#someone stop me before i become really obsessed with the way i'm storytelling that

[histoires-en-bouteille]

I can't sleep.

I think something is about to happen. Something really wrong. I can't explain it to myself, but I just know it. Deep in my guts, I know it.

I feel like every step we take brings us closer to the end, somehow.

We're about a day away from Alcura. We've mostly met passive creatures, the kind that run away when they see you. Sometimes they stare, long enough to give you the creeps.

There's always one that stares for too long. One that makes you feel like you're their prey, their object of curiosity. You never know how they think, you just know they stare. You see their eyes, so big, so dead, and you could swear there's something behind those fucking eyes.

Ava doesn't say anything. Me neither. We haven't talked in...I think we haven't talked in a week, at least. Sometimes shit go wild between us.

It's back. Staring again. Fuck, that thing is seriously creeping the fuck out of me. Ava is sleeping. Usually she would stare back until it would leave.

I can't do that. I'm not superstitious, I know Ava always says I am, I'm not, but you know what they say about those who stare back? They always get snapped from the sides. So busy looking straight into the dead eyes in front of them, they get too caught up in the moment and forget to watch their sides. That's how Big Grum got torn to shred.

I'll keep a side-eye on that thing. I feel like it's been following us, but I'm not sure. But it's been days and I can't sleep. I can't fucking sleep because whenever I close my eyes I feel my heart...I fucking feel that... that presence.

Mami used to tell us that if we feel a presence, we must keep our eyes open, because if we close our eyes, they'll be right there when we open them again.

Right here, in front of us, staring and grinning.

I should really shut up. Writing these things only makes me feel worse. There's no way I'll be sleeping tonight. No fucking way.

I just hope we can reach Alcura tomorrow. I don't feel like being outside with Dead Eyes any longer.

_

Extract from Todd's Journal. - Dead Eyes.

_

Notes from transcriber:

The extract was entitled "Dead Eyes" as a reference to the nickname given to the creature observed by Todd and Ava on their first trip to Alcura. The emphasis on the eyes of the creature became the focus of scholars curiosity, as well as an object of controversies. Dead Eyes has indeed been suspected of being █ █████████ ███████████ ████ ████ ██ ████████ █████ ██ █████████ ████ ███ ███'█ ██████████. (What's Behind The Eyes?, 150-163) ███████████ ████ ██████ ████ ██████ ██████ ██ ██████ ███ ██████, ███ ███ ██ ███ ████ ████ ██ ███ ████████ ██████████. (Archives of Security Register)

Dead Eyes became a recurring image in Todd's journal, and could be found from page 25 to 53, a section of the journal which corresponded to their second trip to Alcura. It also marked the disappearance of Dead Eyes's physical presence - though one can argue that Dead Eyes remained omnipresent in Todd's retelling of their travels, as defended by Elina Baker in Dead Eyes: The Haunting of A Presence (Baker, 23)

Todd often wrote about local beliefs and superstitions, as well as myths and stories he (and Ava) grew up with. The story of Big Grum - accessible on the online version of ARKives (ARKives, Formative Tales) - is what scholars commonly define as a "formative tale" for children, providing them with "life lessons and warnings related to the real life conditions and habits of [their] natal village[s]". (Dictiocon Online)

Todd briefly mentioned an altercation between Ava and himself. He gave no details whatsoever on the matter, but did say that "Sometimes shit go wild between [them]," proving the reccuring arguments they would have while travelling. In another extract entitled Home, Todd wrote about a violent altercation which led both parties to not talk to each other for more than three weeks. He also confided in his journal of this fight being "the worst [they] ever had" and explained how "miserable" it made him feel. (Home, 84)

_

@chaoticvampirejedi @m-o-o-n-s-g-o-o-n-s

#writing #ava & todd #todd #sacrificed #Todd's journal #Dead Eyes #I need to calm down before I create a real ARKives website and a real Dictiocon website and before i start writing real fake essays- #-and books about what's going on in the story and and and #someone stop me before i become really obsessed with the way i'm storytelling that #me: ho no i have to do research for school :(( #also me: spends hours of her days creating fake documents and writing fake research notes and fake transcriptions for her story #x'DD #also i have like 3 other drafts completely done and ready to be posted and that is the most prepared i have ever been in my life #i should go to sleep but also i have so many ideas and i write best at night!! (no you do not you just think you do) #but anyway you can have this one for tonight and we'll see what i have for you tomorrow and for the rest of the week hopefully! :D

[le-trash-prince]

Kenta

Okay. It is once again time for me to talk about my number one little man. I was interested in Kenta from the very beginning, and at some point I realized that I was not going to be normal about him, but I really did not anticipate how much he would come to mean to me. I hope y'all have enjoyed witnessing my descent into feral blorbo state. It is not over for me in the slightest.

I want to say that Garfield really acted the shit out of this role, and the writers knew what they were doing when they cast him. His arc was so important to the overall plot, with his growth being pivotal to Tony's downfall, and yet he had a relatively small amount of dialogue to work with (although certainly not the smallest amount of the cast).

A lot of his scenes involve him standing in Tony's office, taking instructions, or even just simply observing. A lot of his lines are based around business deals and errands—rather than furthering his emotional development. He doesn't give big speeches, he doesn't talk about his feelings or his dreams, it's always just "I'm doing xyz for Tony, and I will never betray him."

Some of his most dialogue heavy scenes are in one stairwell with Pete and in another with Tony, which I think are extremely pivotal moments, both of which reveal a fear of abandonment.

But it's honestly when he's quiet that he says the most.

And I love that, I'm obsessed with it. I love that the whole fandom could insantly tell that he and Pete had something going on, just from the way they looked at each other. I love that the storytelling in his arc was so highly visual.

In the beginning, Kenta appears to be nothing more than Tony's lackey: quiet, intimidating, and actively complicit with what is going on.

