1 for that FIC thing with Javid or JackCrutchie maybe??
((short and sappy))
“We should get to sleepin” Crutchie mumbled when his careless conversation with Jack began to wind down. Jack’s legs swung in the chilly autumn air as he and Crutchie sat on their rooftop penthouse, arms resting on the railings, watching the clouds roll through the sky.
Jack’s stubborn silence was enough of a reply for Crutchie. He found the energy to pipe up again.
“It’s gotta be way past midnight by now, and I know you ain’t been sleepin as good as you should.”
Jack grumbled, eyes already drooped shut, and lazily rested his head on Crutchie’s shoulder.
“Shaddap.. ya little…” Jack’s gruff voice trailed off in a slurred mess of directionless sounds.
“Little what?” Crutchie feigned offense, “You trynna insult me there, Jack?” He paused for a dramatic gasp before punctuating, “How could ya?”
To this, Jack grumbled more and suddenly freed his arms from under his head to wrap them around Crutchie’s torso. With the same swift motion, the sleepy embrace sent both of them flopping down to the rooftop floor. Jack lied down on his back, still maintaining his tight bear hug on Crutchie. In a matter of seconds, Crutchie found himself staring at the sky with his body nuzzled into the space between Jack’s right arm and his chest.
“Mmsorry,” Jack mumbled with his face pressed against the back of Crutchie’s left shoulder. He could feel Jack’s eyebrows furrowing as he squished his dumb face further into Crutchie’s back.
“What?” Crutchie giggled, the shock of the moment leaving him, “I was kiddin Jack, you’re such a softie.”
Jack crushed Crutchie in an even tighter hug and rubbed his face back and forth against Crutchie’s back. Crutchie felt him sigh.
“I think you’re wonderful” Jack murmured.
Crutchie’s eyes widened.
Jack’s voice didn’t have the tone of his previous frustration nor the muffled pressure of his once squished face. The declaration sung through the air and flew away before Crutchie could breathe in a slow, small gasp of air. He could feel his face warm up with redness. Jack was often a little mushy with him here and there, as affectionate and emotional as Jack was, but this felt different somehow.
Crutchie let Jack hold him in his arms while his mind swam with thoughts and emotions he couldn’t keep in place long enough to understand. He seemed to be counting the quiet seconds that passed, not knowing what to do next. When he felt Jack’s arms relax slightly, Crutchie turned his head until his cheek brushed against Jack’s short, dark hair.
“Hey, uh, Jack?” he nearly whispered, “Yous gonna fall asleep like this if ya don’t move.”
However, Crutchie found that Jack had already fallen asleep underneath him. After a few seconds of situational calculation, Crutchie decided to shift his weight off of Jack’s chest, flip himself onto his stomach, and rest his head against the crook of Jack’s collarbone.
Crutchie could feel the slow rise and fall of Jack’s chest and the exhaling of air brushing over the top of Crutchie’s head. Jack’s right arm mindlessly shifted around Crutchie’s back and held him in place, but not before unconsciously combing his fingers through Crutchie’s sandy hair. Heart pounding, Crutchie took those actions as an encouragement to gently sling his right arm around Jack’s chest. He laughed a little. Jack almost made Crutchie as sappy as he was; but this was nice.
Slowly, Crutchie let his eyes drift closed, but he felt one last urge before letting sleep take him away from the present. As if he was delivering a drowsy secret, Crutchie whispered “I think you’re wonderful too.”
There’s a red tailed hawk that lives in a park near my house, and what people don’t realize about red tailed hawks is that whenever you hear an eagle screech in a movie, it’s actually a red tailed hawk
So I’m now living with the slightly discerning experience that at any time conversations can be punctuated by Dramatic Patriotic Eagle Noises, which makes life exciting, if nothing else
I heard someone shouting out the driveway. I live in a small compound designed to look Italian or Greek. European. Let’s keep it safe at that. Colored white and blue but the verandas resembled more the Italian homes you see in movies. The walls ran drip stains on the sides. The lack of care from the old landlord was apparent. I have lived here for a year now and became friends with almost every neighbor but the one at the far end, left side of the 8-apartment compound. 4 houses on either side facing directly each other. All noise from any of them audible even from the depths of the lonely bedroom I occupy.
Instinctively, I went out. The kids from the house at the right side end have glued their eyes already in their dirty feet, their hands fidgeted on their tail end. I was watching a movie that Sunday afternoon. It was boring and I wanted something to distract me and that moment felt perfect even if the glum look on the kids’ faces made me frown too. Two plant pots scattered its contents on the floor. Some exotic looking plant laid flat looking more lifeless than it usually does. The other plant stood still yet as lifeless as the other. The man shouted shifting his stare from the kids to the plants. His right index finger stiffened. I couldn’t see his left hand from the angle but I imagined it tighten bit by bit on the adjacent hip.
He was screaming about how precious the plants were.
He was screaming. He was red. The kids were gray.
One of the kids, Angelo, shifted his eyes to me almost teary eyed almost pleading for salvation. By this time more and more people were coming out of their houses as he raised his voice saying “don’t you look at him asking for help.” I got the taste of the stiff index finger he had been brandishing about. “Look at me and apologize,” he said repeatedly. With all the meager force Angelo could muster, he said sorry. Rafael (or Raf-Raf as I call usually call him) looked at his brother either in dismay or in envy for having such strength to speak. Rafael remained speechless the entire time. Two small basketballs stopped rolling from the other end, the ones they played with to break the two pots.
They were being (poorly) babysat by an unfamiliar teenager. She was the last person to go out. She wiped her still wet hands on the back of her faded red shirt. It resembled the words high school but I couldn’t figure out which one it was. Probably from a city far from here.
