe bringing up the lab to show how high the stakes are, and they readily agree. They come up with some cover story for Nile’s brother to share on the message boards (maybe that the government has opened an investigation but because it’s an open case he has to shut it all down? Tells people to direct their tips somewhere else? Something to that effect). There’s still speculation, of course, but without Nile’s brother at the helm providing the energy, the hype dies down as news stories are wont to do without any movement. And Nile’s family goes to work for the team. The experience has taught them that Copley can’t possibly do everything himself, especially when it comes to social media, so Nile’s brother takes the lead on the day-to-day tracking/social media while Copley and her mom focus on finding jobs and scrubbing their traces afterward.

So there you have it: Nile gets to integrate her biological family into her found family and spend the rest of their lives with them as it should be, Copley gets some badly needed help managing the reality of social media, the team finally has a positive narrative surrounding outsiders Knowing About Them AND about interacting with people from their previous life, and the audience gets the happy ending to this very lovely and very queer story to counteract the pain associated with Booker’s family.

Plus, you know, I’m a sucker for both a good government conspiracy theory and for Nile getting every good thing she deserves.

#the old guard #tog #tog fanfiction #tog meta #immortal family #nile freeman #mine #damn look at me contributing to a fandom! that’s new #pls reblog if you like this my self esteem could really use it #I just love nile so much and I’m being the nile-centric content I want to see in the world #it is just genuinely nuts to think abt how this situation would be perceived by anyone outside the narrative #she just mysteriously heals from a fatal injury and then VANISHES!!! this should be national fuckin news #also I do think there’s a major hole in the story when you think abt social media #like the only time it’s even hinted at is right at the very beginning when Andy erases that girl’s selfie #and the concept of fuckin Reddit is not even brought up despite Copley’s stalker board being analog Reddit #there’s just a lot of places one could go with this which is very much what we got here #1k

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maddielle · 2 years

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Do you think Nicky has ever gotten aggravated at something - like he's dusting the bookshelves or something and the books keep falling down because maybe they donated the books that Booker had and so there are empty spaces - and he's just like "I hate you" and across the room, Joe (who had been quietly sketching before this) asks "you hate me???????" and he sounds very stressed and worried?

Ooh, I love the potential of this moment of angst... Your idea inspired this little idea:

--------

A year after London. Still, nothing really feels right.

Andy'd had the flu last week. Nile had been unfazed, newly immortal as she still relatively is, but Joe and Nicky had been thrown for a loop. Stupidly, Nicky had tried to text Booker.

Nothing in return. He'd been snippy after that. Joe's been steering clear since then, subtly.

Today, Nicky's alone in the kitchen, trying to chop vegetables, and nothing is good enough. The peppers are a little wrinkly. The floor is too cold, and he can't find the bulb of fresh garlic he'd picked up yesterday, and the stupid knife isn't sharp enough.

He saws through the tomato, squishing it, trying to separate the skin. It's a mess - seeds and juice everywhere.

"Fuck this," he suddenly seethes viciously under his breath. "Fuck this. Fuck you." He drops the useless knife on the counter, relishing the loud clatter, only to whirl around at the small creak in the floorboards behind him.

Joe stands in the doorway, their mugs from that morning in hand. His brow is creased, eyes wide.

"Nicky?" he asks carefully.

Nicky exhales.

"Not you," he says. He gestures vaguely. "The- The stupid knife." He licks his lip, hating the tightness in Joe's shoulders. "It's dull."

Joe lifts his chin. "Yeah, the good knives are in the other drawer."

"Oh."

They stand still, considering each other uncertainly. Then Nicky breaks, stepping close and taking the mugs from Joe's hands and putting them on the kitchen table and returning to hug him.

With a quiet, relieved sigh, Joe's arms circle him as well, strong, and the tension between them begins to bleed away.

#ask #prompt #joe x nicky

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brightly-painted-canvas · 3 years

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TOG fandom - How to address others in Italian (a little help for fellow writers)

Another one of these posts in quick succession because a thing I’ve noticed in many, many fanfiction is the incorrect use of titles and honorifics in Nicky’s Italian lines. Which... I get it, it’s super-uper difficult to get and also Google is the worst of all to translate the right use and nuance (my suggestion is to always prefer Reverso Context when translating entire phrases, it’s based on examples and it’s more accurate in general). So!

Let’s start with family (famiglia, with a gl, different to the Spanish word).

Papà = dad (please, please, PLEASE USE THE ACCENT. Just like Nicolo ≠ Nicolò, remember that Papa = Pope. And Nicky’s dad - or Nicky as a dad - is not a Pope). Variants! They are mostly regionals, but you can also use: papi, babbo, pa’. Father = padre, so if Nicky has to refer to an austere father figure or someone else’s father? Use padre and the honorific form (we will get to that). Mamma = mom. Variants! Mami, mammà, ma’. Mother = madre. Figlio/a = son/daughter. Sorella = sister. Older sister = sorella maggiore or sorellona (like ‘big sis’), younger sister = sorella minore or sorellina (’lil sis’). Fratello = brother. Older brother = fratello maggiore or fratellone (’big bro’), younger brother = fratello minore or fratellino (’lil bro’). Nonno/a = grandad/grandma. Also: nonnino/nonnina, it’s cute. Zio/a = uncle/aunt. Cute: zietto/zietta. Cugino/a = cousin. Younger cousins could also be called: cuginetto/cuginetta. Nipote = nephew/niece and grandson/granddaughter. Younger ones: nipotino/nipotina. Suocero/a = father-in-law/mother-in-law. Cognato/a = brother-in-law/sister-in-law. Genero = son-in-law. Nuora = daughter-in-law. ... and I’m stopping here, but if you have questions on other particular words just DM me :D

How to address loved ones.

Amico/a = friend. Someone who’s always very friendly and nice to hang up with = amicone/a. The BFF from when you were young kids = amichetto/a. Ragazzo/a = boyfriend/girlfriend. ‘Chi è? Il tuo ragazzo?’ = ‘Who’s that? Your boyfriend?’. Variants (also regionals): ragazzino/a, moroso/a, tipo/a. Fidanzato/a = fiancée. Could also be used as boy/girlfriend, but it’s mostly for couples about to get married. However, nonne all over Italy at Christmas would always ask their nephews/nieces ‘ce l’hai il/la fidanzatino/a?’ which basically is ‘have you found yourself a boy/girlfriend?’. Marito/moglie = husband/wife.

How to address royalty/nobility (to the person who asked about this specifically some time ago: took me some time, but here it is).

Sua/Vostra altezza reale/imperiale = His/Her/Your royal/imperial highness Sua/Vostra maestà reale = His/Her/Your royal majesty Re/Regina = King/Queen Imperatore/Imperatrice = Emperor/Empress Principe/Principessa = Prince/Princess Duca/Duchessa = Duke/Duchess Conte/Contessa = Count/Countess Signore/Signora = Lord/Lady (’mio Signore’ = my Lord)

The clergy (a relevant topic for Nicolò).