But as we see him more and more, it becomes exceedingly apparent that he cares, so much. I know I am biased in saying this, but I do also pay close attention to what other people are saying about Kenta, and I know almost everyone has been waiting the entire series to see him stand up to Tony. The amount of acting that Garfield did with his eyes, while remaining such a stoic character, was insane.

Despite him repeatedly declaring his loyalty to Tony, despite the fact that he does not reveal any actions against Tony until episode 12, we feel so much of his inner conflict.

I think for me, personally, the aspect of Kenta's character that I relate to the most is his inability to speak up when he wants to. I've struggled with selective mutism my entire life, and there have been countless, countless scenarios where I've had so many things to say and no ability to say them. The more dire the situation, the more my words fail me. I have to spend so much of my energy constantly planning for potential conflict scenarios just so I can have the time I need to figure out which words to use. Because it can sometimes take months for me to figure out certain phrases. And because it is so painful to stay silent when you want to tell someone to stop. To stop fighting, to stop hurting each other, to stop hurting me.

So I was beyond moved and proud to watch Kenta finally be able to protect his brothers and quietly say the one thing he has wanted to say all along.

Don't hurt anyone anymore.

Don't hurt anyone anymore.

Don't hurt anyone anymore.

I will take some of the words that P'Chod gave to Garfield before they went into production. "It’s just you want to live in a peaceful house and be happy together.” All we want is peace.

I wish that Kenta had not been forced to kill Tony because I don't think he has ever wanted to hurt anyone. But I'm sure as hell not sorry that he did it. There will always be people who are unwilling to stop.

And I recognize that Kenta tried a peaceful method first. He gave X-Hunter what they needed to put Tony in jail, and Tony refused to give up. He was never going to be the kind of person who would simply surrender. To him, these people's lives are property that he is entitled to.

Here is an auto translation of something Garfield said about Kenta at the final episode screening.

"I already knew that Kenta would be similar to me, in that I'm someone who doesn't dare to express my feelings to the people around me, saying very little. So when I got the role, I felt… that it teaches us that as long as we dare to be ourselves and do things that make us happy, that's enough."

We may never know what happened to Kenta after Tony died, but I hope he is able to find his peace. I hope he is able to engage with restorative justice, and I hope he is able to learn what family really should be.

And I hope that someone, anyone, will give him a goddamned hug.

the first shot / the last shot

Thank you, Kenta, from the bottom of my heart, for showing us yours.

#god okay this one took a lot out of me IM STILL RUNNING ON LOW SLEEP #anyways I LOVE HIM I LOVE HIMMMMMMMM #pit babe the series #kenta pit babe #pit babe spoilers #pit babe meta #em post #em meta #pit babe

[naffeclipse]

First, please forgive the jumbled incoherent mess that I am about to dump into your ask box.

The way your story smoothly relays important information is a breath of fresh air. How the hints/nods/facts are woven into the unfolding events without it being glaringly obvious is what I adore the most, it feels natural and makes the story flow. This form of storytelling really gives a great nod to the reader. Like you are trusting the reader to figure out the puzzle pieces. It makes it fun and enthralling. I saw the post where someone had already made a connection to the possibility of Moon already knowing about Y/N's past. It had come across my mind when Moon had asked Y/N to stop lying and it really made sense considering all the factors leading up to that point -> Sun & Moon are both brilliant detectives -> Have been working on Y/N's case for a good while now -> Knowing where a hideout is that was used during the Afton family's reign -> Meaning they must have personally been assigned to cases involving said crime family -> Meaning they must have had some information on the members of said crime family.

I'm gushing over the complexity you are giving these characters, in no way are they one-dimensional and neither are the relationships between each other. Given Sun & Moon's past relationship with Eclipse. I can't imagine how hurt and bitter they must be towards someone so close become everything they are against. Eclipse and his brothers were on two different sides of a coin on what they considered to be just. It must have really touched home seeing Y/N being able to stray from the life of crime and horrific acts to becoming a vigilante trying to redeem their past sins. It's like Y/N must have given them hope their brother could change. I know it could be that this is not the case, but it's a thought. On the other side, Eclipse is full of vengeful spirit against society for what they went through to survive. I see his personality is more "kill or be killed" and that he learned if you want something you have to take it. Losing his relationship with his brothers must have hit deep because it's something he can't just take back. Then here comes Y/N, leading a life similar to his, but willingly throwing it all away. It's something he couldn't bring himself to do even for his brothers. I sense a resentment there and a longing. Maybe even jealousy that Y/N can have a relationship with his lost family while he can't. He might deep down blame himself, think himself an irredeemable monster and that Y/N has to be too. The mentality that if I am this way and can't change, then who the hell are you to say you can? I could see Eclipse pursuing Y/N because they represent another thing he can't have, but he will not take rejection again. There is so much more about this dynamic I could rant about, but I will stop here lol It's really hard to write out my thoughts.

I envy your ability to portray your ideas on paper, character and world building. Being able to portray the characters emotions in a variety of ways (facial expressions, motions, actions, gestures, speech pattern). The way you are able to describe a scene in a way that plays like a movie in your mind. Simple details and actions that really put you in the moment. I have never written a story before, but I am pretty motivated to take a shot. That is, if I get my art projects out and stop procrastinating :( I have an entire plot and details hashed out that I can't get past the brainstorming/info dump stage. Again, absolutely love your work. If this story was written with OCs and not based off of a fandom, I would still eat it up :)

Oh my gosh, you're making me melt!! Ahhhh, thank you so much and I love reading every word of this, it's just so amazing!! I'm just sitting here trying to collect myself but then I reread this again and alsjdfalfa

Your analysis of the brothers' dynamics, Eclipse, and Eclipse's obsession with Y/N is *chef's kiss* magnificent! I'm eating up every word eeee!