Her face was stretched into a shock, she too was stunned at the very same area the kids stood. The screaming went on for another minute and I still haven’t said anything being the first person to witness the scolding. I occupied the second door on the left which is the same side as the man’s. I stood my half a square meter of a veranda almost leaning on the wall avoiding to look comfortable. Beside me walked a tall woman from the house beside me. The daughter of the old landlord. She shook her head slightly, “hello, what’s going on?”
“They broke my pots!” the man said struggling not to stutter. He said the same things in a calmer sort of anger as what he said to the kids before. I asked myself: why do older people talk to each other differently than to kids? The two kids finally moved two steps back with the help of their babysitter. Even the old landlord’s daughter was puzzled when she saw her face.
The situation hushed down but the intensity of the man’s exclaims still lingered in the air. Half of the remaining doors closed, the occupant of the unit in front of me smiled uncomfortably before doing so. I stayed there making myself more comfortable against the wall. The movie inside my living room kept playing through. I wished it would already end when I come back.
Rafael and Angelo were the only kids in this compound. The other apartments housed two more babies from two newlyweds. The kids have no one else to play with at home but each other. The daughter motioned the babysitter that she can already walk the kids in. Usually when they do we can still hear them play except for today. Within the same minute, everyone else has gone in but me. The two adults weren’t even aware I was still standing there. I hoped for any information why the plants were so special.
A few minutes more, the daughter walked my way again, slowed down, smiled, and shook her head. She mustn’t have understood the sentiments of the man why the plants were so special. The babysitter ran out once more to tell the man she will clean the mess herself. The man, already crouching to pick up the lifeless plant, waved his hand, “it’s okay, just go in.”
From the angry man the he was not 15 minutes ago he became the most careful person I have seen. His movements even seemed calculated. Like fixing a bed in the morning. Like a devoted encoffiner. He was suddenly distracted by my presence but continued in what seemed a crucial activity for something he hoped wouldn’t happen. He suddenly spoke as if in monologue.
“I have seen you there since earlier. You haven’t moved much and it’s weird.” He paused but he didn’t want me to answer. “Why you’re there, I’m pretty sure because you’re wondering why I was so angry earlier. I’m not angry anymore, don’t worry. I won’t blare at you. The kids were just having fun and I can’t be angry about that. I might buy the kids some candies later today or a cake. What do you think?” but even in an actual question, it still seemed he didn’t want me to answer. “You know,”
“I’m a botanist. I have been studying science almost my entire life. Even when I was young I especially dreamed of becoming a plant scientist. It’s not just because I think they’re pretty. Or they’re harmless and fragile. I mainly relied on herbal medications growing up. And yes, you guessed it right, at least one of my parents must be a botanist as well.
“I’m pretty sure you haven’t heard of my mother’s name but she’s a pretty big deal in the field of botany. She homeschooled me mainly because she usually went on trips. My father died when I was young so no one else would be there if I didn’t go with my mother on her trips. Funny thing, even in science, a lot of shagging happens. A huge part of my life was spent in hotel rooms and I was used to hearing my mother sneak out although not very carefully.”
Slowly and carefully, he continued fixing the mess. There is now some degree of grace in his movements. I still took his pause as a dramatic punctuation and not a chance for me to speak. I won’t even have any input in the topic he chose to share.
“That’s where I met Sarah. I know, yeah, a very typical name for a daughter of a scientist. There were a lot of tropical plants at that time. And one of them was this plant. It can live a long time if given sufficient care. I wanted to keep it in to be safe but it really needs to be out for air and sun. Sarah and I were the only kids in that seminar so we kinda had no choice but to be with each other. Besides, our parents were good friends and teammates.” He chuckled, I finally sat. “I’m not sure if our parents slept with each other that night, though.
“This is a cycad that my mother’s team crossbred. This one, I tried this on my own after my mother died. I saw Sarah once more during the burial but she couldn’t remember me that well until she extended her condolences. Her father sat in front of her on a wheelchair. She still looked beautiful as then when we were kids. She was the one who threw the same plant into my mother’s grave.” He looked at me and smiled trying to know if I’m still interested in the story. For the first time, I said something: go on.
“All right. This won’t last long anymore, I’m about done fixing this anyway. So yeah, I asked her out and we went out thrice. We weren’t the best pair together but she was the woman of my dreams. Until this happened. I kept this plant alive because it kept the image and the memory of her. More of her than of my mother. She’s been married for 10 years now. My mother died 11 years ago. I don’t even see the point of keeping this plant anymore and I needed a reason to let it go.”
He paused. I didn’t answer. He carried the remnants of what was a lifeless-looking cycad. I sat there and stared at the clouds. I heard shouting in the living room and I realized the movie was still on.
“This is a party political broadcast…” the TV announces again. There are screams. You can hear bees, wasps, the sound of someone crying in a distant room. Quieter, the TV repeats. “This is a party political broadcast. It is. I promise.”
Nigel Farrage is on the telly again, a pint of beer in his hand. He is grinning, teeth clenched desperately, and you can see the flickers of something dark and shadowy, just behind his pointed teeth. It is trying to escape.
One day when you go downstairs, you find your letterbox filled with pamphlets. Vote Conservative, the leaflets say. Vote Labour. Vote for the endless pit of tormented souls buried beneath your house. Vote for the souls.
Whenever you see David Cameron debating, he points his finger in a dramatic gesture to punctuate his speech. You watch him do this many times before you see what he’s actually pointing to. You wish you could unsee it. You close your eyes, wishing you could unsee what David Cameron is pointing to but it’s there inside your eyelids. No, you whisper.
Driving in front of you down the highway is a toyota with a “Vote Lib Dem” sticker on the bumper. You wonder who the Lib Dems are, and a memory stirs somewhere within your chest. The faint smell of vanilla and the eerie sense of betrayal. You knew this party once. You thought that everyone else had forgotten.