Prete = priest. Also: don (mostly used before the name to address the priest, like ‘Don Nicolò’)(yeah I know it reminds you of mafia names, that’s where they get it from... it’s basically a substitute of ‘signore’, frequently used in the South). You can also call the priest padre (father) ‘Padre Nicolò’. Padre superiore = father superior, frate = friar, monaco = monk, eremita = hermit, abate = abbott. To address a friar: fra and the name, like ‘Fra Giacomo’. Suora = nun. To address the nun: suor and the name, like ‘Suor Cristina’. Also: sorella, madre superiora = mother superior (’Madre Teresa’), badessa = abbess. Vescovo = bishop. ‘Sua Eccellenza’ = His Excellency. Arcivescovo = archbishop. ‘Sua Grazia’ = His Grace. Cardinale = cardinal. ‘Sua Eminenza’ = His Eminence. Papa = Pope. POPE. P-O-P-E as in the old holy guy dressed in white living in Vaticano. First rule of Italian, folks: we don’t have as many accents as the French, but when we do THEY MUST BE USED. Also: Santo Padre = Holy Father. ‘Sua Santità’ = His Holiness. I had to translate half ‘Wikihow - come rivolgersi al clero cattolico’ LOL

There should probably be a whole chapter about politics too, but you get the drift: use Reverso, check the examples and write me (or any other Italian user in the TOG fandom) a DM if you’re in doubt.

And we arrive straight to the honorific form. This is hard, I know... English doesn’t really have this form, but it’s extremely important to know it and know the differences to write/talk good Italian.

The basic rule is that when we speak to someone who’s above us in hierarchy (a client, a professor, an older colleague, ecc.) or a stranger, we use ‘lei’. Dare del lei means not referring to the person with the singular form of ‘you’ = tu, but use the female third person singular. Let’s proceed with an example: if you’re writing Nicky as a professor, he’s gonna be called ‘prof Di Genova’ by his Italian students. They wouldn’t say ‘prof, non interrogarmi’ to him, but they would use the ‘lei’ form: ‘prof, non mi interroghi’ (don’t test/question me, professor). This form is basically the most frequently translated by Google. This is why the most frequent mistake in fanfiction is Nicky asking ‘scusi?’ (sorry, in the ’lei’ form) to Joe or Andy or Booker instead of ‘scusa?’. As much as I think Nicky is a very polite guy and he definitely would use the ‘lei’ form with strangers, he knows his family (and his husband!) well enough to use the ‘you’. As a rule, always check if the translated Italian you are using is in the honorific form and, if it shouldn’t be in your fic (as in: Nicky is talking to someone he knows, like Nile or Joe or his family), change it to the ‘you’ form. NB! Nice nuance in fanfiction: Nicky using the ‘lei’ form with Copley or even Merrick (sometimes using the honorific form with asshole strangers adds a very sassy flavour) and Nicky using the ‘lei’ form with Joe if you’re writing a first meeting AU (in a polite/formal environment). It’s cute because there’s frequently a moment during a first meeting conversation where people ask each other: ‘possiamo darci del tu?’ (can we use the ‘you’ form?) and I think it’d work well with them.

You think this is it? THINK AGAIN! We also have an even more reverential form, to use with very veeery important people (nobility, extremely high-up people and the such) which is dare del voi. Voi = you (second person plural). The ‘vostra’ you saw above in the royalty part comes from this. Example: if Nicky is a prince or a king, a counselor should address him with the ‘voi’ form. ‘Vostra maestà, vogliate scusarmi: ho dimenticato di aggiornarvi su questo argomento’ (Your Majesty, please excuse me: I’ve forgotten to give you updates on this topic).

A bit complicated, I know, but I hope I’ve helped. Remember you can DM me anytime if you have questions. If you think I’ve forgotten something, please add a comment so that I can reply! :D

Here are the links to my previous ‘Italian language for fellow writers’ posts:

Terms of endearment

Swear words

Writing ‘good’

#translation #the old guard #tog fanfic #tog fandom #kaysanova #joe and nicky #nicolò di genova #writing #italian 101 #Italian language

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wickedpact · 3 years

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heres a transcript of that gina & greg interview i mentioned yesterday. literally nothing new is in this, but theres a lot of info in this that was scattered in varying interviews/podcasts and i like having all of it in one place for future reference purposes

(link to vid)

Patrick: Hey everybody, this is Patrick Cavanaugh from comicbook.com here to bring you a very special conversation about Netflix's The Old Guard, which just debuted last week, and everybody has seen it-- I believe people have seen it by now, so that's very exciting. And to dive deep into this film, we're actually very lucky to have the film's director Gina Prince-Bythewood, who also directed Love And Basketball and Beyond The Lights here. Hello, Gina.

Gina: Hey.

P: And we're also joined by the film's writer, as well as the writer of the original comic book series, The Old Guard. Also, you might know him from his DC Comics work, Batwoman, and Lazarus, to name a few of his titles. We have Greg Rucka! Hello, Greg.

Greg: Hello!

P: So this film just first debuted last week, and I know you guys have been inundated with fans, just loving it. And let's just get to what fans want to know, right off the bat; I'm sure you're getting daily questions about this because there's so much for an expanded universe. So let's set the record straight: will there be a Tiger King crossover?

[everyone laughs]

Greg: Uh, we're planning an animated series with giant Mech suits, and, unbeknownst to a certain franchise, we're going to crossover with Transformers and-- no. Come on. [laughs]

P: Okay, alright, we’ll hold onto that big crossover stuff. And I know Netflix, of course, hasn’t fully announced what the future might be for Old Guard, but I'm just kind of curious if you guys have had any recent conversations about what you'd like to do in the future—theoretical, nothing concrete, of course. But since the film has come out and you've seen fan feedback…?

Gina: I will just say, obviously, it's an incredible compliment that people want to see more. It means we did our job in this. It was very important that this film has a beginning middle and end. We wanted to focus on this.

Greg: Yeah.

Gina: And get it right. Having people want more is an incredible gift and I would say those conversations were really… Greg and I, early on in talking through the story... knowing Greg knows where this thing goes --and it's pretty incredible-- helped me in terms of directing this one. So I will say we've had those conversations early on.

Greg: Yeah Gina’s absolutely right. One of the things that I'm really-- one of the many things I am proud of is that the movie is a whole, you certainly leave it going ‘okay, there could be more, I can see how there is more’. But it is a complete work. It is not contingent and does not need anything else. That said, there were plenty of times we were having conversations and would jokingly be like, ‘oh that'll be in the next one, we'll do that in the next one. We had to cut this so we’ll put it in the next one’.

P: I'm sure people would be very thrilled, as would I. So we’ll try to remain patient since it's only been out a week--

Greg: I think that's reasonable.

P: [sarcastic] I mean, fans are nothing but reasonable--

Greg: [very loud laughter] You know what 'fan' is short for right? Fanatic.

P: [laughs] So Greg, I'm curious. You know, since this is a pretty unique situation where you wrote the original books but then also came to write the script-- which doesn't always happen all that often. I was kind of curious what that process was like and if, when revisiting that core story, if you were tempted to kind of go off into a new directions, you know, uncharted territory? And how you managed to stay faithful to that story.

Greg: So when Skydance initially acquired The Old Guard, Matt Grimm and Don Granger were the guys that I was working with. And they were very clear that they had acquired it because they loved the source material. So when I was doing the adaptation, it was ‘adapt this story to be told in a screen format, there are changes that have to be made’. I didn't see it so much as like ‘I can go in a different direction!’ as ‘it's a really rare opportunity to have a second bite at the apple’. Most writers don't get to tell the same story twice. And even with the collaborative nature of comics, making a movie is far more collaborative. So… being able to benefit from a lot of very smart people-- and then when Gina came aboard, and working very closely with her on the screenplay, you know, taking her notes, and talking at length about it was… I mean, I love the comic we made, I'm very proud of it. But I think this is a superior story. Because it allowed me to fix mistakes I had made. And I think that it certainly works as the film that we wanted it to be, but it has a lot more nuance and a lot more ‘shading’ than the comics ever could have had. So yeah, I mean, I'm very proud of the work we've done.