I can't answer directly to your speculation but just know I'm reading it like this:

#juxtavera #compliments that make me cry (out of joy) #sleuth jesters

[viscountessevie]

I always thought Shonda was rather groundbreaking in how diverse her shows are. But at a certain point I’ve had to stop watching each of her shows because they began to feel off. I though it was a me thing and my taste was changing but after how Bridgerton treated Simone and Kate…I don’t know. For some reason I’m taking it personally and it’s hard not to be bitter. Did something change in Shondaland with their priorities or did I buy into undeserved hype before?

Thanks for this ask anon! Also strap in because I'm going to spill all the tea on Shondaland. [Mini essay is under the cut]

My take is: when she started out way back then, in the early 2000s, it was ground breaking diversity because we never really had main characters of colour who weren't tokenised or played up for stereotypes (Cristina Yang, Olivia Pope, Annelise Keating etc). So back then it was deserved hype because no one was really doing that on such a large mainstream show.

But also because it was the early naughts, the main protagonist was still a white person while the characters of colour were their support system. While Olivia and Annelise are the main protags, they are surrounded by white characters especially Olivia more than Annelise so ot felt like tokenism in Scandal at times tbh. HTGAWM was pretty good on diversity considering her track record.

I also personally think she operates this way because she primarily panders to the white audience. Her own community and audiences of colour are a second thought to her and her team. She strikes me as the sort of WoC who feels like she owes the white people in charge and audiences this because they are the ones who put her on the map and is okay with throwing her characters of colour under the bus to keep her place as a popular creator. [Would like to reiterate that this is just my opinion and interpretation of the way she interacts with the fans and reception of the show and is not a fact.]

However while it was deemed groundbreaking at the time, Shonda's formulas have stayed the same. Not just with the limited diversity quota but her obsession with love triangles. So now 20 years later, it's all outdated. You are constantly be churning out shows with useless love triangles that you don't even pull off well and also have 80% white cast with a few main POC characters. Because they are the 'mains', it seems like POCs are getting to shine because they are taking up space but really when you combine all the white characters' screentime, it's overshadows the characters' of colour time on whichever show.

In a way anon you have changed your taste because you've grown but Shondaland's way of storytelling has not evolved at all and it's getting tired.

It also doesn't help that ALL of the company's showrunners (aside from her in the early Greys days) are white. Like how the hell are you suppose to showcase a meaningful stories about people of colour if you put someone who fundamentally does not understand that experience in charge??

Now, however because she and her company aren't keeping up with the times, Shondaland and their shows are becoming overrated and not to mention sloppy. Race discussion aside, the writing always goes to shit after a couple seasons. It's more obvious that her formula doesn't work in 2022 anymore when you have actual diverse shows that doesn't sacrifice good writing for the whims of the creator and actually wants to tell meaningful stories that don't involve white people. Because white people have had YEARS of rep and now it's time for us to shine. So now we have amazing shows like Love, Victor; 911 & 911 LS (this one more so; the OG kind of dropped the ball in S5A), Abbott Elementary, Fresh Off The Boat, Never Have I Ever, etc and while I haven't seen this show yet, I've been told Roswell specifically panders to audiences of colour and that's what makes it so enjoyable for our community to watch and I think we need more shows like that. Just for us.

All of that aside, I'm so sorry the treatment of Simone in Bridgerton got to you. I feel the exact same way. I want you to know that you taking it personally and feeling bitter is valid. They really made Kate suffer this season and never hyped Simone in promos, something is fishy about that 😤 My DMs and asks are always open if you ever wanna come in and bitch/rant about it. I'm here to listen and know you aren't alone in feeling like this. Hope the feelings subside soon and you feel better 💞💞

#bridgerton #kate sharma #simone ashley #Shondaland #Shonda Rhimes #Lavi's Stamp of Approval! #kanthypants & eldest daughters stamp of approval #kanthypants and eldest daughters gc #Sanji Answers

[callmearas]

You know what sucks? Recognizing yourself as a person who lost their ambitions. Or maybe I never had them at all and what I thought were ambitions were fleeting whims that hit like an addiction because of my ADHD. I feel like I found a comfortable space that's good and fine and safe and settled in and have made it worse for myself because of that. I want (wanted?) to be a writer, and yet I never write, or write only when the emotion takes me, which is like once every generation. I think I understand storytelling and everything I read but then I see people who really (actually?) care and how much they dissect and actually understand how to do it, how it's done well. I wanted (want?) to play music but only play now to teach others, never doing it for myself. I feel like a dead end.

I stopped seeing myself as exceptional as someone who deserves to speak and be heard and only parrot what others say. I've let myself become a ghost before my death, someone who might be rememered as a shrivelled and decayed branch on my family tree. And what does thinking that say about all of my family who has or still lives, having found their homes and still continue to build them. How can I feel so useless and undeserving of pride and still I have the gall, the conceit, the egotism to place myself first, to not think about how everyone places themself first.

Even in this moment I can't stop myself from calling myself garbage for thinking these thoughts are worth editing. I've changed words to those I feel would provide more impact. Why? Am I trying to convince you, the few real people I believe might actually be following this nothing blog, that I am a deep and truly erudite and intellectual writer? That I sow misery as easily as I breathe? Who the fuck am I to think my thoughts are worth listening to? How can I extol feeling that everyone else deserves to have their voice heard, to communicate what they really want, and yet see myself as garbage who will not contribute anything of worth to the world. I said to myself that the only thing I knew I wanted to be was a good person, and despite the effort I know I am making it that regard, I feel like I will only continue to fail and hurt people as I make mistake after mistake on the way there.

And none of this is special. Millions, (no hundreds of millions, [no billions]) of people go through these thoughts which makes me feel comfort that I am not alone, but also made me feel utterly unimportant. I feel a part of a great oneness, and yet feel despair that I don't stick out enough.