Every day, the circles beneath Ed Milliband’s eyes seem darker, deeper somehow. As you watch his speech on the news, you realise that you have never once seen him blink. You start to look harder, waiting for him to close his eyes but he never does. Blink, you implore him. Blink. Please.
i didn’t like draco at all as a kid but now i just really appreciate the amount of Drama and Aesthetic he puts in to everything like he sits fake casually in a tree waiting for harry to come by so he has a vantage point to bother him from before jumping down from there dramatically to punctuate it like can you fucking imagine
I’m omitting the stuff that I’ve seen people comment on before, unless I thought I had something to add. If you have specific questions about the show that this didn’t answer, message me. Today, everyone but Chris Jackson was performing—Washington was played by Sydney Harcourt.
A few initial notes about the show in general: Burr delivers his songs in the first act with way more energy than you’d expect, and his voice is a little harsher and higher than on the soundtrack. I would say that throughout most of the show, the stage is darker than you might expect. There are more costumes than I remembered, and they’re not as consistent. For example, Hamilton’s wearing black for One Last Time, but he switches back to a green outfit after that. In Non-Stop he has a green jacket and waistcoat, but he doesn’t get green pants until the second act.
In Aaron Burr, Sir, as Burr says, “It was my parents’ dying wish before they passed,” he starts to walk away from Hamilton, who literally grabs him and pulls him back.
Hamilton and Burr (and Laurens sometimes too) are constantly flirting with the ensemble women. Constantly.
Other people have mentioned this, but Laurens, Lafayette, and Mulligan are kinda tipsy. During The Story of Tonight they’re noticeably drunker, as is Hamilton. There’s actually a lot of drunkenness in the first act.
When My Shot starts, Laf, Herc, and Laurens make some gestures to each other to express their skepticism/amusement—they’re not entirely sold on Hamilton yet. However, by the time he gets to the part where he spells out his name, they’re suitably impressed and stand up from the table and approach him.
When Ham starts talking about politics, Laf, Herc, and Laurens snap their approval/agreement in a very “modern college student” kind of way.
Yes, Ham and Laurens grab at each other a lot. The quartet are usually putting their arms around each other’s shoulders and stuff like that, but the Lams body language is real. Enough that my mom elbowed me pretty sharply at one point, because she knew I’d be looking for it. Before the Charles Lee duel their faces do get very close, but neither of them had their hands on the back of the other one’s neck. Still, they usually leave the stage draped over each other.
Laurens really leads most of My Shot, it’s very much his number. He’s practically the only principle cast member on stage at that point, walking/running up to various ensemble members and physically encouraging them to “rise up.”
1. Adventure fiction: stories in which characters are involved in dangerous and/or exhilarating exploits
2. Airport novel: a work of fiction, generally genre
fiction, so named because of its availability at stores in
international airports in order to provide airline passengers with a
light diversion during a flight
3. Allegory: a story using symbolism to express truths about the human condition
4. Bildungsroman: a story detailing the emotional and moral growth of a character
5. Black comedy: a story in which the humor derives from the misfortunes and/or reproachable behavior of characters
6. Comedy: a story with elements and situations intended to amuse
7. Comedy-drama: a story with both humorous and serious elements
8. Comedy of errors (farce): a story involving energetic action revolving around humorous predicaments and coincidences
9. Comedy of manners: a story that mocks class pretensions and/or prejudices
10. Crime fiction: stories based on the commission and/or investigation of wrongdoing
11. Detective fiction: stories in which the protagonist investigates a crime
12. Epic: originally a long poem celebrating the
exploits of a factual or fictitious hero, but now applied to prose works
on the same theme as well
13. Epistolary fiction: stories constructed as a series of letters exchanged between characters
14. Fantasy fiction: stories involving imaginary
beings in the real world or in an alternate reality and assuming
suspension of disbelief about magic and/or supernatural powers
15. Fictional autobiography: a story purporting to be a first-person account of someone’s life
16. Fictional biography: a story structured to resemble a factual life story
17. Genre fiction: stories intended to appeal to
readers because of adherence to a specific formula (such as adventure
fiction or detective fiction), rather than on their literary merits
18. Gothic fiction: stories often taking place in an isolated setting and involving strange and/or perilous happenings
19. Horror fiction: stories incorporating supernatural and/or inexplicable elements and intended to arouse fear and dread
20. Melodrama: a story that emphasizes action over characterization and features exaggeratedly dramatic plot elements
21. Mystery fiction: stories that detail the solution of a crime or other wrongdoing
22. Pastiche: a story that imitates one or more established works, or consists of episodes of such works
23. Picaresque: an episodically structured story featuring a rogue or an antihero as the protagonist
24. Parody: a story mocking the pretensions or weaknesses of a particular author,
style, or genre
25. Romance: a love story; also a tale taking place
in a distant time and place and involving adventure with often
supernatural or mysterious elements
26. Romantic comedy: a lighthearted story detailing a romance and its complications
27. Romp: a boisterously comical tale
28. Satire: a story that pokes fun at human shortcomings such as arrogance, greed, and vanity
29. Science fiction: stories focusing on how science and technology affect individuals and civilizations
30. Screwball comedy: a fast-paced story involving improbable situations and antics from which the humor derives
31. Swashbuckler: an adventure story in which the hero accomplishes great feats to aid a noble cause
32. Thriller: a dramatic story punctuated with action, adventure, and suspense
33. Tragedy: a story with a catastrophic and/or unfortunate outcome
34. Tragicomedy: a story with both humorous and heartbreaking aspects
35. Travelogue: a story with a plot centering on a significant amount of travel
Originally from fyeahcontroversialcouples.tumblr.com:
Pairing: Sailor Senshi x Shitennou
Fandom: Sailor Moon
Reasons for being hated:Promotes queer erasure since Mars is widely interpreted as asexual and because Zoisite and Kunzite are gay in the anime, promotes misogyny and heteronormativity with assuming all the Senshi would fall in love with men (and due to Jadeite being misogynist in the anime) , Takeuchi didn’t get to implement the idea in the actual manga, Takeuchi is seen as cissexist for even suggesting the idea.
