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transrevolutions · 5 months

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While overall I felt like the tbosas movie was well done, there's one part that really bothered me. When Sejanus gets involved with the rebels in the book, he's fully on board, stealing them ammo and weapons from the base, and planning to hold guards at gunpoint to free the prisoners. In the movie, however, he just wants to run away and then is surprised and upset by the fact that the rebels were planning an act of violence.

This doesn't seem like a major change, but from a political standpoint (as tbosas is a very political book), it's a big one and one I very much do not like.

In the text, Sejanus plays the role of the moral compass. Whereas both Coriolanus and Lucy Gray having complex and subjective motivations, Sejanus is always driven by wanting to do the right thing, even if it costs him. He acts as a baseline, keeping the readers from getting lost in endless loops of justification for atrocities just because Coriolanus's internal narration is rhetorically persuasive.

So when Sejanus (who up until this point has been relatively pacifist) joins up with the rebels in the book and agrees to participate in an act of revolutionary violence, the text is pointing out that that act of rebellion is morally permissible. That even violence against the oppressor class can be an altruistic action. Sejanus planning to fight the guards with the rebels is not a sign of his corruption, it's a sign of the fact that his society has become so corrupt that not doing it would be morally worse than doing it. After all, someone's going to die either way, so why not have it be the oppressors?

If movie!Sejanus is still occupying the role of the moral compass (which he seems to be), then his dismay at the possibility of the rebels using violence acts as a narrative condemnation of the violence, when the opposite is true in the book. The movie tries to make a distinction between the "good" dissenters (pacifist, nonviolent, morally superior) and the "bad" dissenters (violent radicals/terrorists). In the current political climate, this idea and narrative is extremely unsettling. And I'm disappointed they did this, but not surprised. Like the other Hunger Games movies, it was produced by a large media company, and they can't follow the satire of the book too closely lest people realize the fundamental irony of it. People in positions of power do not want to tell a story where violent activism is portrayed as moral--at least when it's against a society that obviously mirrors our own. (The brutalist architecture style is another complaint that I have, but that can be discussed in another post.)

Changing that seemingly small detail about Sejanus's involvement with the rebels doesn't do much to change the continuity of the storyline, but it does a lot to change the underlying message of his character and the story. This was almost certainly intentional, because the same sort of thing was done in the original trilogy movies as well. Companies are scared of subversive media because it makes them look like the 'bad guys' too, so they wrap rebellion in a lens of fantasy and moderatism.

#sejanus plinth #politics #tbosas #the hunger games #the ballad of songbirds and snakes #analysis #thg #pigeon.txt #I have a LOT of thoughts about this #but this post is already long as hell #anyways. violent revolution is morally justified.#we have nothing to lose but our chains

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fictionadventurer · 5 months

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Maybe one of the reasons that the A Muppet Christmas Carol works so well as an adaptation is that the Muppets are particularly well-suited for capturing Dickens' comedy. A movie can't capture all the wordplay and wry satire of the book's prose, but a Muppet adaptation comes closer than maybe any other version could, because the Muppets love wordplay and satire, so even if the humor isn't quite what Dickens would do, it's not against the spirit of the book. Muppets are broad, clearly-defined character types--much like what Dickens is known for--so casting Muppets as Dickens characters is a surprisingly natural fit. And the Muppets also have an earnestness that lets them portray the sweeter side of the story. It's a very deft match between the two properties--they're just slightly different flavors of the same storytelling spirit.

(And, honestly, I can't imagine any actor capturing the warmth and jolliness of The Ghost of Christmas Present better than "giant custom-made Muppet-suit" could.)

#a muppet christmas carol #a christmas carol #charles dickens

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sodeliciouslymacabre · 2 years

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I love Nadja’s portrayal so much because she really is a quite revolutionary character? Women in vampire media are either the damsel in distress (see: Nosferatu, Dracula, Bella from Twilight etc.), deeply over-sexualized seductress types (see: Camilla, Dracula as well etc.) or just….treated very poorly in general (see: Interview with the Vampire). The WWDITS movie also hints at this, with Deacon’s familiar Jackie complaining about how the vampires are always male and only turning other men into vampires. So it’s amazing to see a character like Nadja on screen: yes, they’re leaning into the vampires-are-sex-obsessed trope, but because it’s a satire, it’s not treated seriously and the jokes are NOT just made at the expense of the only woman in the house. Nadja is never shown half-naked or anything (not even in the bathtub which fucking BROKE me wow), her sexuality is treated exactly like Nandor and Laszlo’s. Yes, she’s “seducing” Jeff, but even if or maybe because it’s just ridiculous, it really feels like she is exploring her own sexuality and being confident instead of putting on a show for the audience. She also gets to be mean! She gets to be angry, she gets to snap at people and have an ego, while still staying a likable and relatable character. Her relationship with Laszlo doesn’t confine her, she’s still having fun, but not like the seductress-type vampires her character is based on/making fun of, she’s also capable of real love! She loves Laszlo, Nandor and even Guillermo with all her heart. Anyway I love her

#wwdits #nadja of antipaxos #nadja what we do in the shadows #nadja wwdits #what we do in the shadows

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cleolinda · 7 months

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The Scariest Movie I Ever Saw in a Theater: The Ring

I'll tell you up front that the story I'm going to tell you is about "The Ring (2002)," in the sense that it is about The Ring in the year 2002.