P: Yeah, as you should be, definitely agree with that. And I know, Gina, you've spoken about how you treated the source material essentially as a Bible as the blueprint for adapting the movie. So a question kind of for both of you, I was curious what scene or sequence were you most excited to bring to life? And then what scene were you most apprehensive about whether or not you could pull it off as faithful to that original?

Gina: For me, I mean, there was there were certainly a couple... Joe and Nicky in the van.

Greg: [nodding] Yeah.

Gina: Such a beautiful moment in the comic. And I wanted to get it right. I knew the actors really wanted to get it right. As soon as we started shooting, I was like, 'oh yeah, they're killing it'. Also Booker in the mine, the speech that he gives to Nile, it's everything to his character. It explains both Booker and Andy; where they are, and why they are the way that they are in that moment of time. And I know that as a director, I saw a perfect take. But going into those, you hope that, ‘am I able to evoke what I need to evoke in the audience?’ I think that the hardest really was the Kill Floor, given how iconic it is in the comic. It's just so beautifully drawn by Leandro, it pops off the page. So ‘how am I going to be able to do the same thing on film?’ But it really kind of boiled down to ‘what is the story [of the scene]’ and really focus on that first, but also wanting to really give a bit of a homage to what Leandro did too, which was my use of silhouette throughout it.

Greg: Yeah, I think that… Gina just listed all of the scenes. I mean, I wanted to see the armored car, that was enormously rewarding for me… I couldn't wait to see the killing room floor... You know, when we talk about moments of adaptation, I actually —and I thought this was really well handled in the movie in particular— Nile’s death wasn't wasn't easy in the comic, because it needed to have heart. You know, Kiki's performance and the way it's shot is just, it's phenomenal.

P: And obviously you can't really talk about this movie, which is this big action-fantasy movie, without talking about that scene between Joe and Nicky. I'm curious what both of your reactions have been to seeing that moment hit so hard with so many fans.

Greg: I'm overjoyed that we're able to give that to so many people. I am also frustrated that it's so overdue. While I don't think that either Gina or I felt that this was… It was important and special because it was important and special between these characters. But, you know, I mean I’m in that place where I recognize why we are getting the response that we are, and, I'm frustrated by the fact that it's 2020. And… apparently we're the first people to have done this? And you can say that about a lot of the reactions, you can say that about the reactions to Kiki's Nile. You can say that about reactions about Charlize portraying Andy. There’s a piece of me that's like ‘guys, we didn't invent the wheel here. All we did was show you, THERE’S A WHEEL HERE!’. So.

P: Yeah, it's interesting and it is frustrating that it is 2020 and we have to refer to this as an anomaly. That this is not the norm, that as you said, this is we're showing people that the wheel exists. And so Gina, you know, between having a film with two powered, seemingly super-powered characters, in a comic book adaptation, which is largely been devoid of such characters. [I think he meant to say female powered characters?] and being a black woman, directing a comic book adaptation— again, something in 2020 that we have to treat as a shocking revelation— I was curious, if you felt any sort of pressure about that on set, or if it was like just a confidence in the material, and support from your collaborators, that it wasn't even an issue?

Gina: Um, are you talking about the scene-?

P: Just the project as a whole.

Gina: There was a reason I took this film, because it moved me. It has to start there. There's all these things; I love putting a black female in the world, I love putting Nicky and Joe in the world, I love putting Joe’s character in the world. Those are all such incredible driving forces. But foremost, I have to feel and care about the characters in the story. And I did. And so, for me, it felt... I mean I was honored to be able to be the one to give these characters a life up on screen... or in that big screen in your living room. There's, of course, enormous pressure. Not only just doing a film, like the bigness of it. Certainly me being a woman, me being a black woman, and doing this when nobody has done it before… It's about proving myself and proving that women like me can do this, that we do like action, that we can shoot action… Just changing that narrative. So there's pressure to get it right and do a good job, but I feed off of that. It made me work harder because I felt like I absolutely had a responsibility to get it right.

P: And we've talked about Kiki a few times as Nile, of course. And Gina, I know you said it was within five seconds of meeting her that you knew she was the right one to play Nile. I was curious, how did the rest of the casting process go? Did everybody get hired that easily? Or was it a harder search to round out the ensemble?

Greg: Yes. I’m curious too!

Gina: You know, I knew going into this that I wanted great actors for every role and it's pretty amazing how many of my first choices are in this film. I mean Matthias Schoenaerts who plays Booker is an incredible actor and I knew I wanted him from the get-go. We were told he doesn't do films like this, but he wanted to meet, which was the first thing, like, ‘oh my gosh it’s on me, don't blow this meeting’ and he said again to my face, ‘I don't do these movies, but I love this movie’ and he loved the character Booker. And after that conversation and hearing my vision, he was in, which was amazing. Marwan Kenzari, I saw him in this independent film called Wolf—

Greg: Yeahhhhhh.

Gina: Phenomenal. And he was supposed to read for the part. We had a meeting over FaceTime. Then, Zoom was not what it is now. And it was such an incredible meeting. He was so passionate about the material. So passionate about the character Joe. So passionate about wanting to give that speech. His energy… I just said 'you don't need to read, like, you're Joe'. Luca Marinelli, who plays Nicky, I saw his audition. He has this depth to him, those eyes.. where you just, you felt everything, you felt his soul. But I needed to do a chemistry reading, as I would with any love story. And so, we flew him in to read with Marwan. They did this incredible improv, and it was so obvious that these two were Joe and Nicky. It was a really beautiful moment as a director to just… know, and I was so excited to show everybody what they had. It leapt off the screen, their connection; they’d never met before but, immediate connection. Chiwetel Ejiofor, I mean… [awed silence]

Greg: Chiwetel... yeah.

Gina: Yeah. To hear that he wanted to be in this and work with me on this, I didn't need anything else at that point. He's truly a genius. Charlize, you know, there are very few women who can work in the space and we believe them. And that's the thing about her work, and her action, we believe her. And we needed that for Andy. And of course she's a great actress, so it was, you know, that was kind of a no-brainer. So, lastly Harry Melling, you know our villain. It's funny, Don Granger, at Skydance, says you've done a good job with your villain if the audience wants to punch him in the face. Harry brought that reality of those templates of Mark Zuckerberg and Martin Shkreli and really rocked it.

Greg: I had, you know, I'm the screenwriter, right? And I am pretty much involved in the production at the director’s sufferance, and Gina was so gracious to want me present-- and more than that, want me present and say things, right? As opposed to ‘stand here and be quiet’, but I remember when Kiki… when they knew they wanted Kiki, like in that window before all the paperwork was done and so on. Throughout most of the casting I wasn't hearing a lot from Gina, just the occasional update. Like ‘I think we've got…’ and then the Kiki audition came in, and Gina, you called me, Granger texted me, Grimm texted me. And it was all the same thing. It was all ‘we have found Nile, oh my god, there were these two scenes and she had us howling in one and weeping in the other and she is perfect’. And the exuberant joy, you know, I remember you on that call being like ‘NO, THIS IS HER!!’. It's like, this is gonna be awesome.