*Hope I did this right*
So to be honest one of my biggest ships is that of the Senshi x Shitennou, and one of the reasons why is that it’s one of the few pairings where I think it makes perfect sense where a group of matches would happen given their roles and obligations, not only from a writing stand point but from a historic stand point as well. But first, let us see if we can defend this thing and, give a short, quick, history lesson.
Okay so, let’s see here, regarding the manga we have a band of five girls that represent the same five character tropes of a super sentai group, which, in reality, Sailor moon is. While it has a great deal of magical girl qualities, it doesn’t follow the same ideas or tropes/themes that earlier magical girl shows and mangas had. In Sailor Moon’s (and subsequently Sailor V’s) stories we have the Brainy sentai (Ami in blue), the strength one (Makoto in green), the leader and the giggly one (Minako in Yellow), the new one and optimistic one (Usagi in well every color) and the stoic and calm one (Rei in red).
“Sailor Moon creator Naoko Takeuchi said her ultimate goal was to “make a story like the Power Rangers series–a girls’ version–where the warriors go fighting upon the instructions from a Central Command Post. It didn’t turn out that way, though. Of course, from this concept came Sailor Moon. I had wanted to use five girls as the fighting warriors.” –The mary sue , sailor Moon history part 1.
Above states what some of the problems with this pairing is, the problem with these statements is the fact that they all come from a very lopsided view of the series, or a very narrow inclusion into the world of Sailor Moon. Much like the 40 year old Kamen Rider Series, and the 39 year old Super Sentai series, Sailor Moon has many incarnations and allows for various alterative takes on the series. Why is this important you may wonder? Well to be honest it becomes important for a few good reasons.
First, with all series there is usually some form of cannon that has been established through all the series that remains unchangeable. In the case of Sailor moon it’s that Usagi will always be the princess, there will always be the main nine senshi (or scouts) and respectively they will always be reborn in some way or another. They will pretty much always have transformative abilities and be seen as warriors that fight against any dark threats that may incur upon their new lives and home world of Earth.
Secondly, the idea of the alternate take on a series allows for a broadening of the world and also a new perspective. In the case of the series Transformers (who have been around for 30 years now) various incarnations of the characters gives both old and new fans alike the ability to pick and chose characters and story elements that they like and utilize them in ways that define the character in their mind.
Third, by allowing for an alternate take on the series there’s a freshness that can be seen and also creates, in some cases, a mirror or a parallel to the first incarnation of the story. Both Full Metal Alchemist Brotherhood and Dragon Ball Z: Kai create this parallel as both series cover events that occur specifically in the manga and don’t deviate much from the story line.
Lastly, by having these additional series (or musicals in the case of Sailor Moon) it forces the viewer to expand how they view the series and the possibilities within the world that they are being allowed in. Much like the second one this idea seeks to push the viewer in a new direction and make their views of the characters that they have formed one opinion upon see it in a new and different way. This gives the writer a chance, in some cases if they are working with the creation of the alternate series, to dig into sections of the story that they may not have had the pleasure of doing before, or expandingroles, traits and stories that they couldn’t before.
So understanding that there is more than one take on a series allows for a more comprehensive enjoyment of the show, and gives a chance to delve deeper into the characters and their roles. Things that a creator can’t do on their first go around.
With that in mind, let’s take a look at these choices.
There's something that's been bothering me. I think NR loves MMB and admires her as an actress, but I got this weird, sad feeling that maybe NR doesn't like Carol, the character. Did you get that impression? It wasn't the "beautiful monster" comment, or, at least, not that entirely...
Hi there my anonymous friend,
Thank you for your message and for trusting me with your question. I tried my very best to answer this in a way that’s helpful because I know a few other people were a tad bit concerned about this as well.
Now I am absolutely not the best person to ask about anything specific regarding the actor Norman Reedus because I haven’t exactly followed his career all that closely prior to TWD and only know the basic facts about him in general BUT I did do my homework on this so hopefully this will be useful to you. If anyone else would like to add anything positive or constructive please don’t hesitate to hijack and comment on this.
There is no doubt that Norman Reedus and Melissa McBride are close, long-time friends AND we know that they have a lot of respect and love for each other. We also know that Norman in particular admires Melissa’s acting skills, as we’ve heard him single out her performance season after season and has gone on record several times to say that she was his favourite actress on TWD. He’s also been very vocal and open about the fact that Melissa makes HIM a better actor and that their off-screen friendship allows him to be more vulnerable and more expressive in their scenes together. He has gone as far as saying that she makes him look good in a scene. Norman’s accolades of those CARYL scenes have proven to be more than accurate because Carol and Daryl’s chemistry on screen allows them to play off of each other in a way that both elevates their performance and at the same time seems to enhance the emotional impact of the scene in question.
The critics have obviously noticed too because “Consumed”, an episode starring just the two of them, has been hailed as one of the most resonating in the series.
Instant award buzz!
The success of the work they’ve done “together” and the sheer number of scenes they’ve been given indicates that Normans sentiments about Daryl and Carol interacting, has to be positive and especially because we hear HIM praising their dynamic together over-and-over again.
While he isnt pushing the romance angle, I think he likes Carol and Daryl together in any capacity because it really is a dynamic that brings out the best of both characters. I am not going to debate whether or not Daryl loves Carol because that notion has been repeatedly proven canonically on screen (albeit undefined) so I am assuming your concern is about Norman’s personal opinion on the kind of character Carol has become or grown into.
To answer your question with some degree of accuracy I took a look at a few interviews where Norman discussed the kind of characters he likes playing and likes watching throughout his career in general. The GQ article from 2014 gave me the most insight.