Why am I not special? How can I be feel warmth at the thought of common identity, of not being alone, and still so unsatisfied? Why am I not more special? Why do I need to be special? Why am I not doing anything about it? Why don't I do the things I know that works?

I have no answers, no yearning, no exceptionality, no focus, and no fucking clue, only questions, comfort, ego, and wants I'm letting die as I wait for oblivion.

I just want to want again. No, I need to need, I need to obsess, to so strongly desire something, anything, that I will change myself to do something about it again. I want to want to be a writer, actor, musician, teacher, good person again, to be the expert that others can turn to, to learn from, to trust. But my ADHD will shift that around so suddenly that I'm never wanting the same thing in the morning as I fell asleep with. The worst part is that I know how to change all this, but I can't focus on changing long enough that anything will happen for long. No, I only focus on finding comfort now, not satisfaction. I only focus on hearing and not being heard.

I'm fucking stuck.

#sorry for putting this on your dash #I need to go back to therapy #Or just talk more #do anything really #because I feel like a dead end even though I know I'm not #I want to change the world and I know I am doing it at the scale most people will do and that's fine #but is the comfort in that knowledge #that perspective on life #what brought me to my current apathy? #I just want to want again. #No #I need to need

[secondhandnewsradio]

SHN INTERVIEW: Rachel Bochner

by Claire Silverman

Rachel Bochner is a singer/songwriter based in New York City. Her career in the music industry began with an A&R internship at a record label, and it was there that she realized her true passion for creating and sharing her own music. Her passion lies in making pop music that resonates with people through the good, the bad, the lighthearted, and the heavy.

CS: Congrats on the release of your song “hating myself in the summer!”

RB: Thank you so much!

CS: The song feels like a song that so many people, especially young girls, can relate to a lot. What initially prompted you to write this song?

RB: I actually started writing this song back in October, so it wasn't written in the summertime. But the phrase in the chorus “I'm tired of hitting myself in the summer” is kind of what sparked the song as a whole. And like you said, it's something that a lot of people, especially young women can relate to. I think it's just something that I have always struggled with for as long as I can remember. There are periods in my life where I noticed, at events or seasons, that I'm feeling particularly self-conscious, and summer is definitely one of those times. There’s this push and pull of “I want to be enjoying myself, and I just want to exist and not be worrying about this,” but there's also a pressure that “okay, my friends are all going to the beach, and I don't love how I'm looking in this bathing suit, and now that's consuming my mind,” and it's a really exhausting thing to worry about. Also as I've gotten older, it’s become so much more apparent that it's not something that actually matters, and it's not something that I should be basing my worth on. So the song is about coming to that realization.

CS: One thing I like about this song is that it's you and yourself, but also it’s you speaking to a lot of people. I appreciate that this song is a pop song, and it's a really good pop song, but it's not about a love story, which is something I really like. I've noticed this type of theme in some of your other songs too. Could you tell me a bit about what kind of messages are you interested in writing about, and what's important to you and your songwriting overall?

RB: It's funny that you say that because this song is on a project that is a collection of songs that are all not love songs. I think, for this project, I wanted it to be exactly that — my thought process and things that I'm feeling and what I'm going through but not really about another person. I do love a love song, and I love the last EP that I put out that had this story of one relationship not working out and like coming into a new one that feels better and more authentic. So I felt like I got that off my chest for a bit. I started with “how am I feeling?: And “what are the things that I am struggling with?” And what are things that I think that other people who are around my age, so high school through mid to late 20s, can relate to? I love being able to write something that feels really personal to me, but when someone listens to it, they might have a completely different life experience and still be able to place themselves in that song.

photo: Sasha Bellentine

CS: Who are the artists that you feel have really influenced you and your songwriting?

RB: I am definitely influenced by a lot of different artists. Some longer-term inspirations for me are Julia Michaels, Maggie Rogers, and Lana Del Rey. I think Julia Michaels’ writing is the kind of pop music that I am really drawn to,  where sonically it’s a bop, but lyrically, you can read into it and it’s a thought-provoking song. Recently I've really been loving Conan Gray. Also, Sasha Sloane is great. I always feel overwhelmed when I'm asked this question because I feel like I need to list everyone. And I also love Taylor Swift. She consistently blows my mind.

CS: I love that. One of the coolest things that I’ve noticed from speaking with female artists around our age is that literally almost every single one of them has been deeply influenced by Taylor Swift. She has really helped create this next generation of songwriters. It's so cool.

RB: And I also love Lorde so much, but I feel like people always kind of name Lorde as their inspiration.

photo: Alex Lyon

CS: So how did you get started in the industry? What made you realize that music was what you wanted to pursue?

RB: I have always loved music. I've always been a singer, for as long as I can remember. But I didn't really start writing and working on my own music until later on. I think part of that was being a little bit afraid of failure. The part of me that wanted to do that got overshadowed by the part of me that was afraid of being bad at it. But I actually started seriously writing during the summer of 2018, which is weirdly recent. For a while, I thought I wanted to work at a label, so I interned at a record label that summer of 2018. I was doing A&R and was listening to new music every single day and looking for new artists. That’s when it clicked for me that I loved writing and I wanted to be sharing my own music. From that point on, I've been focusing on finding my network of people to be making music.

CS: As I was getting ready for this interview, I was listening to your EP 2 AM again, and I wanted to ask you about that EP as well, specifically, your song Ultraviolet. What was the story behind that song?

RB: Ultraviolet was written at the end of last summer, so we were deep in COVID times. From not being able to see people and just having so much time to sit with my own thoughts, I started to understand things about myself that I hadn't previously ever even thought about. I needed an outlet for thinking about that and processing the questions and realizations I was having about my sexuality. Naturally, I wrote a song about it. It created this space for me to explore everything that I was thinking about given the circumstances.

CS: You mentioned earlier with that EP that there was a big emphasis on the storytelling aspect of your songs. Can you talk a little bit about that, and, and the process of that EP, and putting out an EP in a time where playing concerts can’t be a part of a release.

