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alexzalben · 1 year

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Shadow and Bone Season 2 premieres March 16, 2023 on Netflix

First look images, followed by quotes from Eric Heisserer, Daegan Fryklind, and Leigh Bardugo, as well as a synopsis and more info on Season 2, which I cannot frickin' wait for.

Eric Heisserer and Daegan Fryklind (Co-Showrunners / Executive Producers / Writers) & Leigh Bardugo (Author / Executive Producer) on what fans can expect this season:

HEISSERER: The most wonderful thing about Season Two is that we get to advance the story of these characters that we'd left in precarious positions at the end of Season One. There's a lot of potential for them this season. They have to face the consequences for their actions, and then they get to meet new people along the way. The Grishaverse also expands in this season, both in mythology and in characters. In doing so, we expand the world, we go to new locations, we visit Novyi Zem and Shu Han, and those are all integral to the narrative.

FRYKLIND: We've also really dug into more of the mythology this season in terms of the amplifiers, but also the creator of the amplifiers, Morozova, who he was, what his backstory is, and how he ties into this world. We go out and we go deeper.

BARDUGO: I think the readers now trust our writers the way that I do. This season I was able to step back and put the show more firmly in their hands. I think when we approached Season One, a lot of people were like, "It's impossible. It can't be done. Why would you bring SHADOW AND BONE and SIX OF CROWS together?" And I think now, we have that trust. And I think it's going to be very, very exciting for them to see the way that trust pays off in Season Two. Every part of the Grishaverse is coming into play. We are going to get to see some incredible new characters. We're going to see characters interacting with each other, questing with each other, fighting and laughing with each other, who we never got to see together in the books. And I think that's a unique thing about this show. Readers are not only going to be surprised by the way that these storylines crash into each other, they're never going to know where the next move is coming from—and that actually was a pleasure for me because I got to be surprised by my own stories.

ABOUT THE SERIES

Co-Showrunners / Executive Producers / Writers: Eric Heisserer (Chronology) and Daegan Fryklind

Author and Executive Producer: Leigh Bardugo

Executive Producers: Shawn Levy, Josh Barry, Dan Levine, and Dan Cohen for 21 Laps Entertainment, Pouya Shahbazian (Loom Studios) and Shelley Meals

Directors: Bola Ogun (Episodes 1 & 2), Laura Belsey (Episodes 3 & 4), Karen Gaviola (Episodes 5 & 6) and Mairzee Almas (Episodes 7 & 8)

Season 2 Format: 8 x 1 Hour Episodes

Cast: Jessie Mei Li (Alina Starkov), Archie Renaux (Malyen Oretsev), Freddy Carter (Kaz Brekker), Amita Suman (Inej Ghafa), Kit Young (Jesper Fahey), Danielle Galligan (Nina Zenik), Daisy Head (Genya Safin), Calahan Skogman (Matthias Helvar), Lewis Tan (Tolya Yul-Bataar), Anna Leong Brophy (Tamar Kir-Bataar), Jack Wolfe (Wylan Hendriks), Patrick Gibson (Nikolai Lantsov) and Ben Barnes (General Kirigan)

Synopsis: Alina Starkov is on the run. A beacon of hope to some and a suspected traitor to others, she's determined to bring down the Shadow Fold and save Ravka from ruin. But General Kirigan has returned to finish what he started. Backed by a terrifying new army of seemingly indestructible shadow monsters and fearsome new Grisha recruits, Kirigan is more dangerous than ever. To stand a fighting chance against him, Alina and Mal rally their own powerful new allies and begin a continent-spanning journey to find two mythical creatures that will amplify her powers. Back in Ketterdam, the Crows must forge new alliances as they contend with old rivals and even older grudges that threaten not only their place in the Barrel, but their very lives. When a chance at a deadly heist comes their way, the Crows will once again find themselves on a collision course with the legendary Sun Summoner. Based on Leigh Bardugo's worldwide bestselling Grishaverse novels, SHADOW AND BONE returns for a second season of new friendships, new romance, bigger battles, epic adventures — and a shocking family secret that could shatter everything.