See, I don't know what The Scariest Movie Ever is. A quick google says that the consensus is The Exorcist (I haven't seen it, because I never felt like scheduling a day to freak myself the entire fuck out). But horror is specific, and not just to a person, but to a time and place, even. When I saw The Shining as a teenager in a well-lit living room with other people, I didn't even really flinch, but I bet it would play very differently to me now. I don’t think The Ring is at the top of anyone’s list, but twenty years ago, I had a personal interest in it—at the time, I was running a dinky little Geocities site devoted to movie news. Links curated and compiled from all the other, bigger sites I followed—basically, it was the linkspam format I have used on multiple platforms, including here on Sundays. And so, as someone who followed theatrical releases pretty closely for two or three years, I saw the trailer for The Ring, and I immediately knew it was going to be huge.

To locate you in time, this was just after three self-satirizing Scream movies and the Overcomplicated Serial Killer films of the '90s. The Ring was something completely different: chill aqua-blue color grading a good 5-6 years before Twilight; a mournful Hans Zimmer score; no jokes, no quips; and a slow, inexorable sense of doom. Grief, even, given that the movie begins with the death of the main character's niece. What immediately struck me about the first trailer was 1) the melancholy of it, and 2) how much it doesn't explain. Onscreen, you get the title cards,

THERE IS A VIDEOTAPE IF YOU WATCH IT SEVEN DAYS LATER YOU DIE

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Concise! Understandable! A woman (Naomi Watts) is freaking out upon discovering that her young son has just watched it! Admirable job setting up the premise and the stakes of this entire movie in thirty seconds flat, without even any dialogue. That's all you need to know, and thus, the remaining minute of the trailer can do whatever it wants, and what it wants to do is be fucking weird. Echoing voices, TV static, a closeup of a horse's eye, ladders, a girl with dark hair, people reacting to things we don't see, drippy doorknobs, rain. Characters don't give us the whole plot in convenient soundbites of dialogue (like they do in a later trailer); we just hear lines, overlapping, murmured out of context—

did you see it in your head? she talks to you... leading you somewhere... showing you the horses... you saw it. did you see it in your head? she shows me things. Everyone suffers.

That you saw it has lived in my head ever since, and not once have I charged it rent. But the "best" part is Naomi Watts screaming at the end, because you don't hear her voice; you only hear this heartless telephonic beeeeeeep. It's 2002 and I'm watching this trailer, thinking, I have no idea what the fuck I just saw. This is going to be huge.

And it was, to the tune of $249 million on a $48M budget.

At risk of recapping what you might already know, Ringu, aka Ring, is a media franchise that spiraled out from a trio of Koji Suzuki novels into Hideo Nakata's film Ringu (1998), a landmark of Japanese horror, plus several other movies, some TV series, many comics, and even a couple of video games. The overarching story is about a murdered girl/vengeful ghost named Sadako Yamamura whose rage and pain have created a cursed video tape, you watch it and you die unless you pass the tape around like a virus, seven daaaaays, etc.

The "ring" in question is the rim of a well. Keep that well in mind.

The movie I saw is the U.S. remake, which itself had two sequels. (The iconic Sadako is now named Samara Morgan. Keep her in mind, too.) Director Gore Verbinski moved from The Ring to Pirates of the the Caribbean (!), and so Hideo Nakata himself would direct The Ring Two. I... honestly have only seen the first one. And I was right, it was huge, and it kicked off the American J-Horror Remake genre, for better or worse. But what gets forgotten about The Ring is its marketing campaign, which I followed pretty closely for my doofy little news site.

It was inspired.

The story of The Ring is partly the story of the sea change in the media landscape—how we watch movies. And the story of its marketing is a picture of the very last years before social media changed the wilderness of the internet into something that feels so big, like a billion people could see anything we say, and yet so small—only a tame handful of places to say it, owned by three or four companies, and corraled by algorithms.

Back around 1997-1998 or so, I worked at a video store (Movie Gallery, where the hits were there then, guaranteed) for about a year and a half. By the time I left, we had started adding DVDs to the VHS tapes on the shelves, but we hadn't replaced the entire stock. Video stores might have transitioned fully to DVD by 2002, I'm not sure, but people still commonly had both VCRs and DVD players in their homes. And I remember that The Ring was sold in both formats when it eventually hit home video. Which is to say—you know the analog horror genre today? Marble Hornets, Local 58, The Mandela Catalogue?

Analog horror is commonly characterized by low-fidelity graphics, cryptic messages, and visual styles reminiscent of late 20th-century television and analog recordings. This is done to match the setting, as analog horror works are typically set between the 1960s and 1990s. The name "analog horror" comes from the genre's aesthetic incorporation of elements related to analog electronics, such as analog television and VHS, the latter being an analog method of recording video.

Okay, but this is just what home media was like, and 2002 was at the very tail end of that—boxy black VHS tapes that degraded with time and reuse were just how we lived. At the same time, I'd been using CDs for music since about 1991, and all our software installs came on CD-ROM discs; a "mixtape" by that time had shifted to mean a rewriteable CD rather than a cassette tape. In college, I—well, I'll plead the Fifth as to whether I downloaded mp3s via Napster, but I was also taping Mystery Science Theater 3000 on VHS over the weekends. It was Every Format Everywhere, All At Once, and we kept half a dozen kinds of players around for them. Here in 2023, we stream and download everything invisibly, unless we choose to engage in format nostalgia. (I've already run into the problem of Apple Music deleting songs I really liked, due to this or that licensing issue, because I was really only renting them.) The year The Ring hit theaters was the edge of a last shimmering gasp of physical media where iTunes had only come into being the year before, and iridescent discs were still mostly what we used, but cassettes, both video and audio, were still viable. And so, people did not think it was terribly weird when they started finding unlabeled VHS tapes on their windshields.