P: So, and to open things up a little bit more to the actual mythology of the film and the comic book series, I think one of the coolest things is that this film doesn't entirely explore is why these characters come back to life? But we also don't entirely need to know that to just… witness this slice of time in their journey. So I'm kind of curious, maybe Greg you have more insight on this, but I'm curious if either of you have those ideas in your head of what the root of this, you know, blessing or curse, the curse of immortality? Or is that just stuff that's entirely irrelevant to this journey?

Greg: I think it's irrelevant… to the journey of the first film. That the story is a self-contained story and you don't need to know why they are immortal. And I think that the film actually does tell you, not specifically, but the film does provide you with enough information to allow you to draw certain conclusions. Because there are really a limited number of ways that they're going to get this way, right? We do not, for instance, see Nile fall into a vat of regeneration juice, right? That's not why Nile comes back. There is a mythology. We know the mythology. We know the why and that's for later. Yes, maybe it will become relevant to the story, but for this story that was told as it was told? No, you don't need to know why.

Gina: The striking thing, when I read the script for the first time was I didn't… I didn't care. Like, I didn't need it. And that surprised me because I know Greg had talked about another company who was interested in the project [Gina doesn’t say, but it was Sony lmao] kept asking ‘you have to tell us why though, in this story, an audience needs to know why’. He was absolutely right [for disagreeing with Sony]. Because I didn't need to know why.

Greg: It's the Rian Johnson School of, you know, it's Looper. ‘We can spend two hours talking about time travel or you can accept that we're in time travel. Which is it going to be?’ And I think that that is one of the most brilliant storytelling decisions made in the last 20 years in film! Literally 'here it is—DOESN’T MATTER, MOVING ON!’ you know.

P: Yeah. It's definitely a bold direction to take. And to have an issue with 'oh, well, we never learn [about the] immortality!' proves that you just miss the point of what the movie is, and that that stuff is kind of irrelevant for right now. Although I do kind of hope that because it's on Netflix someone's expecting like a post credit scene, but it's the autoplay feature, right? [Greg and Patrick talk over eachother, laughing]

Greg: We did talk about that button as a post-credit scene, the Booker [scene]—

Gina: That was originally supposed to be a tag.

Greg: And there was, for a while, the contemplation of ‘maybe we can still [put the Booker scene in as a post-credit scene] and really that'll be like a great big reward for those people who actually watch credits on Netflix. It’s like, you got a bonus scene!’

P: So another, you know, people are loving the characters, they're loving the performances, but also the action is so cool in it, and it feels reminiscent of some other films. But the urgency and efficiency of all of the action sequences always feel like they have a point, and they're not just ‘look what we can pull off this week!’ You know, it's not John Wick on a horse fighting motorcycles because we don't need to do that. It's, you know, always to a point. So I'm kind of curious Greg, what does an action scene look like in your script? And then Gina, what was your whole motivation for putting these action scenes together?

Greg: I had two approaches in this script and used both. Sometimes I would write the sequence as you know, as a series-- this is what is happening, ‘he swings and then his head goes flying’ or whatnot. But knowing very well that unless the script needed to see-- because the script has to specify what is a must. It's a must. It's a must document. ‘We must see this’. ‘We must know this information’. So for a lot of the time, I would sort of drop into a narrative voice and say, ‘okay, now we watch the five of them proceeded to kick every ass and take every name that they come across and please bear in mind you are watching over 10,000 years of combat experience, combined between them’. And then that's the description of an action sequence, right? The screenplay… it's a construction document. It's not the interior decorator’s document. It's not even the Foreman's document. It's an architectural document. And then you give it to the Foreman of the whole production, who then goes, ‘I agree, these are the important things’, and then you get out of their way and watch them do the thing that they have, you know, become an expert at doing to make it happen.

P: Gina, what's your reaction when you read Greg’s script saying, ‘oh, you know, just five immortal warriors demonstrating 10,000 years of combat experience’?

Gina: It's like ‘oh shit’. [everyone laughs] Like that's a very cool thing to read—

Greg: But how do you film it?

Gina: Yeah, exactly! Then you start at the beginning of the scene and 'what character can we reveal in the scene'? And when you start like that, it's less overwhelming. Because the best action sequences for me, when I go to the movies, are those that have a story to them and that are character driven, that have an emotion. So I really started there in the vision of what they should be and just working with my incredible, incredible stunt team, Jeff Habberstad and Danny Hernandez and Bryson Counts[? I dont know who that is]. Designing these fights to tell this story, to showcase this part of character, to further the story. And that was important as well, that we never wanted this film to feel like… rushing through the story to get to each action sequence. All of this works seamlessly. The quiet moments are just as important as the action moments. And so that was exciting to me. But being able to tell the story, reveal character, that was fun. And then it's ‘yeah, how do we choreograph so it feels as if these characters finish each other sentences, so to speak, in terms of action, knowing where the other is going to be, knowing when somebody's out of bullets and need another clip?' Like all those things, the way that they're always picking up used guns and used clips, just this dance. And it was very cool, you know, to really put that together and see what the team came up with. And then to see the actors embody that, bring character, bring performance to that. Which is why it was so great that I had the actual actors doing most of the work, so that we can see that performance.

Greg: I think you used a word that I think clearly came from what Gina’s describing and talking about with working with Danny and Jeff and Bryson. Which is 'efficient'. Like, if you watch the film, you will see that there is only one sequence where Andy is ever firing more than twice, and it is on the killing room floor. After that, whenever she fires a gun, it's one bullet. It goes exactly where she wants it to go. Everything she does becomes an issue of ‘her style is efficiency—‘

Gina: Yeah, that was a big—‘brutal efficiency’ is a term we talked about often, where they know a kill shot. They are not the type that are going to go in an environment and spray. It's lazy and not who they are. They are not going to ever hit someone by accident. They are too good. And their moral code is not like an ordinary For Hire who are just trying to get the target by any means necessary.

P: Yeah, and also speaking to what I feel set these action sequences apart from other action films is, we're used to, you know, like thumping techno or hard rock or something kick in. You know, I don't think anyone had like, you know, Frank Ocean being in an action film on Netflix on their 2020 Bingo cards. So I'm just kind of curious how you put that soundtrack together and what that process was like.

Gina: Yeah. I love music so much. It's so much a part of me as an artist. And for me, I love songs for scores, songs that can evoke an emotion, and elevate a scene or the emotion of a scene without taking it over. And music for this film was so important, to the tone. It was such a balance. This is a violent film, yet I never wanted it to feel like a celebration of violence. The fact that there was a cost to the killing and then motion to the killing. So always wanted to keep that in mind-- and music really helped with that. There's also a thing of, you know, I'm the first audience and I actually don't like heavy metal. So, it annoys me when I watch a movie and it's this non-stop thump. In the rectory —spoiler alert— when Andy kills 19 people, the music I chose was important because it took away the sting of that. I didn't want an audience to revel in ‘oh my God, she killed 19 people’. No, it was ‘she killed 19 people and you see on her face that this was not fun, this was not easy’. You see that on Nile’s face when she walks out, and the music helped that. I wanted the music to feel operatic, because what happened in that room did have that depth of emotion, so music again— so important for vibe and tone and it was fun to find these songs that could do exactly what I wanted them to do.