RB: Since I started releasing music right before COVID, I’ve never really lived in a world where playing shows is a part of the release strategy. I'm excited for that to be a thing. In terms of the storytelling, the songs on the EP weren't actually written in the order that they appear on the tracklist. Afterwards, I figured out how they made sense to me, which was fun. Something I like to do in my writing is pull from experiences and emotions that I have personally felt, but also using fiction and applying an emotion that I have actually experienced and I can speak to, but in a different situation. I think as a songwriter it is really important to be able to open yourself up beyond what you've experienced firsthand, and still be able to make it sound genuine and have it resonate with people.

CS: Do you have any news you can share with us? Any exciting things coming up in the future?

RB: Definitely. I have new music on the way [Rachel’s new single “ghosted my therapist” is out now]. I won't say too much, but there's a little easter egg in the music video for “hating myself in the summer.” It's cryptic, but it'll make sense eventually.

CS: Is this the Taylor Swift fan in you putting easter eggs in your videos?

RB: Oh 100% yes.

CS: Can you give us a few recommendations to end with? What are the songs you've been listening to recently?

RB: Conan Gray recently put out a song called “People Watching” and it's so good, it was co-written by Julia Michaels as well, and she’s one of my favorites. There's a song that I literally cannot stop playing and it destroys me emotionally but I am obsessed with it. It's called “I Can't Wait to Be British” by Carol Ades. If you're looking for a song to cry to, that's a really good one. I’ve also been listening to a lot of JP Saxe lately. I'm actively not sad, but I love listening to sad music right now.

CS: It was really nice to meet you, and I'm looking forward to hearing your new music!

RB: Thank you!

#Second Hand News #shn radio #shn interview #rachel bochner #hating myself in the summer #new music #julia michaels #maggie rogers #lana del rey #taylor swift #lorde #conan gray #carol ades #jp saxe #2 am #ultraviolet #sasha sloan #summer #summer music #summer vibes

[jisssooyah]

Hi you... if you were going to curate a little season of films for me, which ones would you choose and why? They don't need to be horror, I'm just curious what you would choose 🌸

I don’t know if you’ll like these movies, or if you’ve already watched them, but after i watched these films, i felt like they might need to belong to you now. i hope they make you smile, roll your eyes, and cry just as much as i did.

1. city of god (2002): this is one of the most immersive and gorgeously shot films i’ve ever seen. it’s set in rio de janeiro during the 60s and spans decades exploring the drug culture in the slums and how this can affect kids just as they are trying to figure their own selves out. the way this film is shot, feels like you were at the sea with them as the sand crunched underneath your feet. but the way that the director captures these individuals, makes you so fucking relieved that you don’t live through any of the circumstances that they go through. 

2. the dreamers (2004): set in 1968, this film follows three students in Paris who come of age and explore one another and their limits during the revolution. while these students prop themselves up as individuals obsessed with sex, running underneath themselves is a current of jealousy, obsession, and blurred familial relationships that made me increasingly uncomfortable. you find yourself feeling bad for the children, and ultimately upset at their upbringing because of their parents. 

3. if beale street could talk (2018): this movie is based off of james baldwin’s titular 1974 novel. in it, the director expertly and vigorously explores love: a love that feels so real that it hurts. the cast is what sold this film to me. the way they talk, laugh, cry, and smile at one another is achingly beautiful and terrifyingly sad. i wanted to transport myself back to their time period and watch the main characters fall in love because the film didn’t seem like enough. 

4. the neon demon (2016): this film follows an emerging model who sacrifices herself to the demands of the industry in order to be attractive and beautiful. there are so many stunning colors in this film that it makes you dizzy, like you’re in a trance and that’s what this world is for the main character: a trance. as she oscillates between reality and fantasy, her world and the characters in it, increasingly seek out to alter her personality. 

5. death becomes her (1992): a deliberately ultra-campy parody of trashy, pandering "women's pictures," soap operas and paperbacks from the '80s and '90s. The three leads all do some of their best work - it's hilarious watching Meryl Streep play a terrible actress, Goldie Hawn is particularly hilarious during her character's cat lady phase, and all around just a really fun and eccentric film. 

6. princess cyd (2017): i can’t think of anything to write for this but i just wanna say that this is literally one of the most pleasant movie experiences i’ve ever had. so much light and genuine interaction in warm sun rays radiating positive energy and an openness that is far too uncommon in movies nowadays. people talk, people connect, people grow bonds and are allowed to be sexual or intimate or personal without an air of shame or judgement. just pure kind and curious human association. 

7. spiderman: into the spiderverse (2018): the message of Spider-Verse is not "gentrify yourself! stop expressing your personality and just conform to what society wants you to be!" After all, what makes you different makes you Spider-Man, and Miles' final expression of himself as a superhero still retains much of his personality and individuality...they're just being used in more productive and fulfilling ways. It's the little things that drive the point home, like noticing that the title page for Miles' finished Great Expectations essay has been stylistically doodled and colored like street art. Rather than seeing his artistic gifts as an opposition to his schoolwork, Miles infuses them together to make the best of the hand he's been dealt.

8. my life as a zucchini (2016): initially heartbreaking and sad, but slowly becoming more joyful and heartwarming as the plot moves along. The film really feels like it captures the essence and child like wonder of these kids, all of them going through hardships but managing to find something to help each other out. It’s so refreshing to see the actual orphanage portrayed in a more positive light, not the usual horrid dump that a lot of lesser movies play them out as. The animation is stunning. One of the best uses of stop motion I’ve seen, everything is so colourful and detailed. There’s some moments set in snowy mountains and these look incredible. There’s clearly been so much love and care put into each and every scene here. The music too, sounds spectacular, it really works well with each scene. 