Movieweb, quoting TikTok user astro_nina:

"Their marketing strategy was essentially 'let's get this tape viewed by as many people as possible without these people being aware of what this is, sort of raising intrigue," she says. One way they achieved this was by airing the tape, which allegedly marks its viewers for death within seven days, as a commercial with no context. The video would air between late-night programming "with no words, no mention of a movie, for like a month...so people would run into it and it would just go on to the next thing, and people would be like, 'what the f--k is this?'"

I remember seeing the Cursed Video as an unexplained ad at least twice, by the way. That TikTok also indicates that DreamWorks straight-up sent copies of the tape to Hot Topic stores, as well as planting them under actual movie theater seats. While running my movie site, I heard at least one story of someone finding a tape on the sink counter of a restroom at a club. Did the marketing department actually plant tapes in bathrooms—or did a freaked-out recipient leave it there, hoping to dodge the "curse"?

(I haven't embedded the Cursed Video here, by the way—but I could have. If you'd like to see the American take on it, you can watch both the full version and the shorter variant that appeared in the movie itself. A text description of what the fuck you're even looking at is here [content note for both: blood, insects, animal death, body horror, and suicide by falling]. The original version from the Japanese film is shorter, and it's eerie rather than gruesome.)

BUT WAIT, THERE WAS MORE: DreamWorks had something of an alternate-reality campaign going with a handful of in-character websites. This was only a year after Warner Bros. ran the groundbreaking "The Beast" ARG for A.I.: Artificial Intelligence: "Ultimately, fifty websites with a total of about one thousand pages were created for the [A.I.] game." (I lurked in the Cloudmakers Yahoo group.) Marketing for The Ring did not go anywhere that in depth, nor did it need to; it was both a smaller film and a smaller story. I saw at least two “personal” websites (seemingly amateur and a little tacky, like my own), but the one I particularly remember was about someone who owned/trained horses? I'm not sure if it was meant to be the actual Anna Morgan character—Samara's mother—or maybe someone who had noticed that the Morgans' horses were disturbed? I'm not even sure anyone even remembers this but me. Reddit users dug up a few other archived websites, but they're about Sadako, the curse and/or videotape; they aren't as subtle or character-oriented as the site I remember. (Honestly, I wonder if weird shit like "What Scares Me" or "SEVEN DAYS TO LIVE" were made by fans rather than a marketing department, but who knows.)

[The “About” page from Seven Days to Live on the Internet Archive.]

[The entirety of An Open Letter on the Internet Archive. “UPDATE” is a now-blank pop-up. I would bet $5 that it was originally a pop-up of the cursed video.]

I need to point out here that Facebook did not exist in 2002. It would not exist for another two years, and Twitter wouldn't exist until 2006. Even MySpace was not a thing until the next year. I didn't start my Livejournal until October of 2003. What we had, for the most part, were independent forums and blogs. We also had Creepy Internet Fiction like "The Dionaea House" and "Ted the Caver"; their use of the blog format, of people out there seemingly living their lives until something fucked up went down, gave the stories the shape of reality. And it helped that these blogs had comment sections, sure—sometimes more story unfolded there—but for the most part, an author could "abandon" a blog, and you'd just find the story there via word of mouth. Like the Ring blogs I remember, it wouldn't seem strange if no one replied to you, whereas today, you'd have to hire a writer to sit on Twitter, or Reddit, or even Tumblr, and interact with people in character. Could you do something like The Ring's mysterious, weird-ass blogs today? Would anyone even notice?

So: It's 2002, my head is full of Alternate Reality and eerie images and you saw it, and I'm hype as hell to go out and see The Ring. I'm perfectly happy to go see movies by myself, so I went in the early afternoon (best time to get a good seat). The movie ended up being a sleeper hit, and the first weekend, the public was still sleeping on it, so there were only 7-8 other people in that theater, grouped in maybe two clusters. I was off in my own little pool of darkness in the upper right quadrant. Functionally, once the lights went down, I was alone.

Despite some middling reviews at the time, The Ring is something of a horror classic nowadays. If you want a scary movie this Spooky Season, check out The Ring. Or don't, because it nearly killed me.

We're at the last, I don't know, third of the movie? And Our Heroine has tracked down the origin of the Cursed Videotape to some creepy mountain motel or whatever. SPOILER, it turns out that it was built over the Cursed Well (everything in this movie is cursed) that Our Villain was thrown into—that's why Sadako/Samara is a vengeful wet murder ghost crawling out of TVs now. While investigating this decrepit hotel room, intrepid journalist Rachel and her, who is it, her ex-husband? her kid's dad, idk, discover the well under the creaky old floorboards. And then, wouldn't you know it,

NAOMI WATTS FALLS INTO THE WELL

NAOMI WATTS FALLS INTO THE FUCKING WELL

THAT'S WHERE SAMARA'S BODY IS

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[The rather slapstick moment when Rachel falls into the well. Does not include what actually happens next.]

I go absolutely rigid in my seat. Naomi Watts is splashing around this dark-ass death swamp of a well and I know, with as much certainty as I have ever known anything in my life, that Samara is about to pop up in all her pasty, waterlogged glory. All the sad creepy dread, all the desperation to figure out what the fuck all that shit on the tape was and stop Samara from killing Rachel's son, all the horrible contorted victim faces, all the alternate reality I’ve been soaking in, it has all come to this. I have to leave the theater. I cannot be having with this. I have to be gone from this place. My legs do not work. I cannot feel them. I am frozen. I want nothing more in this life or any other to get up and leave this cavernous pitch-black room, and I cannot. I start praying for death. I want you to understand that I am not trying to be flippant or humorous. This is genuinely what went through my head. I was too scared to even think, "You know, you could just pray to pass out or for motion to return to your limbs or something." No, I sat there in The Ring thinking, Please for the love of all mercy just let me cease being.