P: Greg, the narrative is definitely very faithful to the first two Old Guard series and, you know, blends together in this compelling and unique way… Just as a —you know, we are comicbook.com— so coming from the purest sense of interpreting the narrative... [Greg laughs] like there's definitely the flashback with Achilles from the comic book, and then also the flashback to Booker's hanging scene. Those are our absent from the film. And I was just curious if those were ever in the script or if you want to rework them for the future…?

Greg: No, I mean we also had, in the original series, the flashback that sort of accounts the Joe and Nicky, ‘we killed each other’, ‘many times’ sequence as well. There were drafts where all of that was there. And sometimes in greater detail than others. There was a version where that hospital scene— [in the movie] you get just the right amount of… when Booker's relaying it to Nile in the mine. But, you know, there was more to that, and you can see sort of Achilles' story’s presence in the mine, right? There's a glimpse of the painting. So those things weren't erased as much as… when you make a comic, every choice you are making is an efficiency choice. ‘You have X many pages, how are you going to spend them?’ And I'm not a filmmaker. I'm the guy who wrote the thing. But one of the things I can tell you when watching is that it's the same calculus but exponentially. It is— every single thing you are doing is asking if it's serving your narrative. And I think the trade —because it is a trade— of the Achilles backstory to build the Quynh story has a benefit that the Achilles story alone didn't have, in that the Quynh story —especially as it's relayed in the movie— not only does it illuminate Joe, Nicky, Booker, and of course Andy, but it's also Illuminating to Nile, in a way that… talking about Achilles would have been repeating a beat. Because as beautiful, and as important, Achilles is to Andy's character… Booker conveys that heartbreak with his story, right? So it becomes an efficiency question as much as anything else. I mean, that that's really what it comes down to.

P: Speaking to some of the changes again, I don't want to get to spoiler heavy but there's definitely a big change with one character and their possible fate. Don't want to ruin anything for anyone, so trying to play it safe.

Greg: [laughing] Yeah, how are we supposed to answer this, Patrick?

P: Why don't we just text each other? [everyone laughs] Well, I'm kind of curious. One character's trajectory has changed a little bit. What were the discussions like over, you know, altering their trajectory and what that could mean, you know, for their future adventures?

Greg: Well, how do we talk around this?

P: Also, if anyone's been watching this for 40 minutes and hasn't seen the movie, they've got to adjust their priorities.

Gina: I would say, it was about adding more jeopardy and stakes. It absolutely did that. What I love so much about the story and what Greg created is that these characters are mostly immortal. So there is always that threat. But it just added another level to that. But it also crystallized so well… the fact that the moment that Andy is truly saying ‘I'm done’ a new Immortal shows up in Nile. So it just seemed to work really well and, you know, obviously having Greg be so on board with that and take it and run with it was really important.

Greg: It externalizes the conflict beautifully. And I believe I think David Ellison at Skydance likes the term downward pressure, I believe. [Gina smiles, Greg sees] Did you hear that? Did you hear that during editing? [Gina nods] But it does. Look, here's a fundamental problem; it's actually one of the problems at the heart of Force Multiplied: what's jeopardy to an immortal? Cuz it's kind of, you know, as Joe says, ‘what are you gonna do, tough guy? Kill me?’ You know, ‘if I go, I go. I don't know when I'm going’. So you you need to be able to inject into the story some level of jeopardy. You want to heighten the stakes. And it also externalizes that particular character’s conflict.

P: Gina, hopefully I don't put you too much on the spot with this question. But, you know, any time there's a big comic book project announced its, you know, fans start saying, oh, I'd love this person who's done action movies to do it’ or ‘this person who’s already done 10 Sci-Fi movies…’, you know, like Taika Waititi can't direct every movie.

Gina: I would love him to!

P: I'm just actually kind of curious, Gina, if there are any directors that you're particularly a fan of who don't necessarily have the same, you know, Marvel DC, Star Wars experience that that you'd love to hear get announced as tackling, you know, a big budget comic book movie.

Greg: I would like to know too.

Gina: Certainly, I'm excited about what Victoria Mahoney's going to be doing-- she just did second unit [director] on Star Wars, first woman to ever do that. I dig her brain so much and her aesthetic. I'm really excited to see what she's going to do in the action space, certainly.

P: Yeah, very cool. Really looking forward to her career for sure. And I think we're just about out of time here. We were down—

Gina: [raising her hand] Can I ask a question real quick? Sorry, I just need a definitive answer on this because I got called out on Twitter and I asked Greg--

Greg: [laughing] Ohhhhhhh—

Gina: So is Old Guard, is it a graphic novel? Or is it a comic?

Greg: You got to answer that Patrick.

P: Oh boy.

Greg: [laughing] Literally he's watching all credibility start to evaporate if he doesn't get this right. [holding up a comic of Opening Fire] This is a what?

P: I mean… part of me, knowing that it is part one of a three-part overall series… You know, my brain goes to ‘trade paperback’, you know, like it's a volume collecting a certain amount of issues. But if you ask me before volume 2 came out, it would be collected as a graphic novel, but… they're all comic books. They're all just comic books, everybody. Let's just take it easy.

Gina: Okay, thank you.

P: That's my answer.

Greg: Thank you. Thank you. I think that is the appropriate answer.

P: They're all just comic books. Take it easy.

P: Yeah, but I am curious. Of course, one of the interesting things about the film is that over the course of hundreds… thousands of years, these characters, the old guard have kind of influenced humanity in some definitely interesting ways… And ultimately for good, is a little bit of what we're seeing in the film. And I can't help but wonder… is it possible that the old guard could have unintentionally influenced the world for bad? And have some negative ripples come from their actions, or do I have to wait for a sequel for that?

Greg: I think that is a very reasonable and logical question to ask, especially when you know, there are 19 dead bodies lying in a church. You know what I mean? There is a certain amount— and it's almost fatuous to talk about it but there is always the doctrine of unintended consequences. I will say this goes to something else— and I'll say it really quickly because I know we're running out of time. I think one of the things that I really, really loved about what's being said, in the movie, is that at the end of the film… The definitive statement is, if you take away everything about immortality, what it's saying is that… our choices matter and our actions matter and they matter in ways and to people that we will never see and never know of. We try to put right in the world by doing right. And we do that without ever seeing what the ramifications of it are. And sometimes we're going to succeed, gloriously, and sometimes we're going to fail and we may never know that either, right? It's the choice paralysis that that you get from cheating in The Good Place, right? I can't eat or drink or move because morally it's all wrong, right? But the takeaway from the film is that, ‘yeah, your life matters and what you do with it matters and it matters to people that you're never ever going to see.’

P: So yeah. Yeah. Well, I mean, I think that's a great positive, you know, message for us to leave on. And I definitely think that comes across in the film, especially, you know, from the characters like Joe and Nicky just professing… you know, it's about the time that you have. And you don't know when your number is going to be up. So you just try and do as many good things before that happens as you can, and hopefully the world responds to that. So I really connected with that message in the film. Thanks so much for taking the time to chat with me. The Old Guard has been out for… five days. So I look forward to reuniting--

Greg: Does it feel longer to you. Gina? It feels like it's longer for me. [Gina laughs]

P: I look forward to reuniting in maybe 10 more days to talk about the sequel and spin-off and the prequel and all that sort of thing. [Greg laughs] But for now, The Old Guard is still on Netflix. And of course don't be tricked into watching any post-credit scenes because you might end up watching, you know, The Great British Bake Off. Well, thanks so much guys, it was a pleasure.