“I’ve really liked having grotesque things and finding beauty in them. I’ve always been a fan of horror films and I like aggressive music and I like aggressive people—they all kind of were interesting to me…. I like dark things. I like reasons why things are dark, you know…. You know, I get quoted a lot for saying “I like it when devils cry and angels stab you in the back.” I really find that more interesting than “I’m a big bad wolf and I’m just gonna be a big bad wolf the whole time.” I think it’s more interesting to see that wolf cub turn into a bad wolf, you know?” (X)
You came easily, without a fight. Ready only when you were, as these things tend to go. We thought about rushing you onward my love, taking up the doctor’s thought to see you earlier here, but decided instead that you would come in your own time, and you proved us right. It was not long into Wednesday morning, just past Memorial Day, you took quick, decisive action, like someone else I know…
I woke to you stirring around 1:30 a.m., but wouldn’t trust it truly until your father found me writhing in bed around 3:00 and actually got up to start packing. The hours passed quickly through the early morning before light, tracked in intervals of one minute to the next, as I gripped my way, white-knuckled through each wave of tense and release. It felt different than I expected, less clear, and more intense, but by mid-morning it was unmistakable that you were on your way. Around 5 a.m. we arrived at the hospital and they wheeled me in, exactly the scene you would expect. You sir, decided you were ready to arrive just over twelve hours and six pushes in. Calmly, in the dim light, with a whimper. Arms open wide. I kept waiting for the other shoe to drop, but there you were: healthy and perfect and right on time. Everything having gone mercifully so much better than expected.
They held you up to the light and laid you hastily on my chest as your father called it out. A boy! It wasn’t as much the dramatic punctuation I’d expected as it was a blurry haze. It took full minutes for it to sink in, and for me to believe it, in the shock of having so many questions pondered over for months suddenly answered at once. Here you are. Squinty eyes and furrowed brow, blinking slowly into the light. For all the time we spent together it was still such a strange thing, meeting you for the first time. It was as if it took awhile to recognize you love, bloody and bewildered, limbs splayed and so frail, and believe we finally knew. You were weighed and prodded, cleaned and bundled, and you took it all so well. Seeing you on the outside, so long and substantial, it was hard to imagine how you ever, in any contortion, fit inside. I expected that moment of lightning striking – he looks like a… – but it never came, so your father and I just looked at each other for awhile and then spoke your name. We kept you to ourselves for nearly an hour before sharing the news, soaking in the newness of you, of us, of your little face finally revealed. I heard my mother’s scream at the proclamation of your arrival in the hall when your father went out to share the news.
Exhaustion like the end of a marathon arrived in the evening. The nurses wrapped you in blanket upon blanket and that classic little hat until all that was showing was your small face. The slits of your eyes, wide cheeks, pointy chin, trembling jaw, full lips, broad nose, faint eyebrows and stork bites on each lid. You looked like a little boy in the face from the start, everyone said. They laid you in the bassinet and we kept you with us as we woke and slept lightly through the night, stirring at every noise you’d make, alert and bewildered at what we were to do with you.
You creaked like the floorboards of an old house with every breath, a pattern I found amusing to no end but which kept me awake that whole first night, newly aware of the extent of your dependency lying right there next to my bed. That first night your father did everything though, springing into action at every cry. I laid there immobilized, watching with heavy eyes open at how wonderfully capable, what a natural he was with you from the start.
You and I took to each other slowly at first and then somewhere in the early morning hours of that second night, I fell in love with you, steeply, in the way that people always describe it to be. Something in those hours of just you and me awake in the dark, quietly stroking the down of your tiny shoulder with my forefinger while you ate, broke me open and swallowed me whole. As if a door had been opened by a hurricane: you were mine. I marveled at the small parts of you, and your whole size newly freed, seeming so minute and yet so large somehow at the same time. You, peering back at me double swaddled with half-opened navy eyes. I drank in the smell of you, hungry and close, the sound of your breathing, the small noises that became the harbinger of your needs, the trademark of your company. I underestimated how much it would feel like falling in love – a version instead so concentrated and consuming, it dropped you off the precipice in minutes rather than months – it felt as if my heart might physically fail.
Those days in the hospital were a blur of activity: feedings and medicine, sleeping and waking to new nurses and rushed lessons. I was amazed by your instincts to breathe, to eat without coaxing or instruction. And also by how hands off the hospital was, trusting you with us, as if we knew at all what to do. And yet, we managed, as people seem to do. So intoxicated was I by your sweet face and velvet skin, I couldn’t look at you without crying for some time, my heart was just so full. On the second full day, nervous as we were to leave that haven of people-who-knew-what-to-do, we loaded you in to the car wailing, and drove you carefully home.
The first few days at home no one ever put you down. The only way you’d sleep at night was milk drunk and on my chest and in the daylight we danced to keep you from crying in the brief spells when you were awake. The trauma of transition from inside to out felt remarkably real. And we clung to one another as neither of us had any idea what was going on or what to do.
The day you were born, love, marked the end of not marking time. The hours picked up speed, with you growing rounder and more awake by the day. The passing weeks arrived in turn with a new sense of consciousness for time. The lot of us surviving on coffee and watermelon and all-too-brief afternoon naps.
When you sleep they say I should sleep, but most of the time I cannot find a good enough reason to put you down. So I am existing exhausted, and literally nothing at all is getting done, but I’ve resolved myself to that. These moments to hold you so compact, quietly purring in my arms and trace your full lips, little bruised eyes, the curvature of your shoulder and tiny knuckles, miniature finger nails and narrow pin-prick of a heel, to follow your eyelashes pressed between heavy lids and faint eyebrows, I already know they are fleeting and nothing seems important enough to stop staring down.
So we go on trading yawns and watching you change, grow, thrive, come alive. Watching you mesmerized by the art on the walls, and strong and sturdy already trying to stand. Already you are changing, growing much too fast for me. Already you have changed us in the best ways it seems. More patient, more loving, more generous with one another. I’d call it content, little boy, you’re a bearer of good things.