You know that scene in Mulholland Drive (also starring Naomi Watts)? Winkie's diner and the EXCRUCIATING tension? It was a little like that, except I wasn't watching it, I was experiencing it, and Samara was my dirt monster out behind the diner.

Except that the jump scare didn't actually happen. I mean, yes, Rachel finds Samara's body down there, but—I don't remember exactly, please don't make me go watch it again to tell you what actually happens. It's played more sympathetically on Rachel's part, as I recall, and she and her ex get Samara's body out so that she (Samara) can have a proper burial.

And then it turns out that this is not the end of the movie. It turns out that Rachel has Fucked Up.

I think I was relatively okay through the rest of it, although the climax is Samara emerging from a TV in her full glitching swampy glory to scare [SPOILER] to death. I don't recall praying for death twice. There's a point when you're so exhausted from fear chemicals that you're like, yeah, this might as well happen. Bring it, Soggy. I did have a hard time prying myself out of that seat afterwards, though, and my mom says that when I got home, I had the classic thousand-yard stare. How was the movie?

"It was great," I said, and I meant it.

I've seen things that were objectively scarier (I watched much of The Haunting of Hill House from behind a pillow, to be honest), and it's not like I've never experienced fear in real life. But I respect when a movie that can make me feel so intensely, and there's something weirdly precious about the way horror is a safe roller coaster, as it's often been said. So I love telling the story about The Time The Ring Nearly Killed Me—a movie that actually made my body stop working—and I love thinking of how embedded in a specific time and place that movie was for me. The last gasp of VHS when the Cursed Videotape still seemed plausible; the way the internet was still wild and weird and free; where I was in my life, keeping up so avidly with all the movie news, and finding myself in such a little pool of darkness early one afternoon. It's the scariest movie I saw in a theater; that's the alchemy of circumstance.

#the ring #ringu #horror #first look on patreon #movies #long post #spooky season #halloween everyday #long post is long #gifs

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avelera · 9 months

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Thinking about blasphemy and Good Omens right now and I can't help but notice an interesting phenomenon around some discussions I've seen about the Second Coming and Jesus Christ being a character in S3.

Namely, I see much more underlying discomfort around the possibility of the show poking fun at the figure of Jesus Christ than I do with any other prediction discussion or discussion around religion in the show.

On the one hand, I completely understand how poking fun at the Antichrist dogma from Revelations doesn't feel particularly blasphemous, where poking fun at Jesus does. The Antichrist is a stock character of horror at this point. Many more disrespectful teams than Gaiman and Pratchett have played with that story. It's barely even considered poking fun at Christianity to have Adam, the son of Satan, be a good kid in Good Omens. But Jesus is a very important figure to Christians all over the world. There are devout Christians who truly love Jesus and no one wants to be a jerk by just outright disrespecting a figure that is dear to so many.

But on the other hand, expecting Good Omens to not make fun of Jesus is a bit absurd to me. Literally saying, "I don't think the satirical religion show is going to satirize religion because it might upset people." Gaiman hasn't shied away from messing with religion or religious bigots before. He gleefully shrugged off attacks over God being a woman, or Adam and Eve being portrayed by people of color.

The Book of Job is lampooned in Season 2. I know it doesn't feel like it to many people here, but the reinterpretation of the Book of Job in S2 definitely registers as blasphemy on some religious scales. It is satirizing a religious text after all.

Saying that angels and demons fall in love and worse, have that love be portrayed by actors of the same sex could be seen as blasphemy at the very least on the level of saying God is a woman. And by the way, it's not like these religious texts say "God is whatever you want the entity to be" or "God is a woman if that makes you happy". Hell no, the Bible is extremely damn clear on God being male. The official position of the Catholic Church is that God is male. Official Catholic dogma is incredibly anti-female in terms of inherent holiness, women cannot become priests, even nuns are dependent on a priest to deliver the Sacraments, it's a huge deal and they are not planning to change any time soon and it is totally unambiguous.

Making God explicitly female might not seem like a big deal since films like Dogma, another religious satire, did it in the 90s but to True Believes in the official doctrine, that is a form of blasphemy.

Good Omens is by definition a blasphemous work. How offensively blasphemous it is really depends on the devoutness of the viewer. And I find it interesting the extent to which there's something of a knee jerk, "Oh they won't do that!" in terms of further satirizing religion in the show about religious satire. As if Jesus hasn't been satirized in other mainstream movies before like the aforementioned Dogma or Life of Brian.

And here's the thing, my personal opinion is? Blasphemy is good! Blasphemy laws on the books mean it's ok to punish, hurt, or even kill a person for making fun of religion or just doing the religion wrong. Human progress has been frozen in place by blasphemy laws, sciences have progressed when blasphemy laws ease or often while deliberately concealing their efforts from authorities in places where blasphemy laws or laws that were otherwise based on the dominant religion exist.

If anything, I am actually a bit uncomfortable with the idea that Good Omens should hold back on lampooning a figure like Jesus Christ. If devout Christians will make laws that determine what other humans can do with their bodies based on their religion, then their religion should absolutely be open to outright mockery without punishment or ramification to anyone. Of course on an individual level I wouldn't wish to be offensive to someone sincerely religious but at the same time, I am also violently anti-censorship of any kind. And blasphemy and religious mockery are often right at the heart of censorship debates.

The world is a better place when we can openly mock religion.

I'm not going to caveat that as an opinion. Being able to openly and without fear discuss, criticize, and mock religion is an incredibly important part of any free society. The battles over this right have been vicious and bloody and are actively ongoing around the world. Just as an example, anti-blasphemy laws were on the books in Ireland until 2020, there was a huge campaign to have them removed because other countries were pointing to them as an example of why they should keep and exercise such laws.