#tog interviews #i dont remember the tag i use for transcripts

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hauntedfalcon · 3 years

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fic prompt: in the future (couple hundred years or more) Nile and Quynh (lets presume that she rejoins the team in the next movie) go to find a new immortal

"Did you dream of it, when Andy came to find me?"

Quỳnh, in the midst of the lander's pre-flight checklist, cracks a smile. "We will not be shooting anyone in the head today," she says.

"No we won't," Nile sighs. They have time to be gentle to the new one, in delivering them to this life. Things aren't quiet by any means, which is why Joe and Nicky and Booker are staying with the ship. But no one is actively hunting them down for the moment.

And Nile and Quỳnh are not Andy. They both have plenty to grieve, but they don't carry it alone out of some misplaced responsibility to protect the others.

"When she found me," Quỳnh starts. She's quiet for the countdown to uncoupling, then she tries again as the lander detaches. "When we found Yusuf and Nicolò, we had dreamed of them for years. It was like coming home. There was so much they had already accepted and worked through together. I'm sure they struggled more than I saw, but they made it look easy."

"And when she found you?" Nile says, because long ago, Quỳnh made Nile promise that she would help her face these things.

Quỳnh is silent until gravity takes hold of the lander. "I did not make anything easy for her."

Nile laughs aloud.

There are more people scattered across the solar system than there are left on Earth now, but the new one didn't die on a colony or a station. Maybe it's Earth itself that grants them this gift. Maybe their feet must be planted on the soil or the sand in order to rise again.

From the flashes in their dreams and some cross-referencing with their Terran contact, they determined that the new one is in the NT Underground. Their first death was excruciating, crushed under stone in a collapsed tunnel. And then they got right back up and kept fighting. Every time she dreams, Nile feels their fear, their confusion, their loneliness, and the force of their will.

She checks their trajectory on the screen, then cranes her neck to look out the tiny window. "It's so weird to be back here. There's more ocean than I remember."

"Yes," Quỳnh says in a faraway voice.

They put down outside Alice Springs and start making their inquiries. The locals don't warm to outsiders, and there is no one more outside than the two of them--but Quỳnh has a way of winning the trust of dangerous and frightened people.

That evening they are escorted through limestone chambers to a dim and smokey room, where a figure is surrounded by... well, the first word that comes to Nile's mind, based on body language alone, is disciples. All the other people here are oriented toward the new one, waiting for whatever they'll say next.

A freedom fighter who can't die would look an awful lot like a savior.

But whoever they were before, they were not a leader, and they haven’t had the time Nile has to grow into the role. They shrink from the deference their associates show them now. "Can you give us the room?" they ask with an attempt at authority. The others slip away quietly.

When it's just the three of them, Nile sits on the edge of a supply crate and says, "My name is Nile. This is Quỳnh. How should we call you?"

"Gotjan, for now." Their chin stays jutted, lips tight. Gotjan is plump, and richly brown as the earth, with a head of loose curls faded by sun at the ends. Maybe a handful of years older than Nile was at her first death.

"Pronouns?" Quỳnh prompts.

"She. You?"

"Same," Nile says.

"Whatever works," Quỳnh says.

For an instant it looks like Gotjan might smile, but she steels herself again. "Why have you come here?"

"To meet you," Nile says as Quỳnh takes a handheld cutter from her bag. "The dreams are how we find each other."

The cutter sparks. Quỳnh sears a line across her palm without a whimper, and holds it up as it heals.

Gotjan's eyes go wide. "Who's we?" she breathes.

"You, me, Quỳnh, and those three men you've been dreaming of, back on our ship. They're waiting for you to join us."

"Six," Gotjan says. "There are six of us?" She lets out an incredulous laugh. "Do you know what we could accomplish with six of us?"

Nile hears that we for what it is: the Underground. She knows perfectly well what six of them can accomplish.

Gently she says, "We aren't running missions on Earth, for the time being. It got a little too hot for us." They need to wait out a few overhauls of physical media, until all the records of what they did in Vancouver forty years ago pass out of memory. "But there are a lot of ways to help a cause."

"From space?" Gotjan takes a step back. "No. I'm not leaving. I lost everything--those bastards took everything from me, and I finally have a chance to do something about it."

This is something Nile expected from the conviction she felt in the dreams, though it's novel to her. When Nile was new, she had only begun to realize how much she didn't believe in what she had fought for.

She says, "Have you ever killed anyone?"

Gotjan swallows. Yeah, that's what Nile thought.

"We're not here to force you to do anything," she soothes. "If you want us to go without you, we will, and Joe and Nicky and Booker will keep dreaming of you. We'll know if you're in trouble and we'll always come back. But before you make that decision, you need to think about whether staying will do the Underground any good. If you're captured, they can kill you and kill you, and your mind will crack eventually, and that's when they'll get secrets out of you that will lead to the deaths of people you love."

She can see from the shadow that passes across Gotjan's eyes and the way she slants her face away from them that she is thinking about it.

But before Gotjan can answer, Quỳnh says, "No."

Nile gives her a vexed look, which she ignores. She always picks the most inconvenient fucking times to go off script.

"No," Quỳnh says again, "we won't leave you behind. None of us should ever be alone. If you stay, we will stay and fight beside you to whatever end. If you run from us, we will follow. You can hate us for it, but we won't be moved."

Her voice is a thread reaching back thousands of years. It raises the hairs on Nile's arms. Gotjan stares at her with a fire in her eyes. It isn't gentle, but maybe in this moment, in her solitude, it's what she needs to hear.

Quỳnh says, "You don't yet know the depth of what you have gained. Come with us and we will show you."

Nile waits for the cavern to stop ringing from Quỳnh's fervor. Then she clears her throat. "We also have an ungodly amount of money to fund the Underground in your absence."

All the way up out of the gravity well, Gotjan has questions. They do their best to answer them.

Nile watches her face when the lander pivots to reattach to the ship, and Earth is visible once more through the window. There is an ache in Gotjan's dark eyes. It's the barest she's allowed herself to be in their presence.

"I never planned to leave," she whispers. "I know the work is better up here, but... that's our land."

"That is a connection you will always have," Quỳnh promises her.

A freedom fighter who can't die and who leaves to live in the sky will, in another century or so, look an awful lot like a folk hero.

"How long are you staying off Earth?"

Nile says, "Two, maybe three more generations."

"Generations," Gotjan echoes. "What are you, twenty?"

The Freeman babyface strikes again. "I'm four hundred and twelve," Nile says lightly. "Next Thursday."

"The fuck," Gotjan says, turning to stare at her. "When do you stop keeping track?"

"About five centuries ago," Quỳnh supplies.

Gotjan lifts her head to look at Quỳnh, but she doesn't ask the logical next question. Not yet, anyway.

The Andromache's docking clamps embrace the lander. Nile leads the way through her beloved corridors, moving slower than usual so Gotjan can get used to the magnetic boots.

Nile hears them while she's still outside the galley, cursing in Italian and French, with a frantic he didn't mean it for spice.

She stops at the door and glances at Quỳnh, on the other side of Gotjan. The oldest, and the newest. Quỳnh gives her a tiny, prized smile.

"Gentlemen," Nile says as the door slides open, and a trio of anything but gentlemen straighten up from a pantomime brawl as dinner bubbles in the cooker. Some things never change.

And some things do. Nile says, "This is Gotjan."

#The Old Guard prompts for ts #Nile Freeman #Quynh #an attempt was made at an OFC!

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astrabear · 3 years

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Trick or Treat!