9. lovesong (2016): Mindy and Sarah have that type of relationship where they don't need words because they speak in a language made out of glances and touches. This movie is about the fear of ruining a meaningful friendship and losing an important person, about love that is so complicated that one might not even try because the outcome seems to be so obvious.

10. her (2013): Heartbreak is formative: it changes you heart side out, and leaves your muscles a little stronger, your skin a little thicker, your bones easier to repair. Before this film, I’d never seen anything constructive in having your insides pulled apart by the seams by another person, but this film taught me how. Being in love and then being forced out of it is an experience that changes you fundamentally, but Her taught me its purpose – you don’t need them to leave you so that you can find someone who’s a better fit, because perhaps you never will. You need it to participate in humanity. The common denominator is being hurt, and without it, you’re barely alive.

11. shoplifters (2018): bittersweet and richly transportive, Shoplifters is a film that nonchalantly eases you into its tragic beauty in a way that doesn't punch you hard until the end. It simultaneously made me want to be part of the film's world and also very glad that I'm not. The setting the characters live in is messy and cluttered and full of dysfunction and lies, but it's also got family, and laughter, and fist-bumps, and slurping warm noodles while rain pings on the tin rooftop. So nuanced, so many tiny moments of delicate beauty and unassuming heartbreak, so many people making terrible decisions with good intentions.

12. god’s own country (2017): though it is a love story between two men, this aspect is only addressed briefly in a single scene. Rather, the film is about finding someone who makes you want to be a better person, someone who comes into your life just when you needed it most. Gheorghe helps Johnny open up and realize the beauty of the simple life. From this relationship, Johnny begins to feel comfortable with expressing himself, and his love and gratitude towards others. He also begins to appreciate life in the country, surrounded by stunning landscapes and the beauty of simplicity. Addressing the Yorkshire countryside, Gheorghe says "It is beautiful, but lonely." Johnny is presented with the notion that he doesn't have to be cold and miserable, slaving and drinking his days away. He is presented with the possibility of no longer being alone and finally finding happiness and contentment - and it is more than gratifying to see him accept it.

13. disobedience (2017): a tender star-crossed daydream. the three main character dynamics are special enough on their own, but the romance that blooms at the center is cathartically intimate and even magical: a reunion that feels so inevitable. catching glimpses of a past life, details we aren’t privy to. all the stolen kisses and whispers and promises. a bond so strong that they fall back in sync with each other like second nature, even if they try to fight against it. even if it won’t work. and yet they choose each other, even if for a few minutes.

14. raw (2016): this film is so gross and I like that. There is tons of blood and unique body horror and it all works perfectly for the tone the film is attempting to set. The use of color, specifically neons, creates a constant feeling that you are traveling through some sort of weird ghost world, which I really like. Overall, it's a very well put together film with flashes of brilliance.

15. the night is short, walk on girl (2017): what an absolutely magical adventure of a film. Essentially this is a heavily episodic look at a night in the lives of several people, centered on a woman and a man as she gleefully floats from event to event while he neurotically obsesses over how to "coincidentally" talk to her. The storytelling is incredible; while the overarching narrative is simple there are countless threads woven together to connect everyone in the story to each other. That in itself is a big theme: connections between people, how everything is interrelated, and what a large impact seemingly insignificant things people do can have an impact on everyone around them.

16. coraline (2009): Coraline is the best stop motion movie ever made in my opinion. Before the film released in 2009, I read the book and was completely blown away by its creativity and story. It’s a pretty dark tale featuring many scenes of fright that work well in both a horror setting and an animated kids setting. On surface value, this film is quite horrifying, which is something I’ve always loved about it. While it does make a few minor changes to the book, it improves upon a piece of art that was already jaw-droppingly good. Coraline feels like a real little girl with some real problems. She’s selfish but likable which is something most films cannot translate well. Of course, she has a pretty awesome arc as well which brings this movie to a perfect close for her character. The other-mother is also perfectly done. She is almost exactly how I imagined her in the book and the animation on her is spookily gorgeous. There is not one dull moment in this film. It is literally a perfect piece of cinema.

17. the third wife (2019): haven’t seen a film this visually delicate in a while. Ash Mayfair works with the looming mountain surroundings to make her characters —these women, these girls— as small as possible, as isolated as possible. Uneasiest of all is the protagonist May, so young and so weighed by responsibility, her position blurs between being one of the wives and being one of the daughters. It’s an extremely bleak tale of circumstance. An old tale, certainly, but so beautifully crafted it doesn’t matter. Mayfair holds a fearful tension throughout, and it only ever shatters in the cruelest of ways.The abundance of women and display of sisterhood begin as a comfort, but horror takes over as we realize how conditional and fragile that comfort is. Even the daughters are subconsciously aware, one of them praying to the gods to grow up and become a man, shearing her hair off in naive triumph. It’s a doomed cycle of girls performing roles which are unfortunately their best option, right up until the final scene of May with her daughter, still in their mourning clothes. She, like the older wives, finally realizes they’re the same as the cattle laying on their side for too many days.

#asks #shortcake-kaspbrak

[mo-mo-and-porkchop]

Umbrella academy fiction

Chapter 1

Canon and OC; Deigo x OC, Klaus x OC platonic

*as always I do not own any part of the canon characters or show. I am merely writing my own adaptation to the storyline. Nor do I own any gifs/gif credit.

**I do own all things related to the OCs and additional story elements. And apologies, I couldn't find any "young" gifs of them, but they are all meant to be young adults to show age in this fic.

Tagging: @imcrowley , @wicked-bitch-of-the-west

On a typical sunny day in 1989 a girl was born under extraordinary circumstances - her mother beginning the day not pregnant and ending it with a newborn girl. Reginald Hargreaves was unable to purchase their gift from God, but as fate would have she would still become linked to the obsessive billionaire through Klaus, his disappointing Number Four.

