I know I’ve talked about this before, but I’m really sick of seeing writers who should know better say things like, “Tragedy is more compelling than stories where characters have a nice day and nothing bad happens!” without understanding why.
Tragedy is an effective story element when it’s a deviation from the norm. A character’s peaceful existence is disrupted by a catastrophic event that throws everything into chaos. The character now has to either develop so they can cope with the new status quo, or find a way to put things back the way they were. There’s a good story in that.
But when a character’s life is an unrelenting cavalcade of misery, another heaping dose of shit isn’t all that interesting. At that point, a compelling deviation from the norm would be said character having a nice day where nothing bad happens. And modern fiction is chock-full of misery porn, so by this logic, it’s no wonder the coffee shop AU is such a popular fanfiction trope.
Derek Hale getting a dog and putting his life back together is way more interesting than Derek Hale’s life getting worse for the 26th consecutive episode.
Creators like to hold up “everything is fine and nobody dies” as a sign that fanfic is bland and badly written, but if anything, it’s an indicator that mainstream fiction is bland and badly written.
DM (as NPC): This temple is devoted to our god…he’s not well known to outsiders, you probably have never heard of him.
Rogue: Really? Who is this god?
DM: Have you ever heard of the tragedy of Darth Plagueis the Wise?
give me first year sirius spouting the offensive rhetoric he’s been brought up on and being confused when peter is silent and uncomfortable and james looks at him like he doesn’t know him and remus doesn’t speak to him for a few days
give me sirius deeply conflicted about being in gryffindor and completely shattered that his cousins won’t even look at him in the the great hall
give me sirius of the Noble and Ancient House of Black proud and stubborn and fighting with james for days and ignoring the little (giant) seed of doubt he feels in his own resolve
give me remus finally snapping and demanding that sirius “stop using that word I don’t care if you come from a shitty family and if you’re trying, you need to try harder”
give me sirius going home for christmas and flinching at the dinner table conversation and not being able to explain why he can’t finish his meal because his stomach is in knots
give me sirius desperately trying to talk to regulus about how “have you ever thought that maybe mum and dad aren’t right about blood status and stuff?” but receiving nothing but confusion and a blank stare from his little brother
give me second year sirius watching the sorting and begging, begging that regulus is put anywhere but slytherin so that maybe he won’t be alone in this sure but steady exile
give me remus and james and peter spending the entire feast trying to distract him from the whooping and back patting amongst his family on the opposite side of the room
give me sirius asking remus about his parents and working really hard to educate himself and being utterly livid with himself when he fucks up
give me sirius speaking up against his parents for the first time at Grimmauld Place and his heart rate picks up and his knees go numb under the table when he finally manages to say “well actually my friend remus is half-blood and he’s really smart!” and the churning mix of shame and anger he feels at his family’s sneers later when he’s trying to sleep
give me sirius desperately trying to talk his family about it, and his growing frustration as he meets wall after wall and his anger just grows and grows
give me sirius simultaneously so proud and so sad as he watches andromeda’s name burned off the family tree; thinking about how lonely christmas will be without her there
GIVE ME TINY TEENAGER SIRIUS BLACK REALISTICALLY STRUGGLING WITH HIS BELIEFS AND EMOTIONS ABOUT CUTTING HIMSELF OFF FROM THE PEOPLE WHO RAISED AND LOVED AND ULTIMATELY REJECTED HIM
There have already been many great films so far this year, so I felt it worth doing a run down of my favourite films of the year so far. These all reflect the cinema releases we’ve had so far in the UK in 2017 - for that reason this list includes some films that were released in the US in 2016. Enjoy, and I’d love to hear your thoughts on the best films of the year so far!
Honourable mentions: Their Finest, Colossal, Gifted
1. Get Out, dir. Jordan Peele
This film really knocked me for six, to such an extent that I simply had to see it twice in the cinema. It got even better upon a re-watch, when I was able to watch it with full knowledge of the characters’ underlying motives and the things to come. It’s a terrifying concept (the racism of an all-white suburb is taken to a horrifying extreme) executed with incredible panache, and you feel every emotion that Chris goes through thanks to Daniel Kaluuya’s excellent performance. Get Out also represents one of the most brilliantly communal experiences I’ve ever had at the cinema - I won’t spoil it, but let’s just say that the audience erupted into spontaneous applause at a key moment in the climax. Simply fantastic.
2. The Handmaiden, dir. Park Chan-wook
This film is exquisite - it’s first and foremost a beautiful boundary-smashing love story, and an absolutely marvellous tale of female defiance. It transplants Sarah Waters’ novel Fingersmith to 1930s Korea, and the story is effortlessly adapted to become intrinsically interwoven with its new setting. Sookee is a talented pickpocket plucked from a thieves den and sent as a handmaiden to trick a rich heiress into falling for a conman. To say any more would spoil the twists, but this film is just a masterwork of suspense, keeping you guessing throughout a series of interlocking pieces that take their time to reveal their secrets. I’ve seen the theatrical cut and the extended version, and they’re both great - you’re in for a treat with either.