In defense of the Sailor Senshi x Shitennou Pairing
*Hope I did this right*
So to be honest one of my biggest ships is the Senshi x Shitennou, and one of the reasons why is that it’s one of the few pairings where I think it makes sense that a group of matches would happen. Not only from a writing stand point but from a historic stand point as well. But first let us see if we can defend this thing and within give a short quick history lesson.
Okay so, let’s see here, regarding the manga we have a band of five girls that represent the same five character tropes of a super sentai group, which, in reality, Sailor moon is. While it has a great deal of magical girl qualities, it isn’t in the same place that earlier magical girl shows and mangas had. In Sailor Moon’s (and subsequently Sailor V’s) stories we have the Brainy sentai (Ami in blue), the strength one (Minako in green), the leader and the giggly one (Mina in Yellow), the new one and optimistic one (Usagi in well every color) and the stoic and calm one (rei in red).
“Sailor Moon creator Naoko Takeuchi said her ultimate goal was to “make a story like the Power Rangers series–a girls’ version–where the warriors go fighting upon the instructions from a Central Command Post. It didn’t turn out that way, though. Of course, from this concept came Sailor Moon. I had wanted to use five girls as the fighting warriors.” –The mary sue , sailor Moon history part 1.
Promotes queer erasure since Mars is widely interpreted as asexual
Okay let’s take a moment to talk about the role of panels, critical thinking, and using tropes in the use of the hero’s journey. (For those of you who don’t know about the hero’s journey, please look it up, it’s by Joseph Campbell –Star Wars is based around this idea.)
Panels in manga, and word balloons, are used differently in a lot of cases then in American comics. Mangas are more like a movie to watch. They use cinematic technics to tell a story or use effects to short hand certain events. A scene of a girl and a boy that are destined to fall in love may be followed by a rush of wind and a swirl of flowers, or a moment of love making may show the two characters meeting on a different plane of existence, or some dramatic moment is punctuated by some form of close up. Etc.
Critical thinking allows you to see beyond what is being said, particularly when it comes to a scene and you have to look at the whole sequence of events in the scene to get what the author is trying to say, rather than them shoving it down your throat. For example a character may be having an argument with another character and say something off putting to the character they are fighting with. If you know the two characters pasts and know some of their backstory as well, it helps in interpreting the meaning behind what’s really going on under the argument.
Lastly the hero’s journey and the role of the spiritual ally; allies come in many shapes and forms, but this one acts sometimes as the voice of cool logic. Usually this person is connected to a sprit or has some abilities that allow them to be one with the world.
That being said, I want to point out some facts about Rei’s lines in that “She is asexual”.
In one panel we have Rei pledging herself to protecting the princess. Okay so we have Rei saying she devoted herself to the Princess, she gave up her chastity. The best way to really put this is to honestly view this from the point of view that Rei sees her job akin to being a nun. She’s giving up her chance at any worldly gain to devote her life to the Princess. However, the fact that she even thinks in that sense means that , by all accounts she sees herself as some sort of sexual being. That she even has that aspect to give up to being devoted to Serenity indicates that she’s at least thought in a sexual sense of who she is as a woman. Does this negate the idea that she’s asexual, would depend on the person reading and the full scene, but as far as I remember this was pretty much Rei indicating she would take a vow of celibate like a nun.
In another we have Rei going “I wonder why everyone wants a boyfriend so badly.” And in turn we see Mina and Minako getting jealous, while Rei is just like “Seriously being all selfish like that.” Oh boy, this clip here. Okay, so I guess the way to explain this would be to point out that Rei may not have hit that point in life where she wants to be attracted to any form of sex. Attraction to the opposing gender (or same gender) can happen at any time. So to me this is more Rei being a young woman who just hasn’t experienced her first crush at all. Not only that, but the fact that she’s questioning it indicates that she’s never been attracted to anyone before. It’s almost like she’s wondering why someone would want to have the trouble that comes with a relationship more than outright being against the idea. Keep in mind her father figures in this world. Her dad who is nonexistent, and her grandfather who’s a idiot at times.
Other images that I’ve seen seem to be taken out of context of what’s happening. When Rei is with Mina they are talking to a guy that is bothering them. Her smirk and look that she gives him along with Mina indicates that both of them are putting on a show of intimidation for this guy. As if daring him to give them a reason to beat the tar out of him, which is what they are trying to avoid doing as he’s more a annoyance then anything else. Her fear of falling in love steams from a fear of changing into someone selfish, something that she views her father as, since he’s a politician who seems to have no time for her and can’t seem to give her the love that she needs. She doesn’t get it, and it makes sense since she didn’t quiet at first get the idea of Ami and Usagi wanting to be friends with her either.
Her lines, “For now, I don’t need to be in love to get along…” indicates that at this moment she doesn’t need that feeling. It doesn’t mean that she wouldn’t welcome it, but right now she’s confident in who she is, and that’s key to her character. Because she’s confident as a person, if and when someone comes along that she can feel a connection to, it will something special because it shows that she feels that the danger has passed, or at least that she can relax some as her warrior role. (This somewhat ties into the idea of a sentai hero turning in his or her magic item to live a normal life after the fighting is over with the big bad.) She’s a far more mature person then the other girls, again it goes back to the stoic idea of her character. So her rejecting gifts, saying she’s not interested. It comes back to her devotion to her mission, not that she rejects the idea of love, or the possibility of it, rather she’s right now focused in on her role as sailor Mars. Her line of being “Too good to believe in men” kind of indicates that her feelings all tie back to an absent father.