Happy Halloween! I drop a treat in your bag!

***********************************

They took stock of the situation. Ten dead bodies, none of whom would be missed by anyone whose feelings mattered. One old building, already well on its way to burning down. Two vehicles – one theirs, one the corpses’ – both of them too damaged by the firefight to be drivable. And the four of them, battered, bloodstained, and filthy.

Nicky took some time to reassure himself that most of the blood on Andy wasn’t hers. She wouldn’t even need any stitches. They were getting better and better at shielding her, even during clusterfucks like tonight had been. Joe wandered around, unsuccessfully trying to get a signal on his phone. Nile focused on not throwing up.

“How far are we from the safehouse?” she asked. “About ten miles?”

“We don’t need to make it all the way to the safehouse,” Andy replied. “We passed a shitty motel on the way here. We can get a couple of rooms, clean up, and leave in the morning. Call Copley, see if he can get some clothes delivered to us or something.”

“How exactly is he supposed to do that?”

Andy shrugged. If she knew how this crap worked, she’d be doing it herself. She told Copley what she needed and he managed it. It had worked so far. “The motel is what, three, maybe four miles away? We should get started.”

Joe objected. “Boss, wait. I remember that motel. That’s right on the edge of town, there are people there. We can’t go walking around looking like this.”

“That won’t be a problem,” Nile informed him. “I had friends who grew up in places like this. Just follow my lead, and act drunk.”

When they were within sight of the light commercial area around the motel, they started staggering and hanging off of each other. A pickup full of teens went past heading out of town, presumably to whatever secret location had been selected that year for drinking and partying. The kids in the truck bed had clearly already gotten started and called out cheerfully to anyone they saw. Nile whooped in response. “Wooooooooo! HAPPY HALLOWEEN!”

A middle-aged man was filling up at the gas station, and his eyes went big when he saw them. “Damn! I’ve never seen makeup that good before!”

“Thanks man!” Joe was starting to get into the spirit of things. “We looked it up on YouTube, they have everything on YouTube –“ Nicky pulled him away before he could get too deeply into character.

The desk clerk looked a little apprehensive. “Can I… help you?”

Nile stayed casual. “Yeah, we just need two rooms please. Gotta sleep off the party before we head home, you know?”

The clerk relaxed a little. “Yeah, I get it. Just fill this out please. Wow, that must have been a hell of a party.”

Joe smiled his most charming smile. “Oh, we looked like this before we got there. That’s the look we were going for. Got all the fake blood they had in stock!”

“Cool, ok.” The clerk processed their credit card and handed over the keys. He nodded toward the bowl at the end of the desk. “Hey, you want any candy? I don’t think we’ll get many more people tonight, take as much as you want.”

“Fuck yes,” Andy muttered to herself as she grabbed two large handfuls. “I fucking love Halloween.”

#the old guard #the old guard trick or treat event #halloween

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bestillmyslashyheart · 4 years

Text

Italy’s muse

“So, Nicky. Awkward question.”

Nicky, Joe, and Andy all turned to face Nile. They’d been eating quietly, enjoying each other’s presence now that they were back together. Nile and Andy had joined up a few days previously but Nicky and Joe had only just returned from a trip to Malta.

“Yes?” Nicky invited her to continue.

Nile cleared her throat. “I went to Italy, while you two were on your trip.”

“...okay?” Nicky wasn’t sure where she was going with this.

“Uh, spent some time in museums,” she sort of bobbed her head like she was thinking real hard. Across from him, Andy started to smile. It stretched across her lips slowly until her grin threatened to split her face. She didn’t even try to hide it. Next to him, Joe straightened up, suddenly attentive now that he suspected where Nile was going with this. Nicky just sighed, already resigned to his fate.

“Italy has many beautiful museums,” he agreed.

“Yeah! Yeah.” She glanced at the three of them. “So. Um. A lot of it, especially the Renaissance stuff, I mean, it kinda looks like you?”

Andy started laughing. Nicky ignored her. “Does it?” Joe hopped out of his chair and disappeared into another room.

“Yeah?” She suddenly looked unsure. “I’m not trying to make, like, a generalization or anything, just a lot of the paintings reminded me of you. Like, a lot.”

“You haven’t asked your questions yet.”

Nile blinked. “Oh. Why? Why is your face on all of those paintings?”

“That, my dear Nile,” Joe crowed as he came back into the room, “would be because the Renaissance artists were talented men, yes, but mostly they were geniuses and they knew how to pick a muse.” He held up a small bronze statue, an original version of Michelangelo’s David. “Michelangelo was an asshole who didn’t know how to keep his hands to himself but he had excellent taste in models.” He placed the statue down in front of Nicky before kissing him on the cheek.

“I still don’t understand why you have that,” Nicky mused. “You have the real thing.” He smiled into Joe’s next kiss.

“This is you?!” Nile was out of her chair, the statue in her hands. “This is the David.”

“He should have called it the Nicolo,” Andy laughed. “Didn’t he ask you to model nude for it?”

Nicky sighed. “Yes. He was very pushy about it, too.”

“But you always said no,” Joe grinned.

“Of course I said no.” Nicky smirked. “He was an asshole.”

“Leonardo wasn’t,” Andy helpfully added.

Nile whirled on him. “Leonardo da Vinci?” So apparently Nile was a bit of an art history nerd. Good to know. “You knew-”

Nicky shrugged. “He was nice. Loved himself too much, though.” He rolled his eyes. “Nobody was ever smart enough for him.”

“Raphael, though,” Joe remarked, his eyes closed in memory.

Nile pointed at him. “The Raphael Rooms in the Vatican! I saw you there!”

“You did,” Nicky admitted. “But Joe liked him a lot more than I did.”

“There was a lot to like,” Joe agreed. Nicky raised his eyebrows at him but Joe only smiled. A moment later, his hand was on Nicky’s thigh rubbing warm circles of reassurance that Nicky really didn’t need but appreciated nonetheless.

“Were there any Renaissance artists you didn’t know?” Nile sat down heavily, still in a mild state of shock.

Nicky shrugged. “It was a long time ago. It’s possible? I don’t know who the world remembers.” A memory hit him. “Ah! There was one! I forget his name but he didn’t like me.” Andy groaned and Nicky grinned. “He preferred Andy. Confessed to being hopelessly in love with her.”

“He was a writer, I think,” Joe recalled. “Wrote you love letters all of the time.”

“She left Florence just to get away from him,” Nicky told Nile.

“So you got all the art and she got pestered by a writer? Some guys have all the luck.”

The others laughed.

Sensing the conversation had reached an end, Nicky scooped up the statue and left the room to return it to Joe’s things. Truthfully, if he thought Joe wouldn’t notice, he’d prefer to just be rid of it.

“Don’t you dare,” Joe warned from behind him, clearly sensing his thoughts.

Nicky rolled his eyes and tucked the statue away. “I don’t even know why you have it with you.”

“I went to a lot of trouble for that!” He laughed. “Michelangelo was a terrible sculptor, really. The resemblance is minimal.”

“So why keep it?”

“Because I know what he intended,” Joe admitted. “And it is my prize for letting him stare at you for months on end without killing him.” He wrapped his arms around Nicky’s waist.

“You would kill everyone who stares at me?”

Joe kissed him. “You did not like it,” he reminds Nicky. “And yes, I would kill everyone who stares at you without your blessing, everyone who makes you uncomfortable.”

“Hmm,” Nicky cupped the back of his head. “My hero.”