3. Jackie, dir. Pablo Larrain
This is a film that soars on the strength of Natalie Portman’s incredible performance, which is complemented by Mica Levi’s haunting score. Portman’s performance is painfully vivid, with her agony and wretchedness coming through so intensely that it’s often uncomfortable to watch. Jackie is probably the best portrait of grief I’ve ever seen, and it sucks you into a famous historic event by providing an incredibly intimate perspective on it. This is great cinema, but be prepared for suffering.
4. A Cure for Wellness, dir. Gore Verbinski
This is a delightfully strange Gothic fairy tale of a film, and I’m amazed and impressed that a Hollywood studio gave Gore Verbinski a budget sufficient to pull it off with such beauty and style. I’ve seen this film attract love and hate in equal measure, but I adore it - the trailers set you up for a rehash of Shutter Island, but nothing could be further from the truth beyond the isolated setting. If I had to compare this to anything, I would compare it to Roger Corman’s Poe cycle of films from the 1960s - it has a similarly lurid sensibility and a deep-seated sense of fantastic romanticism at its core. Great if you’re after something uncompromisingly bonkers.
5. Wonder Woman, dir. Patty Jenkins
This film represented pure joy for me - I couldn’t have anticipated how emotional I was going to get at witnessing a (wonder!)woman crossing No Man’s Land and deflecting bullets with her bracelets. This simultaneously rejects the wry self-awareness of the Marvel films and the grim self-importance of the previous DC movies, instead unabashedly depicting a superhero who triumphs thanks to her overriding belief in love and compassion. Patty Jenkins adds endless little touches - from funny moments to quiet scenes where characters talk simply to learn about each other - that enrich the film and make it feel vivid and intimate in a very rare and special way.
6. Silence, dir. Martin Scorsese
This is truly the work of a master filmmaker, and it represents a stunning artistic achievement and a moving and intelligent investigation of the threshold of faith. Scorsese tried to get this made for decades before finally succeeding, and his passion for and belief in the project shine through in every painstakingly crafted frame. Silence is equal parts beauty and brutality, and it uses this contrast to illuminate the painful questions that the faithful must ask themselves when faced with the harsh reality of the present world. It’s heavy stuff, but well worth your time if you’re up for a film that raises more questions than it answers.
7. In This Corner of the World, dir. Sunao Katabuchi
I had no idea this film existed until a few days before I saw it, but I was really struck by its poetic treatment of the joys and tragedies of life. This film follows a young bride who moves to live with her husband’s family in WWII-era Japan, and while it deals unflinchingly with the trauma and horror of war - particularly the bombing of Hiroshima - it’s also surprisingly funny and ultimately hopeful. The power of this film comes through in the little moments of human connection and the way that the full potential of animation is exploited to maximum effect.
8. La La Land, dir. Damien Chazelle
A lovely ode to the classic Hollywood musical, La La Land is a technical marvel that sticks with me because of its heart and humanity (those words are recurring a lot, right?). It tells a very small story of a love affair between two dreamers in Hollywood, but it feels much bigger than them because of the way in which their story is told. La La Land draws from influences across the spectrum of cinema, and its homages to the classics are joyful and loving. The final ‘what might have been’ sequence represents the perfect marriage of raw emotion and filmmaking virtuosity.
9. Okja, dir. Bong Joon-ho
Not many films can balance flatulence jokes with uncompromising critique of capitalist greed, but Okja pulls it off with aplomb. The core story hinges on the innocent and endearing friendship between a young girl named Mija and a bio-engineered super pig called Okja, and the film succeeds because you totally buy their connection and desperately want the two of them to have their wish and live together in the mountains. I’m delighted that Netflix gave Bong Joon-ho a platform to make such a weird beast.
10. Logan, dir. James Mangold
Logan may be bleak, but that isn’t what makes it great - Logan is fantastic cinema because it remembers that superheroes are still people who struggle with their own souls as much as super-villains. This film features the best character work managed in any of the X-Men films, and Hugh Jackman, Patrick Stewart and - in particular - Dafne Keen give heart-rending performances that really ground the film and give it an emotional core. I hope we get more superhero films like this, and that the takeaway from it for the industry is the importance of stressing character rather than frantic spectacle.