Since Ms. Takeuchi is trying to create a ranger like story and obviously kept those tropes in mind while creating this story line, she probably based Rei on all the stoic and serious members of the sentai group. This member is usually linked as the mentor/ the older member/the spiritual one/ or the pessimistic one in some cases. He (or she) normally acts as the voice of logic to a situation. Putting their beliefs first over their own passion and Rei does this a lot. We don’t see her act very passionate for anything, unlike in the anime where she goes over the top at points. The reason for this is again, to keep true to the sentai trope of the five man band. Fire is a very volatile element that, normally can be seen as something heated or very temperamental. Why then give it to the one that is the most calm. For that very reason, Ms. Takeuchi at the time realized that in order to create Rei as a character of Mars she had to be the level headed one to act as one of the voices of reason to the more novice Usagi.
If Mars was intended to be seen as asexual in the first place, I would think that there would be more leanings on this in other interpretations that Ms. Takeuchi has worked on. As it is, Rei never indicates that she’s not interested in men, she’s not interested in boys, which could be a clue there that she prefers a mature person over someone who’s going to flip flop to any girl he sees.
and because Zoisite and Kunzite are gay in the anime.
Alright let’s talk about this little pairing shall we. Neither Zoisite nor Kunzite were given much time in the manga to develop as what was going to be a shorter series was pushed, by Kondansha, to be expanded. While I don’t have any interviews right now about this, I wouldn’t be surprised to hear why they went with the Zoisite/Kunzite pairing in the anime series to get, well, the additional fanbase of shonen ai fans. Bear in mind in the 1990s and later part of the 1980s magazines that focused on shonen ai and Yaoi were coming into being to sell to the emerging demographic. Because of this a number of shows wanted to give that demographic what they wanted and thus the probability is that it was determined that Zoisite was a pretty boy by the production staff and seeing as he was one of the last to live, it would be easy to pair him with the most adult looking member of the Shintennou, Kunzite.
The thing though is that the main plan of the series was supposed to focus on the girls as Sentai, in fact, “The manga was only meant to consist of one story arc–Sailor Moon realizing her fate as princess and defeating the Dark Kingdom with the help of her friends and lover, Tuxedo Kamen– but at the behest of Nakayoshi publisher Kodansha and Toei Animation, this grew to five story arcs over 52 “acts;” five art books which feature gorgeous, high-fashion inspired images of the characters; and ten lighthearted side-stories which act as filler.” –The mary Sue, Sailor Moon a history Part 1.
Let’s also keep in mind this factor; we have a very prominent pairing in the form of Neptune and Uranus. Now how is it that a series that included this pairing at the time (Yuri wasn’t as big as Yaoi was) is trying to erase aspects of the story. Rather I think that in this case, the pairing is allowing for an interesting development on the part of the over-all Sailor Moon story. But we’ll get to that soon.
promotes misogyny and heteronormativity with assuming all the Senshi would fall in love with men
Okay let’s talk about this again, shall we. Uranus and Neptune…again Uranus and Neptune, if you can find a more loving and honest relationship (het or not) I would like you to please point it out to be because these two show so much love and compassion and passion for one another as far as realistic couples go it’s quiet amazing for a shojo series. Mind you Shojo thrives on dramatic problems, the will they or won’t they aspect of the story, and not really on the whole “after” aspect of the relationship. This is where Ms. Takeuchi really did a bang up job. Here are two loving and caring women, who love one another and show it in their actions. We never see them have the typical jealous girlfriend issue. Nor do we see them act outside of who their characters have shown to be.
True enough that not all women fall in love with men and the reverse is true. However, in this case, we have a total of nine women. In total two are in a committed relationship with one another and are raising a child together. One, who is still a child, we can’t tell how she feels because of the fact that she’s still a kid, and one who seems to push the idea of love away at times but can show affection and nurturing. Of these nine, only five….FIVE are shown to have any hetro relationships, and even then, out of the FIVE of them only ONE in the manga gets to hook up with the man she’s interested in. I would say that’s a damn decent situation there; and that for other versions of the story the idea of allowing the four other Senshi to hook up isn’t a bad idea. A number of Sentai allows for this, only recently have we not seen the lead hero pairing off with a respective love interest in the Super sentai series. How is allowing for the Senshi to end up with the Shintennou a bad thing? Especially given the fact that the author of the piece was interested in doing this…but we will cover that soon.
On another note in regard to this group pairing: It makes sense from a writing and historical stand point.
As I said before the senshi are sentai figures, because sentai is a less complex show then say a regular drama, you need to keep things neat and organized by the end. True enough you can have a sad ending to a show, but all matters must be solved in one way or another. With shojo as well, characters need to get to an ending that will please the reader. Shojo’s main asset is it’s romance or at least the hint of it. As such readers expect an ending where either, “Girl gets boy, Girl gets other boy, Girl doesn’t get boy, or Girl meets boy years later and there is deeper meaning there”. One of these needs to happen as, again, Shojo is mostly built on the romance genre, and Sailor Moon is no different. While it is a sentai by all means, it also had to have the romantic aspect put in there. So Yes, it makes sense to have these romances blossom in the books as a means of showing how the girls react to them, and what they would do to help potential allies. Even if they themselves in this time don’t want to date the men that come from this, they at least want to know them since both sides now would have to protect their royal.
Which brings me to point two from a historical aspect: Royalty marries nobility. Each member of the Shintennou and the Senshi are all nobles by blood. The girls appear to be princesses or high members of the houses of the planets they hail from. This would mean that, on earth, the Shintennou would have to also be of noble blood as a means of working for the Prince. Keep in mind that Earth is a kingdom, much the same as the moon. There would have to be a court and young men of noble households would eventually be expected to go to the court and become a knight and courtier to the King and his family. As such, it’s pretty obvious with the Shintennou this is what happened there. On the other end the Senshi were also recruited by the Moon kingdom to protect the princess while, I’m pretty sure, there were other scouts and members of the household, protecting the Queen and her husband (or whoever Serenity’s father was).