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cryptmonsteruniverseimagines · 3 years

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Hello! Hc Look-see & Shelly w s/o who have the ability to communicate with supernatural things from the underworld like ghosts, etc... pls 🥺

I have so many drafts and so many asks — and have been cursed with ADD. 😔 I’m so sorry for everyone who requested stuff, I’m trying to give this blog attention that it deserves.

(Romantic) Look-See and Shelley with a medium s/o

Look-See

Ooh, what an interesting lil’ thing he’s stumbled upon.

There’s a good chance Look-See may have been drawn to you because of this power. After a recent tragedy, you’ve noticed a lot more terrified souls floating around, and they’re fairly recent, too. One day, as you’re trying to talk to one about how they died, you feel an unsettling presence behind you. You turn around, and there he is, watching you while perched in a tree like some fucking cat.

He wonders if you’re bullshitting at first, but he soon realizes that you’re legit when you tell him exactly how many souls have started flocking around him looking for vengeance. Assuming you can channel these spirits, Look-See will have a terrifying time trying to evade you while he waits for the spirit to leave your body.

If you’re a more empathic soul to the monster’s victims, perhaps you’ll find yourself using your skills to help people reconnect with their deceased loved ones so they can find closure and move on. Then Look-See won’t have to kill them, and lives won’t be lost.

He tries to be really considerate of any spirits that might be wandering the house. Before he sits down somewhere he’ll sign “is someone here?” just to make sure he doesn’t accidentally sit on a spirit. Surprisingly considerate for a demon that kills people for being petty.

Shelley

She probably met you while she was being a passive ghost and wandering around the halls of Avon Manor. You’re a new faculty member at the school when your spirit senses start going off. You had expected this, as you’ve heard the rumors that a poor student died here in 1989, but you had hoped the poor thing would’ve been able to move on.

She really likes talking to you! It’s so nice to have someone acknowledge her existence after all these decades by herself. She’ll tell you stories of the field hockey matches she won and tel you about all the crap she’s seen here over the years. Bad teachers, bad kids, education scandals, the works. Shelley’s been here for a while and she has all kinds of tea.

Just because Shelley’s a typically passive spirit doesn’t mean she doesn’t have a poltergeist streak. She’ll defend those who are being picked on, teachers and faculty alike, as some kind of avenging angel. But since she has a tendency to turn murderous, you’ll have to coax her into being more PG with her revenge.

Students picking on a teacher during class? They get smacked upside the head. Teachers being lazy with their students? They come back from lunch to see “do your goddamn job” scratched into the blackboard. Don’t even get her started on what she does to the teachers who try to groom students. You’re the only one that knows who strung up Mr. Noah on the basketball hoops.

Shelley is somewhat technologically challenged, so it’s utterly amazing when you hear that she somehow managed to disable school security system so you guys can hang out after-hours. She may be stuck in ‘89, but she’s a resourceful young lady. You guys hang out in the library, you have races down the halls, and sometimes you play field hockey. And sometimes, there may be a few less brownies for the school lunch tomorrow.

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how2to18 · 5 years

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APRIL 30, 1992. NBC’s The Cosby Show ended its run as the United States’s best-case scenario: Negroes not of its dreams. The situation comedy wrapped one day after a bunch of black guys beat the shit out of Reginald Denny at Florence and Normandie. A quarter-century or so ago, America’s racial schism peaked enough to make our Trump stuff look like chump change.

A month or so after that unmasking of day and night, Darius James’s phantasmagoric dark satire Negrophobia was published. Spoiler alert: James’s debut novel was not a healing tonic for its times.

But it could be one for ours.

Published by Carol/Citadel Publishing over 25 years ago and rereleased this month by New York Review Books, Negrophobia blends satirical narrative propulsion with sci-fi through a 21st-century scenario, stocked with characters based on the most husky and dusky 20th-century racist stereotypes. Among the parade passing through James’s political nightmare are horror versions of Race Subconscious Hall of Fame players: Elvis, Malcolm X, and Walt Disney.

Last century’s broadly digested racist cartoons drive both the James style of storytelling and the substance of his comment. The script is full of action that leaps about like a stereotype-mining Tex Avery short one might have taken in before a film like as Gone with the Wind, as a kind of appetizer. The story James told a quarter-century ago turns aggressively sci-fi as it leans on an endless stream of lies about black people that were cool with your grandparents’ generation. And these monsters from their minds are lampooned deadeye.