My point is that I suppose this is something of hyperbole or alarmist or overly strident. I can understand people wanting to be decent about not openly mocking a figure of such importance to so many like Jesus. But quite honestly? I hope Good Omens does whatever it pleases with mocking Jesus. I hope they don't hold back. I hope people remember that being able to mock religion is really important, especially when representatives of that religion are actively trying to clamp down on the rights of others.

And honestly, if religious people are offended they should just not watch or they should develop a thicker skin if they expose themselves to such discourse. Religion and Christianity in particular is an active part of the public sphere. It is worthy of discussion. Public discourse often includes mockery, especially of the powerful and of powerful forces that steer the course of nations, like Christianity.

And I think it's important for Good Omens fans, who are a very progressive group, not to cherry pick and moralize over what satire or blasphemy is permitted. All satire should be permitted. All blasphemy should be permitted. The religious bigots don't care if you think God being a woman is ok but making fun of Jesus isn't. It's all the same, anything but glowing praise is criticism to some of these forces. Open discussion is far more important and yes, that includes mockery, and silly discussions in a silly show about an angel and a demon who avert the Apocalypse and fall in love.

#maggie rambles #good omens spoilers

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aeor-is-for-reccing · 1 month

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MODERN AU: A Shadowgast Rec List

This week, we have modern AU! Check under the cut for a whopping 24 fics that all take place in modern times, and don't forget to comment and kudos if you like them!

LOVE & OTHER ENCHANTMENTS by LivThael (2092, General) Reccer's Content Notes: No Content Notes

An imagined review and synopsis of a movie about a Shadowgast modern-setting bookstore AU.

Reccer says: Hilariously awful, I say with great love, and by that I mean it purposefully and artfully swan dives out of the AU tree and hits every trope on the way down. This was written to be as cursed as possible, and Liv really delivers both that and non-stop laughs. This is clearly a love letter to terrible romcoms, cliché fanfic tropes, and the Shadowgast fandom as a whole. A+ satire, PLEASE read this!

like 80/20 on the kinsey scale by jakia (2772, Teen) Reccer's Content Notes: No Content Notes

Caleb bangs his hot TA and panics about it the next day. Beau did not sign up for listening to this.

Reccer says: Caleb -- who's only dated women before -- discovers he LOVES the D.

ask to be unbroken by chaotic_geeky (40038, Teen) Reccer's Content Notes: No Content Notes, Unfinished Cliffhanger

Caleb gets a last minute chance to be a photographer at a big runway event. He meets the star model at the afterparty, and things go from there.

Reccer says: The premise is great, the story is excellent, and the characters are enthralling. It does end on an unfinished cliffhanger, but the beginning is so good it's worth it.

Fundamental Forces Other Than Gravity by mllekurtz (TheKnittingJedi) (40676, Explicit) Reccer's Content Notes: No Content Notes

How cold, ruthless and lonely Essek Thelyss (a brilliant student with a secret) accidentally makes some friends and falls in love: a Shadowgast college AU.

Reccer says: This is a fantastic college AU! And the characterization is done so well it's phenomenal.

a smile is more than showing teeth by thought (13642, Teen) Reccer's Content Notes: No Content Notes

"you are welcome in Zadash should that be an option for you," Caleb had written, "and I would be pleased to set aside a few days to work with you in person." Or How to seduce your academic pen pal through basic kindness, stolen sweaters, and books. Mostly books.

Reccer says: This is the start of an incredible AU with two more after it in the series. I love this version of Essek and Caleb falling in love. SO MUCH.

Paradigm Shift by full_time_dreamer_behold (114291, Teen) Reccer's Content Notes: No Content Notes

Caleb joins a law firm. He meets Essek, the IT manager. Things happen. They fall in love

Reccer says: It's a super sweet slow burn!! Essek and Beau have a really fun dynamic and the budding romance is very satisfying.

(your face in my hands is) everything good i need by mllekurtz (25884, Mature) Reccer's Content Notes: No Content Notes

Academics Caleb and Essek are nerds and fall in love over the course of a conference

Reccer says: I liked it!

like colored indigo inscribed with my name by KmacKatie (kmackatie) (30648, Teen) Reccer's Content Notes: No Content Notes

An exploration of tradition, culture, what is worth sacrificing in finding yourself and family. Essek learns how to make a new family.

Reccer says: This is an incredible pic with a lot of beautiful world and culture building set into it. Though I love the idea that Essek knits, I am especially fond of the other handcrafts that the Dynasty may do culturally, and this one does such a great job with it. And the interpersonal relationships are absolutely incredible!

we learn to live with the pain, mosaic broken hearts by vegabondfirelily (5777, Teen) Reccer's Content Notes: No Content Notes

Sometimes things don't go as planned. Caleb will always be there for Essek, though, even after a life-changing accident. Non-linear narrative, angst with a better ending

Reccer says: I love this pic, even if it makes me cry every time. It is emotional and brilliant.

the fire kept closest (burns most of all) by Mousecookie (21822, Mature) Reccer's Content Notes: Major Character Death

Takes place on a modern Rumblecusp, Essek and Caleb are volcanologists. Absolutely bonkers genre mashup of scifi disaster thriller ghost story romance that somehow works. There is a MCD warning but it is also tagged as Happy Ending and that does come through!

Reccer says: The writing style is like watching a movie and it made me cry both sad and happy tears.

Starting with your heart (bright heart) by 2manyboys (9914, Explicit) Reccer's Content Notes: No Content Notes

Essek and Caleb have been taking showers together, but it's totally platonic, they swear

Reccer says: I liked it!

scene: a shift in tempo by hanap (6790, Teen) Reccer's Content Notes: No Content Notes

Essek, first soloist of Rosohna Ballet, comes across the mountains in an exchange to be Caleb's new partner.