Nobles were to marry nobles. It is as simple as that, and seeing that Serenity would go to earth and met Endymioni it becomes clear that a unity between these four protectors would be an excellent choice. Not only because it would mean that the two kingdoms could be united, but that it could simplify the whole issue of being a protector to the royal family and keeping close to the one you love. In that sense the whole Mercury/Zosite, Mars/Jadite, Jupiter/Nephrite, and Venus/Kunzite pairings make things that much simpler and believable from a readers stand point. Who else would you trust protecting the life of the loved one of the person that you’ve sworn to protect? Clearly someone you too love and respect.
(and due to Jadeite being misogynist in the anime)
Okay let’s get one thing straight here; all aspects of Jadite’s actions came wholly from filler episodes. When the series was working from the main books he never came off as such. Aloof, yes, but not misogynistic as in the anime filler episodes, and there’s a very good reason for this. Because this is a sentai series the villains must come off as villainous. Because of this, well, they wanted to make Jadite into someone that the viewers could not like. In later villains they seemed to grow them into more rounded characters, attempting to give them more personality and reasons, such as Nephrite and Zosite. So pointing out the fact that the character was given crappy treatment at the start of a series where most of his episodes are filler, isn’t exactly a great way to cover your arguments. Jadite is rude, competent, and could be seen as jerkish, but in the manga he never really showed any misogynistic tendencies for the little time we saw him.
Takeuchi didn’t get to implement the idea in the actual manga,
Oddly enough there’s a real reason for that, or two. The first falls under the fact that Ms. Takeuchi, and she admits this, is a slow creator. She normally only does short stories because she feels she can finish those. When the series was told to go from a short series of the Dark Moon Kingdom she had to stretch this out. On top of that, as a monthly serial this means that while there is more pages to work with, there’s really a larger gap in time. On top of that, as a creator she had to keep ahead of the anime, which meant that she had to tell the story at a quicker pace and relegate the lesser factors (Usagi’s parents and brother, plans with Ami being a robot, Minako’s parents, Rei’s father’s story, etc.) to the back burner so that she could give the animation company stuff to work with. Also, since it was a Sentai series that meant that it had to run like one. So more focus had to be laid on the five heroes and their exploits in regard to the lead plot, over say a subplot about Mina and Kunzite dating, and because of this also the few romances that we saw were either with Usagi and Mamaru who were a new couple and had the most screen time, or a couple already that was involved for a long period of time, Neptune and Uranus.
So just because she didn’t implement the idea, doesn’t mean that she didn’t want to use it. Much like ideas that were chucked for other stories, it’s the same thing here. She, for whatever reason, be it editor, space or other things, felt she didn’t have the ability to do this story justice. So she didn’t use it at the time and now wants to explore it.
Takeuchi is seen as cissexist for even suggesting the idea.
Right…the same woman who created Uranus and Neptune. Who had the whole Star lights idea, and other characters, and actually likes fan fiction and fan art of her characters and encourages it. Yeah she sure is…*sarcasm*
Imagine your OTP watching the Star Wars Christmas special.
She peered through her fingers, occasionally letting out a groan. Or a sob. “Just turn it off,” he eventually said, trying very hard to keep his eyes trained on the book in his hands. But his gaze kept trailing up in bewildered disgust towards the screen. “I caaaan’t. This must be witnessed.” “What the fuck is even happening?” “A travesty,” she answered. “Sin. Agony.” “Are we supposed to understand those…? Furry things?” “Wookies. And no. Or… I don’t think so. I don’t know–they just keep howling, communicating nothing. This must be what hell is like. Oh God, and they dragged Jefferson Starship into this. Noooo.” “All right, well I’m out,” he said, making to stand, only to have her flop over his lap. “No, don’t make me suffer alone!” “You don’t have to suffer at all. You put it on.” “Don’t leave me!” she cried, clinging to him as he wriggled free. “Oh, cut it out,” he muttered, dusting himself off and stalking from the room. “Betrayal!” she wailed, dramatically, her words punctuated by more incomprehensible howling from the television.
Summary: After banishing her True Love, Belle returns to the town line each night filled with regret. But when Rumplestiltskin returns to Storybrooke, Belle quickly realizes there is a big hole in his heart and in his memories. (one-shot)
Belle had regretted it almost as soon as she had gotten home, to what had been their home and, before that, his home. She caught sight of his cane leaning against a table in the corner when the realization struck her. He was exiled, powerless, and absolutely helpless, without even his cane to help him walk.
The enormity of what she had done overwhelmed her. His dagger, which she still gripped tightly in her hand, clattered to the floor. She dimly noticed that his name had disappeared from the side of the blade. It was just a relic now. There was no Dark One anymore. He was gone.
In the moment, she had been so angry that she had never wanted to see him again. But now the reality was sinking in - she would never see him again! He hadn’t deserved that. She had forced him with the dagger, rendered him unable to resist, banished without more than the change in his pocket.
She rushed back to the town line, uncertain what she would do if he was still there.
It had become a ritual. She returned to the town line every night after that, never really sure why she was going, but it came to serve as a form of penance. She replayed that last encounter in her mind and dream about other ways it could have ended.
That night she had clung to his dagger, the proof that he loved his power more than her. In the nights that followed, she still clung to the dagger, the last link to her one-time True Love and a constant reminder of the guilt and overwhelming loss that filled her heart.
Her fingers traced absently over the flat of the blade where his name used to be. She had lost track of the days. Many had gone by - weeks? months? - since that accursed night.
Darkness had fallen on her silent vigil, when her fingers caught in a groove on the blade. Curiosity tinged with dread and a strange hope filled her. She ran her fingers over the blade, feeling the letters carved into the dagger as they reappeared, spelling out-
Imagine Kris having an inner monologue in third person and punctuated by dramatic segues. “Kris begins chewing his lunch,” it says only to him, “AND SUDDENLY A FLOOD OF APPLE JUICE FOLLOWS.” The result is Kris making strange, shocked expressions at seemingly nothing to those around him.