“Always.”

for @shadeandadidas and @isakvaltersnake

#the old guard #joe x nicky #my fic #tog fic

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even-after-a-millennia · 3 years

Text

Ending on Canvas

Fic for @nilefreemanweek2021 and the prompt Art! Nile thinks about Jay and Dizzy while sketching. Joe helps distract her and she finally says goodbye. You can read it below or over on my ao3 account here. Gen | Rated G | 1.4k

The safehouse was quiet. Andy and Quynh had left for a hike earlier that morning and hadn’t returned yet. Nicky was reading at the dining table, occasionally flipping his page. Booker was napping in one of the bedrooms, though if Nile concentrated enough she could hear his faint snores.

She and Joe both had their sketchbooks out and were drawing separately on the couch. Some day, they would challenge each other to recreate portraits or scenes and see how their art styles differed, but today, they were both in their own worlds.

Nile hadn’t had a plan when she had sat down, but she found herself pulling out her phone and flipping through the pictures until she found the one that she wanted to recreate. Now, it was slowly coming together, the features of her former friends becoming clearer as she worked.

Finally, she finished drawing the picture of Dizzy, Jay, and her posing for the camera.

And sat there, staring at it. At them.

She didn’t realize that she had started rocking in place, trying to expel the emotions she was feeling, until she felt Joe’s hand on her shoulder and stilled.

“Nile? Are you alright?” he asked softly.

It shouldn’t be so hard to shake her head, to tell him she wasn’t, this was Joe after all, but it felt like all the muscles in her neck were rebelling against her as she forced them to move.

“What is it, little river?” he asked.

She watched as his eyes fell on her drawing. He picked it up and examined it, his eyes taking in the scene.

“Former sisters in arms?” he gently prodded.

“Yeah,” she said, her voice raspy. “That’s Jay,” she said, pointing to her. “And that’s- that’s Dizzy.”

“You look as if you were close,” he said.

She nodded.

“They were my best friends while I served,” she admitted. Every word felt like barbed wire being pulled out of her, barbs digging in as they went.

“You don’t have to tell me, if you don’t wish to,” Joe said.

Nile smiled, a sad, small thing. “I know. I think I want to though.”

Joe nodded, settling in. Out of the corner of her eye, Nile saw Nicky close his book.

She took a deep breath, then let it out. “Women in the service are always together, on base and on assignments. That can lead to some interesting dynamics. But I was lucky when I found them. Jay was a year older than me, showed me the ropes. Dizzy… Dizzy was there. My first death.”

Joe shifted closer to her, but didn’t reach out. She huffed then grabbed hold of his hand. He squeezed it, then nodded.

“We got a lead that a man who had been responsible for the deaths of soldiers as well as civilians was holed up in a village near our base. He was using women as a living shield. We were tasked to talk to the women and engage if we found him. We did,” Nile said simply.

She could still remember the moment that Jay had kicked the door in, when Nile had entered and instinctually shot the man when she saw his gun. Two taps, right to the chest. It wasn’t even until afterward that she had realized what she had done.

“I tried to save him. But he didn’t want me to. Dizzy got distracted and he- he had a knife and,” Nile broke off, holding Joe’s hand so hard it probably hurt.

“We saw,” he murmured. “We felt it.”

It was almost a relief, to not have to describe what came next out loud. That they understood.

She nodded.

“After, when I came back, Dizzy didn’t want to be around me. She had held my throat together. Probably left a lasting impression,” Nile said, making a face. “It still hurt, though. They all turned away from me.”

Her eyes fell to her drawing.

To her friends.

“Even Jay.”

“Were you two…?” Joe trailed off, leaving the question open.

Nile shrugged. “Like I said, interesting dynamics.”

“Ah.”

They sat there, still holding hands, though their grip was much looser than before.

“I have an idea,” Joe said slowly. “But I want to check that it is something that would be good for you right now.”

“Kay. What is it?” Nile asked.

He explained his plan and Nile found herself grinning despite herself.

“Hell yes,” she said. “I’ve always wanted to do that. I loved Princess Diaries.”

Joe looked momentarily confused, but rallied. “Nicolò!” he called, as if his husband wasn’t already paying attention. “We need to go to the store!”

Nicky got up without a word and came back with their car keys.

They ended up at the dollar store, throwing supplies into the cart with abandon. Nile threw in some chocolate for good measure, enough that there would be some left for Andy. She bounced on the balls of her feet at the check out and Nicky and Joe smiled at her enthusiasm.

It took a while to set up in the backyard of their safe house, but once the tarp, canvas, and balloons filled with paint were in place, Joe turned to Nicky.

“Just one thing left,” he said with a smile.

“One moment,” Nicky said, going back into the house but not before he sent a smile back.

He emerged soon after with his arms full of a box. It was only when he set it down on the grass before Nile did she realize that it was full of knives. Not kitchen knives, either.

“Oh ho ho ho, this is going to be fun,” she said, reaching in and grabbing a throwing knife.

“Need a tutorial on throwing these?” Joe asked.

Nile pinched the tip of her knife, hefted her arm beside her head with her other arm extending before her, and then pitched forward, the blade spinning through the air until it sunk into a balloon and its paint began to drip down the canvas.

“Impressive,” Nicky said, his eyes twinkling.

Nile shrugged. “Something I picked up.”

Joe gestured to the canvas. “It’s all yours.”

“Nah, I want your guys’ help with this,” she said, handing them knives of their own. “And I wanna see who is the better shot,” she said, teasing.

“You first, my love,” Nicky said.

Joe sent him a look that made him snort, then his knife was spinning through the air and blue paint exploded across the canvas.

Nile gave a little cheer.

Nicky stepped forward and threw his as well. His knife hit the balloon next to Joe’s nestling into the canvas side by side. Nile huffed at the look of unabashed love that Joe gave Nicky and the smile Nicky gave him in return. Then they focused, and took turns throwing.

They had only put purples, blues, and black in the balloons, and soon, the canvas was covered in color and they had no more balloons to pop.

Going to the canvas, Nile smeared the colors together a bit more in places, more to make sure the canvas wasn’t showing any more.

“It will be a bit of time until it dries,” Joe said, looking over her shoulder.

Nile nodded. “That’s okay. I have an idea for once it does, if you don’t mind me taking it over.”

Joe lifted his hands, acquiescing. “This was for you, Nile. Do with it what you wish.”

She smiled and didn’t even have to put effort into it. “Thanks, Joe. Both of you,” she said, looking over at Nicky.

He shook his head. “This was all Joe’s idea. But I am glad that it helped.”

“Where is everybody?” Nile heard Quynh’s voice say from inside the house.

“Out here!” she called.

Andy and Quynh emerged into the backyard and took in the artistic carnage there. Andy started laughing.

“I’m almost sorry I missed whatever the fuck this was,” she said.

Quynh entwined their hands. “Almost,” she agreed.

They cleaned up, Nile taking the canvas inside to dry.

It did take a while to dry with all the paint on it, but once it did, she sat in front of it with a paint brush and white paint.

Slowly, she turned the multitude of colors into an alive night sky, complete with stars shining.

Her final touch was to add three figures to the bottom, etched out in white against the black that had spilled there. No prominent details, but they stood there together, looking up at the sky awash with color.

It was the best ending she could give to her two friends and the woman they used to know.

#nile freeman #nileweek2021 #the old guard #fanfic #my fic #nile and joe being art bros

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