Reccer says: A beautiful fic! I love the way the AU fits our characters so beautifully, and how it honors ballet while also subverting it just a little. Gorgeous!

A King in Cat's Clothes by royalgreen (1544, Teen) Reccer's Content Notes: No Content Notes

Frumpkin is extremely suspicious of this interloper Essek who keeps visiting Frumpkin's domain (the cat cafe) and sniffing around Frumpkin's human

Reccer says: Frumpkin's POV is utterly hilarious. He is so angry that Essek is sweetly romancing Caleb.

read between the lines (everything is gradual) by SpottedEnchanse (SpottedEnchants) (3047, General) Reccer's Content Notes: No Content Notes

A series in which Caleb owns a cat cafe. It's amazing.

Reccer says: SpottedEnchanse's writing can do literally no wrong ever. It's like flossing for the brain

the golden thread around your neck whispered visions of my undoing by MarsBar2019 (191412, Explicit) Reccer's Content Notes: No Content Notes

Essek is the CEO of an arcane tech company in Roshona where Caleb gets a job as his personal assistant.

Reccer says: A tense slow burn that's sexy as hell, one of my favourite fics.

Sleep, With Benefits by KmacKatie (62272, Explicit) Reccer's Content Notes: No Content Notes

Caleb tries out his coworkers' mattress. That's definitely all and not that he has a major crush on Essek.

Reccer says: I liked it!

take chances by 06151126 (3021, Teen) Reccer's Content Notes: No Content Notes

Essek left Formula One and came back, but his return isn't going well. He hires Caleb to help.

Reccer says: This is the second work in a series, and the whole thing is wonderful! Well written and honest, it's very cool to see how Essek and Caleb come together over the course.

Empire of Lights by mllekurtz (TheKnittingJedi) (17215, Explicit) Reccer's Content Notes: No Content Notes

Rosohnans call it the rainy season: a time of humid days, heavy showers, and suffocating heat. Caleb, who feels less and less like a stranger in the city he recently decided to call home, finds it's also a time for revelations.

Reccer says: This is a fantastic, sweet AU of our wizards getting together and I love it.

A mile high by Mousecookie (545, Mature) Reccer's Content Notes: No Content Notes

Caleb and Essek (try to) get frisky in an airplane lavatory.

Reccer says: It's cute and funny.

The Kitchen Sink by mousecookie (17126, Mature) Reccer's Content Notes: No Content Notes

Essek is a supermodel and Caleb is a jack-of-all-trades, and they keep meeting in increasingly unlikely circumstances. WIP with 6/12 chapters.

Reccer says: It's funny and the writing style is almost Pratchett-esque at times

The following fics each received 2 recs each!

Something to Believe in by AwesomeFroggy (108948, Teen) Reccer's Content Notes: No Content Notes

Essek's mother sends him to Nicodranas as punishment, where unbeknownst to her he already has a friend. Jester thinks he'd really get along with her friend Caleb.

Reccer 1 says: I liked it! Reccer 2 says: This is an amazing incredible story! I love it so very much! The story is complete, though it is marked as one chapter left as no epilogue is out. Don't let that stop you from reading! I love every single second of this story so very much.

I’ve been lost before (and I’m lost again, I guess) by toneofjoy (165k, Explicit) Reccer's Content Notes: No Content Notes

Rock climbing AU! Caleb is the new athlete to the gym and Essek takes over his training. Despite the specter of their pasts, feelings blossom.

Reccer 1 says: It's well written, most of the esoteric climbing stuff is explained well, and I really enjoy their characterizations. There's a good balance between the relationship-building and the climbing part. Reccer 2 says: This is top three Shadowgast stories ever. It's a wild, beautiful, heartfelt ride. It's worth every second of time it takes to read. Also, this will make you want to take up climbing or at least start watching climbing. It's so well written and enjoyable. Everyone should at least give it a try!

The Secret Romance of Caleb Widogast by Cardinal_Daughter (15680, Explicit) Reccer's Content Notes: No Content Notes

All Caleb wants is a peaceful, romantic weekend alone with his boyfriend. The boyfriend none of his friends know about. Naturally, nothing goes quite as planned.

Reccer 1 says: a sweet and silly story where we get a glimpse of the absolute chaos of a M9 group chat Reccer 2 says: A fantastic AU with a brilliant sequel. I love it!

coping skills by eldritchmochi (251061, Explicit) Reccer's Content Notes: No Content Notes

BDSM fic for a disabled Essek and the trials he experiences

Reccer 1 says: There is so much good about this WIP! The depiction of both Essek’s disabilities and the kink community are so well done, and the characterization is super fun. Well written and super hot. Reccer 2 says: This is one of the best long fits out there for a modern prompt. It is an absolutely wonderful story, heartfelt and meaningful, and the characters have so much depth. And I'm a sucker for a well written chronic illness/chronic pain Essek, and this one is so realistic it walks the line to uncanny. I love this!

Aeor is for Lovers is an 18+ Shadowgast Discord server. The above fanfic recommendations were pulled from our community for this weekly event. All fics, unless otherwise specified, will primarily feature Shadowgast. Have any questions about what this is? Check out the FAQ! Next week, we’ll be back with WIPS

#shadowgast #caleb widogast #essek thelyss #critical role #cr fic recs #fan fiction rec list #aeor is for lovers #critical role fan fiction #cr fic #cr fics

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takeme-totheworld · 3 months

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Part of the reason I’ve always had a hard time talking about the particular flavor of fundie Christianity I grew up with, and how/why it messed me up the way it did, is because it was always this weird one-two punch of religious guilt and toxic positivity that’s just…really hard to explain unless you’ve experienced it firsthand.