James’s twisted beasts engage in a cascade of violent strife. The book’s most engaging star and primary signifier: A delinquent teen girl best described in 2019 as a cross between Paris Hilton and Little Annie Fannie. (In an email exchange, the author told me the female character was inspired by the latter ’60s-era Playboy comic and Terry Southern’s novel Candy.) Her name is Bubbles Brazil. A whole bunch of bad things of a sexual nature happen to Bubbles, and if you’re the sort of reader who found him or herself halfway triggered by the title of this book in itself, Negrophobia sho’ nuff ain’t the book for you.

Which doesn’t make it not a book for the times.

James credits voudou in his lineage as a kind of co-pilot. Composed in the form of a movie script, Negrophobia from its very first sentence comes across as conjured. Be it conjured or hallucinated, the piece could only have been created in that the 395-year epoch before black lives began mattering on this here soil. When mass stereotypes went unquestioned and famous Negroes danced for chicken on TV. Out of this rich cultural content, the author cultivates extreme black caricatures to play in Bubbles’s mind. The comic narrative, one disturbing image diving in after its predecessor, is capable of producing a laugh and a wince per page.

James’s “screenplay” gives minimal internal motivation, just the raw expression of devious acts and racial distortion. “TEEN SEX-BOMB BLOND” is how Bubbles is introduced to us.

So delinquent is Bubbles that she’s forced to attend an all-black public high school in New York City. And Bubbles ain’t into it like Ann Coulter ain’t into Day of the Dead activities. Which is to say Not At All, and for good reason: the blacks inhabiting the mind of Bubbles Brazil — the one she’s matriculating with in her dreams — are literally The Worst Black Folks Imaginable. Monstrously bad. Graphically terrible.

The Maid, Bubbles’s Act One archenemy, resembles a demonic and funky-ass Nell Carter, illiterate as all get out. She’s a big beast in Bubbles’s mind. Only when The Maid enters do the proceedings turn truly, mind-blowingly shameful.

BUBBLES

What’s a white girl to do in a school full of jiggaboos?

MAID

Mind her business. Yo’ parents spent all dat money sending’ yo butt off to fancy private schools. ‘N’ whatchoo do? Get hot little boll-daga ass thrown out!! ‘N’ den you end up in a crazy house fo’ rich dope fiends! Face it, you just’ gonna’ hafta put up wid dem niggas.

Reading satisfaction results will vary. As a 52-year-old black American male, the humiliation of having been stereotyped provides the book its gravity. If you’re a white American of about my age, you might be enjoying the mouth-feel of James well-wrought coon-speak. In your case, reading Negrophobia might feel like a treasured childhood brand returning to the local supermarket.

In Negrophobia, the previous century’s popular culture runs deep. Bubbles Brazil attends Donald Goines Senior High School. Lawn jockeys come to life. A take on Our Town in which Grover’s Corner is now Garvey’s Corner is in the play’s changes. Buppets are black muppet B-Boys in T-shirts that say, “IT’S A DICK THAANG! YOU WOULDN’T UNDERSTAND.” Shelley Winters gets summoned back from Wild in the Streets. Unfrozen President-for-Life Walt Disney delivers a really fucked-up speech. Bernhard Goetz makes a chilling appearance. And, of course there is zombie Elvis. Hellish-Manhattan trains and apocalyptic scenarios tap into the absurdity of America’s racial horror show, late-20th-century-style.

Always in play is shame. James weaponizes the indignity through razor-sharp send-ups that are as lean as poetry, scene after scene.

For this reader there’s a strange kind of gratitude, if not thorough enjoyment for the reissue. I had all but forgotten that White America used to label my people as chicken thieves. And that there was a recurring media image of us filing down our own teeth, as African cannibals. I almost forgotten about hophead, jungle bunny jigaboo, spear-chucker, shine, jug, tar baby, boom blasters, coon, pickaninny, Jimson weed, and being called wool-headed, as our times no longer dictate that I remember. The language was not that far below the surface of my mind.