One fateful night in her bar thrust the two into each other's life and they soon became close friends, their tragic pasts a common denominator. Emily tried to aid her friend and his family in thwarting the apocalypse, but her life ultimately lost when the shit inevitably hit the fan.

This is not that story.

Our story takes place five years after the Hargreaves family jumped back in time after unsuccessfully saving the world; bringing with them all the knowledge gained from their first chance at life.

-----

"I'm telling you Diego. We can do this," Klaus said pleadingly to his brother. "She said if she had only gotten out a few years earlier, she would have had a better chance at life. We can give her that chance."

Diego stopped just outside his room. He eyed Klaus as he begged for him to agree.

"Please Diego. She is...was my friend," he corrected himself. This time travel thing was hard to get used to. "I owe it to her to at least try."

It was true that Emily had been as good a friend as someone could to Klaus back then. He'd beena raging drug addict who brought nothing but chaos. There weren't many people who could handle something like that. She'd been one of the few; even managing to get him into rehab a few times.

Not that it had mattered. Klaus had a standing bed there back then and the staff a running pool on how short his next break would last.

But it had been obvious she at least cared for him. And that was more than Diego could say for himself. Klaus was his brother and he had given two shits at the time if he lived or died.

"Fine," he finally agreed.

"Yes!" Klaus said quietly, but triumphantly.

With his second time around, he wanted to get it right. Make amends for his previous infractions.

Starting with this.

"But we do this my way. You got it," he said definitively, getting close enough to stop Klaus' little victory dance. He wanted to make sure his brother understood just how serious he was.

"Got it," Klaus said with a mock salute. "If I remember correctly, right around now would be the 'Halloween lockdowns' as Em liked to call it," Klaus said with a small smirk Diego's way.

His brother looked at him confused "Lockdowns? Where is she? A prison?"

Oh, that's right. He doesn't know.

It had taken Klaus awhile to pull what nuggets she had revealed of her past. He knew, without a doubt, Diego hadn't gotten shit out of her. The few times they'd met his brother was partial to being an asshole to anyone who even remotely took Klaus' side and she had been no different.

"She's at a religious boarding school," Klaus explained quickly. "A real scared straight kinda one. From what she told me though, the night before Halloween the nuns do one final sweep of the grounds, leaving the front door unlocked."

"Pfft. Morons," Diego huffed, the fact that he was speaking of godly women lost to him completely. "So it's a dash and grab. Easy."

"Yeeaa...about that," Klaus began tentatively. Diego had only just agreed to spring Emily from Hell.

"What?" Diego asked lowly. He knew he shouldn't have gotten his hope up so easily. Nothing was ever so cut and dry with Klaus.

"She's also, sort of, kinda in her own lockdown. We may need Five to help us too," he added reluctantly. "Which is fine," he quickly continued, keeping Diego from immediately changing his mind. "Ever since we got back Five has really been a team player. I'm sure if our little heist idea came from you he'd be on board. A hundred percent."

Diego couldn't take this shit with Klaus a second go 'round. He wanted to break Emily out of school? Fine. He needed Diego's help? Also, peachy fuckinf keen. But if he insisted on keeping secrets along the way then Diego would walk his happy ass on out the door and Klaus could go fuck himself.

He grabbed hold of his brother, who flinched more from shock than fear, and drug him into his room, away from listening ears. He tossed his brother onto his bed as gently as he could. Klaus watched as he pulled his desk chair over, sitting on it backward and leaning against it.

"Before I ask Five anything you are gonna spill your guts and give me all the Intel you have on Emily. Otherwise, I'm out and you're on your own."

Klaus groaned with Diego's ultimatum. "Fine," he grumbled. "I'll tell you everything. But you have to swear you'll get Five to help no matter what," he countered holding up his pinky.

"What are you, six?"

"Nothing is more binding than a pinky swear," Klaus said, wiggling his fingers enticingly.

"You never quit do you?"

"Nope," Klaus said with a satisfied grin.

"Jesus Christ." Diego sighed with a roll of his eyes, but nevertheless he linked pinkies with his brother.

"No matter what," Klaus reiterated.

"No matter what," Diego reluctantly agreed before immediately letting go of him.

"Good," Klaus said clapping his hands together and rubbing them conspiratorially. "Now. What do I know about Emily?" he asked himself, feigning an attempt to really dig deep into his thoughts. "Em, Em, Em."

"I'm losing my patience Klaus."

"Alright, fine," Klaus said with an exasperated sigh. Nothing much had changed with Diego this time around - he was still far too serious for his own good. "I know she was one of the few dad couldn't buy, obviously. I deduced that one myself," he admitted proudly.

Diego rolled his eyes and sighed. Even without drugs Klaus' mind still ran a million miles a minute. "Focus," he said keeping his brother on track.

"Right," he replied forcing himself back to their present storytelling session. "She was unbuyable. Her parents were religious and pure," he said mockingly, throwing up the the scouting sign of three fingers. "When Em didn't fit it to their perfect life, they shipped her off and forgot about her. To St. Christopher's School for the Misguided to be exact."

"You mean that old school convent on the outskirts of the city?"

"That's the one," Klaus said in agreement. "She's been there..." he checked his wrist as if a watch sat upon it. "Twelve years now," he added looking back to Diego.

"Twelve years?! What the Hell Klaus?? I thought she was just sent there."

"Yea. When she was six," Klaus said with a snort. "That was after all the exercisims failed," he added nonchalantly.

"Exorcisms!?" Diego was beginning to regret his decision to help. "Look. I don't know what kind of "school" you're taking me to, but how do we know Emily even wants to break out?" he asked in a half-hearted attempt to back out.

"Because she makes it out on her own after another three years anyway. But she always said if she'd got out just a few years earlier she'd have gone farther in life. Between you and me, I thought she turned out just fine the way she was," he added leaning in conspiratorially.

"I don't know about that. She was friends with you."