Virtually all of the media portraying toxic Christianity that has resonated the most with me has had a heavily satirical element. But I’m a Cheerleader, Saved!, Moral Orel, Good Omens. I wasn’t sure why, for a long time, because I’m really not a joke-about-my-trauma sort of person much of the time. (I’m capable of finding humor in it under the right circumstances, it’s just not my go-to move.)

But I realized recently that the satirical portrayals often ring so true to me because they lean heavily on the toxic positivity element. The incongruence of seeing characters spout objectively horrifying ideologies with relentless cheerfulness is what makes it read as satire to most people.

It doesn’t read as satire to me. Not really. I’ve watched the aforementioned movies and shows with friends, or discussed them with friends who had also seen and enjoyed them, and I often found myself saying, “You know, that’s not as much of an exaggeration as you might think. It’s actually pretty spot-on.” And the other person would stare uncomprehendingly at me, because come on, what we just watched was completely bananas. Real people don’t talk or act like that.

And yeah, there’s some over-the-top exaggeration of specific words and behaviors for comedic/satirical effect. But the emotional experience of old-school scary religion overlaid with praise-the-Lord-for-everything toxic positivity? That was very very real, actually, and nothing has ever captured that aspect of it for me the way satire does.

#personal #religious trauma #exvangelical #toxic positivity #but i’m a cheerleader #saved!#moral orel #good omens

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feydfuckernation · 1 month

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so i finally got around to watching poor things last night and i couldn't stop thinking about how much it resonated with me as a csa survivor. i know there were a lot of people who were critical of the film and how it took advantage of bella's sexuality because she wasn't in a position to consent to it, and that's okay! art is meant to be looked at and discussed and even criticized! but for me and me alone i looked at her and her journey as a woman working to reclaim herself from the very people who tried to take the very notion of her self away. the more bella learned about the world and grew into her own person and her own ideas and how she began to reject the abuse she suffered at the hands of men like duncan and alfie and was instead drawn to the love and warmth she felt from people like max and toinette, how quickly she was labeled both a whore and a cunt and how her worth was only ever defined by the men who abused her, and yet it never stopped her from being herself, from pursuing who she was, what she wanted, how she felt. this movie was gorgeous, artistic, and entirely unapologetic in its weirdness and its satire, but at the heart of it was something so beautiful and personal and philosophical that i think it will always be a favourite of mine.

#bella baxter i love you so so much #lion.txt #poor things #sa mention cw #csa mention cw

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belle-keys · 4 months

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Saltburn: The Reign of British Bourgeois (Meta)

I recently had an interesting conversation with a close friend of mine who said, "I don't think Saltburn is really about class." She said she thought it was mainly about obsession, in the most individualist and interpersonal way possible. I naturally disagreed, and we argued about it for an hour. But I think the reason she didn't think it was really about class was because the film had a categorically anti-Marxist conclusion. That is, a very British conclusion. In many ways, Saltburn is a Thatcherite's wet dream. Let's discuss.

Saltburn isn’t an “Eat The Rich” narrative. It’s an “Absorb The Rich” narrative. I disagree that Saltburn is merely about an individual’s obsession with a particular guy or family. Saltburn is about the bourgeoisie’s obsession with the old English aristocracy.

Let’s establish the establishment: the modern English aristocracy whose family seats litter the shires. Saltburn aims to satirize the English Country House family drama, and then some. This is made evident when Felix informs Ollie that, whoa, the Evelyn Waugh himself based Brideshead Revisited and other works on Saltburn, on Felix’s family. The film, in my opinion, was kinda ballsy to go there and to do it so bluntly. So yeah, Saltburn wants to poke fun at the long-established English tradition of aristocratic family dramas such as Downton Abbey, Brideshead Revisited, Bridgerton, Poldark, Rebecca, etc. It’s no coincidence that the movie begins with an egregiously stereotypical sketch of Ollie struggling to fit in at Oxford, à la Charles Ryder. Felix Catton is Sebastian Flyte, and then some. And Ollie is obsessed with him, because look at him. Except… I believe Ollie’s obsession with Felix is less of an interpersonal homoerotic deranged clusterfuck than it is the bourgeois boy’s perennial fixation with the unreachable closed-door English aristocracy, the national pinnacle of inherited class and status in a nation founded on inherited class and status.

Saltburn, butler and all, is a perfect symbol of English aristocratic privilege (seconded by none other than Oxford, but the film didn’t care to explore the hierarchies present in British education and instead chose to focus on family in lieu of academia). Saltburn is grand, medieval, kitchy, isolated in the middle of whereverthefuckshire. One would think that Ollie was intending to infiltrate Saltburn to possess Felix, but I rather think he was intending to infiltrate Felix in order to possess Saltburn. To possess Saltburn is to possess the rank and place of the Catton’s in the world, to be the world. And Ollie doesn’t want to destroy the Cattons nearly as much as he wants to embody them.

I suppose Ollie’s need to absorb, to consume, to possess and to incarnate is obvious through his actions—drinking Felix’s semen in the bathtub, the period blood bit, the grave-fucking debacle. He worms his way through every aspect of the family members’ lives with the intent to become them, to suck them dry (see: “I’m a vampire”, how gothic). By the end when the Cattons are all dead, Ollie celebrates the privilege he has grasped, and in turn, the film applauds his feat rather than condemns him. Saltburn is a film that congratulates Ollie’s usurping of wealth and privilege, rooting for him from beginning to end. And the film never tries to interrogate itself and ask why Ollie is our hero. Ollie, who does not want to break the wheel as much as he wants to be in the room where it happens, even if that means destroying everyone else in his path. Ollie’s obsession, generally speaking, arises from the desire for status and rank rather than an inoccuous maniacal insanity. This is symbolized by his possession and control of Saltburn. If Saltburn were a gothic ghost story, then Ollie is our specter. And Saltburn is definitely rooting for the specter, full stop.