Most anticipated films still to come: War for the Planet of the Apes, Valerian and the City of A Thousand Planets, Dunkirk, The Beguiled, Mother!, Logan Lucky, Blade Runner 2049, Murder on the Orient Express, The Shape of Water, Annihilation, Star Wars: The Last Jedi
liampayne: Concerts are a place where I have seen such joy and happiness. To see what has happened in Manchester makes me really sad. My thoughts are with those that are experiencing such tragedy at this time x
Summary: Fred Andrews is the single parent of twins. He walks in on his daughter with her girlfriend in the middle of sex. Following that breakup you got together with your brothers best friend whom doesn’t have experience in sex so you teach your boyfriend. Guess your not the only twin in a forbidden relationship…only one is legal.
Characters: Jughead x Andrews!Reader, Betty x Reader, Kevin Keller, Archie Andrews (mentioned) and Fred Andrews
Disclaimer: I do not own Riverdale or the characters. I do not own the Comics either. Jughead is NOT asexual in his.
Warnings: Swearing, underage drinking, smut, former same sex relationship,
Tagging: At the bottom
A/N Originally this was going to be a Veronica fic but apparently my subconscious was needy for Jughead.
Jokes were always made about the Andrews twins, Archie was the boy that got hit by the puberty bus during the summer before sophomore year. You however had came out of the awkward phase a lot early than your twin brother, it was the end of middle school when you hit puberty in the most graceful way.
While Archie incredibly straight, you were bisexual with no real preference to be honest. Nobody believed that you were bisexual, especially your dad because he had never seen you look at a female before. Fred Andrews got a rude awakening when he walked in on Betty Cooper going down on his freshmen aged daughter. Next the whole town found out about the relationship, minus the sexual side, with the knowledge that Betty had been crushing on you. It was purely fun for you and experimental for her so it didn’t cause any problems when she discovered she was only into guys and actually liked your twin. You guys continued to be best friends.
It was amusing when your father walked in on Betty and you because he fumbled through the safe sex talk. He didn’t know much about safe sex between females but he tried his best even if both of you were embarrassed beyond belief. He was happy however that you wouldn’t become the parental nightmare of pregnant teenager.
It was the last day of summer that he caught you with your boyfriend in bed together and getting the shock of his life for the second time. Jughead and you had gotten together at the very end of freshman year. Nobody, even Archie whom knew everything about you, knew about it because there was no real reason that they needed to know. You were a slut by any means, you only had had sex with Betty so you didn’t care if someone found out that Jughead and you were together. The only thing was that you hadn’t gone that far yet.
You guys realise that YMC allowed that kid to do that bit of acting about “writing a letter to his deceased father in Heaven” in front of Daehwi…
Seriously, just why?
Has he not been through enough? Does he have to react to this on TV for everyone to see? The moment Woojin heard the words “Father, you passed away”, his eyes immediately darted to Daehwi because he knows (as a friend, as a fellow trainee who has been with him for years, as a BROTHER) how much this hurts him. Then Jaehwan and Minhyun and Ong all looked at Daehwi. And Daniel stood up to get tissues for him.
All the members knows how much this hurts Daehwi – who was still laughing and joking before the acting bit so obviously he had no idea this was going to happen – so why do this???
Daehwi couldn’t even stop his tears even after the acting ended, but the first thing he says to the kid is, “It’s just acting right?” He was worried that the tragedy that happened to him really happened to another child. And when the kid said yes, he smiled and said, “It’s just acting… thank goodness.”
Such a kind child, who doesn’t deserve to have his pain used for a TV programme. Just breaks my heart to see him cry.
I love Laurent’s line “You were born to rule, like I was”, because
Laurent wasn’t really born to rule, Auguste was. And that’s a huge part
of the tragedy of Laurent’s character, the fact that he feels like
everybody’s second choice. And I don’t think it’s just a
post-Auguste-death thing, you can see it in the way that he talks about
Auguste, it’s way older than that. Auguste was the better fighter, the
better man, the better ruler. And just because Laurent idolized his
brother so much he always felt like what people turned to when they
couldn’t get Auguste. And then he died and the unfit little brother had
to fill in his place. Damen changes that once and for all, once Laurent
finally decides to let him in (I love the bit when Laurent’s basically
like “Auguste would have liked you and you would have liked him more
than me” and Damen is having none of that, because really there is no
version of Damen that wouldn’t have chosen Laurent, but I digress), but
even before that happens we have this line that shows that Laurent is
growing into himself enough to finally realize he might not be the
second best, he might have been born for this too.
Inspired by Steve Ahn’s drawing of artist Keef… An AU where Keith is a famous artist who makes a webcomic named Voltron. Shiro is his supportive beef who also works as a trainer at the local gym. Shiro inspires most of Keith’s work.
They’re really happy and tragedy free in this AU, okay?? The only thing that stresses Keith here is not being able to catch up with deadlines…