The worst Negroes imaginable, Darius James so artfully makes clear, live vividly in the culture of unedited cartoons. The sexual violence imposed upon his Downtown Little Annie Fannie echoes those Tex Avery and Warner Brothers reels. It’s a neat trick, loading their takes into Bubbles’s mind, because she and so many real-world characters have been unable to “imagine the existence of things outside [their] sum of knowledge.”

The idea to present James’s narrative in screenplay format came from the great and emotional darkie Michael O’Donoghue. James’s mentor and friend Terry Southern supported the development of it, as did Kathy Acker and Olympia Press. All over the pages of Negrophobia — nearly as much as mid-20th-century cartoon shorts — is the voice of Richard Pryor. Rudy Ray Moore and Ralph Bakshi are heavy in the mix. Steve Cannon’s in there, too.

Johnny Depp loved his first-edition copy of James’s book. Members of the band Fishbone read and related to it, and the painter Kara Walker said reading Negrophobia in grad school “was one of those good but rare occasions when I thought there might be one other person in the world that would get what I was doing.” Bill Cosby, James says in a new preface, forbade a daughter from bringing Negrophobia into his home.

James wrote a crazy punk book, bringing to the page an ethos of a Lower Manhattan in the ’80s scene that he frequented so as to turn the indie-lit party out. “He had a pedagogical intent throughout the book that can easily be missed in all the sex and grotesquerie,” D. Scot Miller, author of The Afro-Surreal Manifesto, told me in extolling James. “Afro-Surreal presupposes that beyond this visible world, there is an invisible world striving to manifest, and it is our job to uncover it.” Where before there had been scarcity of surrealism this side of Chameleon Street, Afro-Surrealism has become, if not widespread, reassuringly present in television shows like Random Acts of Flyness and Atlanta and the feature film Sorry to Bother You.

Negrophobia is “a brilliant book whose time has come and whose time has always been now,” as Amy Abugo Ongiri calls it in the introduction. Bubble’s dream would make for the dirtiest film in the history of world cinema, but I cannot help but think James’s notes on a film could be an event in the hands of Jordan Peele. Then, James could work on the script and add a scene with Race Subconscious Hall of Famer Christopher Dorner. If I have one complaint about the re-issue of Negrophobia, it’s that I am missing Christopher Dorner. Cannot stop thinking of him, even when I’m not.

Donnell Alexander is a writer whose work has been featured in Time, The Nation, Al Jazeera’s “Inside Story,” and Economic Hardship Reporting Project.

The post Pedagogy in All the Sex and Grotesquerie: On Darius James’s “Negrophobia” appeared first on Los Angeles Review of Books.

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cryptmonsteruniverseimagines · 4 years

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(Platonic) Shelley x best friend!reader

You and Shelley were best friends. Partners in crime, peas in a pod. You were there for each other when it seemed like nobody else was. That’s why you were absolutely torn up when she died. You couldn’t even bring yourself to run with the other students. You just stood there, horrified and heartbroken, watching her lifeless body hanging from the rafters.

You were absolutely certain those horrible girls had something to do with this. When Celine told you what she’d seen, it only confirmed your suspicions. You begged, pleaded with the school administrators to look into what had happened, but they did nothing. Shelley’s death was covered up as a suicide — a “tragic accident”, as the papers put it. You were absolutely livid. Actually, livid couldn’t even describe it. The rage and anguish you felt from losing your best friend, topped with the knowledge that the school was so willing to write off someone’s concerns over the death of a student.

You stewed in your own anger and rage for years. Though you were able to move on, there was a part of you that never forgot your best friend. You never forgave Laura, Nicki and Heidi for what they did to Shelley.

So when Celine approached you with a way to bring Shelley back, you went along with it without a second thought. You helped her gather the ingredients for the spell, and the two of you got to work.

The hole in your heart that had been empty for nearly twenty years filled up when you saw her standing there, but you were worried she wouldn’t recognize you. She looked no different than she did the last time you saw her, but you certainly did.

The happiness you felt when she smiled at you, and came over to give you a hug had you in tears. After nearly twenty years, you were able to hug her again. You could speak to her again. You could tell her how much you missed her in the years she was gone.

But the secret of your best friend’s death couldn’t stay just buried. Together, you, Shelley, and Celine were going to make those bitches pay.

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