Britain is a nation of ranks and hierarchies, naturally averse to watering down pristine intergenerational blue blood with filthy postmodern capitalist dollars. “Stay in your place”, that is the Tory way. Even in a “modern, democratic” nation nonetheless governed by an antiquated Tory hegemony and quite opposed to both radicalism and revolution. Ollie, however, wants to be in the room where it happens in a world where only those who are born in that room ever get to enter it. It is why he faces this overwhelming yearning for Felix’s world and Saltburn’s beauty – it is, by default, off-limits to him no matter how hard he tries to reach it. In my opinion, Ollie’s fascination with Saltburn isn’t due to a homoerotic fixation on Felix. It’s due to an outsider’s bourgeois fixation on the romantic world of inherited English rank, status, and wealth. The romance of Saltburn, our need to romanticize the privileged upper class, is evident in the stunning cinematography and costuming. Farleigh is the first person in the family to notice Ollie’s insecurities and see it for what it is – he’s begging to be let in. Farleigh likewise takes the opportunity to constantly, antagonistically remind Ollie that Saltburn isn’t his world, that he will never fit in and will never be accepted as one of them: the tux will never perfectly fit. It is the tragedy of the almost-theres. So Ollie decides to just get rid of everyone in his way and prance about naked since the tux refuses to bloody fit.

It’s just so English, culturally speaking. To claw your way to the top to sit with the big boys rather than to criticize the system that bred the arduous, back-breaking, fatal climb in the first place. This is Tory meritocracy, founded on decades of policies to reduce taxes on properties such as Saltburn in Britain, to keep old peers in the Lords. Felix Catton is Sebastian Flyte is Margaret Thatcher. Thatcher who, despite brandishing her “common” background as a selling point during her political career, painstakingly perfected the Received Pronunciation of her Eton parliamentary peers and successfully died with the coveted title of Baroness added to her name. Thatcher, an Oxford scholarship kid like Ollie, who wormed her way into a title and country house and was yet forever plagued by her average, middle-class upbringing.

Ollie is obsessed with much more than a mere man. If Saltburn were a Marxist class story, truly dedicated to class critcism or subverting the English Country House drama, Ollie would have burned the whole damn place down. But Saltburn is rather a Tory class story about the insane lengths the British bouregoisie, obsessed with ascending class hierarchies and disillusioned by the lies of meritocracy, will go to possess the near-unpossessable ranks at the peak of English-textured privilege. The film is a performance in English upper-class tomfoolery and a celebration of its infiltration by the almost-theres.

And yet, the cycle perpetuates itself. Saltburn is ruled by a new lord. Nothing, really, has changed.

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lastoneout · 3 months

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You know what, I just realized something that I can probably add to my list of reasons I'm more ND than I think I am...

So in middle school I found out The Princess Bride was based on a book I immediately decided to read it. But here's the thing, unlike the movie's framing device of a grandfather reading the book to his grandson, the book has one that's basically like an autobiography?? Where the author talks about his grandfather reading him the book as a kid and how it affected him growing up and how, eventually, he decided to "abridge" the original and publish the version you're reading. The author even says Florin and Guilder are real places, and gives "history" on them.

I found(and tbh still find) this part of the book exceptionally boring. It's mean spirted and depressing, and an absolute slog to get through. But I kept trucking through taking everything as complete truth, even though I was pretty sure these countries weren't real places. Europe is big after all and I was in middle school, maybe I just hadn't heard of them before. Thankfully once the "real" book, the story The Princess Bride, actually starts the intersections start to make sense and aren't as boring and I quite liked them more or less, even if they were a little confusing at times. I also read everything after the "real" book ends, an epilog of sorts about the author not being allowed to abridge the sequel bcs Steven King?? Was going to do it?? But there was a bit of this "sequel" included so I read that too.

When my friend, who had leant me the book, asked what I thought, I said I liked it but I didn't understand why the author included all that personal history at the start where he complained about his job and family, it just didn't seem necessary to me and was boring as hell.

My friend informed me that all of that "personal" history wasn't real. The author made it all up. It was as much fiction as the actual story itself. It was satire, you see, and apparently??? very important to read bcs without it you wont "understand" the story. My friend genuinely thought it was super weird that I didn't realize it wasn't true, and also that I didn't like it.

But nah, I thought it was true!! Why would he lie like that?? What was it even satirizing(I still don't really know tbh)?? Why would I need to read all that bs to understand the book?? The story of 'The Princess Bride' made perfect sense on it's own!! I ended up kinda hating the book after that. I felt SUPER betrayed. He said all that stuff like it was true, what on earth was the point of lying?? Didnt he know people would believe him?? Why wouldn't I, after all I almost always tell the truth, lying about all that stuff was dumb and mean and I hated it.

A while later when I brought it up to my godfather he ALSO thought it was silly that I believed all that and didn't get that it was satire, and insisted that it was important for understanding the story.

I still don't get why it's important, and I refuse to read any of it again. When I re-read the book I just skip to where 'The Princess Bride' actually starts and then stop once it's "over". The rest of it is probably important, but to this day I think it's mostly mean spirited and stupid, and idk why he didn't just write the book normally or do what they did in the movie.

Anyway I figure this is like...normal, right? I totally don't have any deeper stuff going on with my brain. When I take assessments I insist I'm great at picking up on sarcasam and satire. Totally great at it. Yeah...

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