"Hey! Unfair!" Klaus said feigning offense. "Trust me," he continued, shrugging off the insult. "Once Five is on board, everything will be fine," he said reassuringly, but with little affect. "Then it really will be a dash and grab. Five will just do his little time warp thingie and..." He sucked air through his teeth and gestured for in-and-out. "We'll have Em out and free as a bird in no time," he added with a sigh and a smile.

Diego stared at him, only reacting when his wide grin faded. His mind had already been made up, but it was sti fun to see him sweat. He promptly grabbed him up and pulled toward the hallway - and all the way to Five's room.

------

"Klaus has something he wants to ask you," he said pushing past their brother when he answered the door.

"And what might that be?" he asked, confusion evident on his face as he shut the door behind them.

Once through the threshold doego released his grip on Klaus and took solace off in the corner, waiting to see how well he did with Five. Their brother would be a much tougher sell. He'd never even met Emily.

"Well," Klaus began with a nervous laugh, glancing back to Diego hoping to get some backup. His brother simply urged him on. Klaus sighed and his entire being deflated with his refusal.

"Klaus, what the hell is going on? I don't have time for another one of your ridiculous pranks," Five complained impatiently.

"I need your help rescuing a friend," he admitted freely, turning back to Five.

Five laughed freely at his request. "No," he said letting his facial expressions fall flat. "The last time I tried to help you I ended up having to warp out of police custody."

"But you did get out," Klaus cut in trying to avoid a retelling of their most recent mishap.

"And I had to be the one to explain it all to dad. Alone," he added with rising anger.

Klaus grimaced. "Yea. Sorry about that. I wish I could have been there, really, but something important came up. Real now-or-never type stuff."

"What? Like avoiding the inevitable end of the world? Because last I remember we've already fixed that problem and I can't think of anything more "now-or-never"," he threw back at him.

He knew Five was right. "I guess when you put it like that, I could have made it," he admitted almost sheepishly.

Five merely scowled at his admission.

"But this is different," he added quickly, pushing past Five when he went to kick them out of his room. Klaus shut the door and leaned on it for added security he would finish hearing him out.

"How so?"

Klaus' smile returned. His interest was piqued. "Because we...are gonna..."

Diego rolled his eyes. His sales pitch was quickly dying. "Because you're gonna have me," he stepping forward.

"Not that I don't doubt yoir abilities, but how does that any different? Other than your presence of course."

Their brother's smile widened. "Yes!" he exclaimed before Diego could answer, outstreching his arms toward him and crossing to be by his side. "Because Diego here is an extra set of eyes and ears," he added, cradling his shoulders and endearingly placing his hand on his chest.

Diego glared at Klaus. "Because I will make sure Klaus doesn't screw anything up this time," he answerd shaking himself free.

Five remained silent, considering Klaus 'mission'. He had become anxious lately to do more than just train and follow daddy's orders - even if it was what they all agreed to before their jump back. Not that he would ever admit that to Klaus, but he supposed it could be worth it of Diego was on board.

Klaus stated expectantly and his brother who eyed the two of them. "Say I help you. What is your grand plan to save...who exactly?"

Klaus smiled widely at Diego, ecstatic that things might actually go his way for once.

"Emily," Diego answered, ignoring Klaus.

"Emily?" Five asked surprised with a slight laugh. "You mean the bartender psychic?"

"Telepathic," Klaus corrected him. "But yes. Her. So will you help me? Please?"

Diego rolled his eyes at the duo. "Just say yes already. I can't take much more of this," he added exasperated, dropping down onto the chair at Five's desk.

"Alright fine," he finally agreed.

Klaus began to shower his brother with thabks. He sure hadn't been as appreciative of Diego's allegiance. He huffed to hide his offense. "Klaus!" He pointed at his wrist when he had his brother's attention.

"Oh right. So. Now that I have the best two brothers on board..."

"Klaus," Diego warned.

"Alright, alright. Stop getting your panties in a bunch."

Diego jumped up ready to strangle him.

"Hey! Calm down!" Five intervened. "Don't make me regret helping you," he scolded his brothers. "Now," he continued once the two had parted ways. "When and how are we supposed to save Emily? And from what?"

"I'm glad you asked," Klaus responded slyly before repeating the plan to Five

------

"There it is," Klaus whispered to his brothers, pointing out their entry point.

They crouched hidden among the bushes just outside the point of no return. A nun came out of the front door, followed by two others, and just as Klas said left the door open. Diego huffed quietly to himself and rolled his eyes. Klaus smiled widely.

"Okay," Five said shifting his jacket and bit and readying to jump. "Where is her room?" he asked staring at the building.

It was your typical, old-school convent turned boarding opp. The layout would be easy to figure out.

Klaus shut his eyes and mimicked going over a map with his fingers. "It should be, if memory serves me right, last one on the left, second floor," he said opening his eyes and looking toward the building too. "She always said one of the only good things she remembered about this place were the sunsets," he said quietly to himself with a sad sigh. "West side," he added.

And just like that Five was gone.

-----

He reappeared with a small pop in a girl's room. She was sound asleep, her back to where Five now stood. He crept to her bed and gently tried waking her.

"Emily," he whispered. "Emily wake up."

The girl began to stir, turning toward him. The sight of a boy by her bed had to be a dream. She rubbed her eyes and yawned, sitting up to wake up further. The realization that he was real hit her. Her eyes grew wide in terror and she screamed.

Five quickly covered her mouth. "Emily, please."

She quieted her screams realizing who he was and the fear in her eyes grew to confusion. She mumbled something into his hand.

"What?" he whispered, uncovering her mouth.

"I'm not Emily," she managed to stammer out quietly.

#the unbrella academy #umbrella academy #ua #klaus hargreaves #diego hargreaves #klaus x oc #diego x oc #fan fic #fan fiction #fiction #fanfiction #fanfic #indie #writing