Lame adaptations and sequels are always like, “how can Mina go back to her stifling Victorian marriage after her experience with the dark, seductive Dracula??”
Meanwhile, Mina marries her best friend, who she’s known since they were children, who she share common interests with, they build a home together, work as partners, make immense sacrifices for each other, support each other through their traumas.
Guys, a marriage isn’t stifling and restrictive just because two people… get along, I guess?
as someone who’s played through endless summer without spending literally one (1) diamond—a lot of the enjoyment that comes from playing the game is saturated by the desire to spend diamonds in order to get a happy (or happier) ending. the book is no longer reliant on the player’s actions to produce an good outcome, but instead on how much money the player has rolling around in their bank account at the time. it’s… not good.
this got really long (WARNING: this is super fucking long (by super fucking long i mean +1,500 words long, so super fucking long), i was fueled by rage and pretty much nothing else), so i had to split it into parts. yeah.
I hate that trope of characters who are like “oh being poor doesn’t scare me” like okay I’ve been financially unstable and lived in an economically depressed area most of my life and it scares the daylights out of me bc I know some of the consequences
like…this isn’t about how hard I’ve had it bc there’s loads of people who had it much harder, it’s about the fact that I /hate/ when people who have never really experienced financial hardships bad enough to compromise their ability to afford basic necessities romanticise poverty as somehow ~simple and ~wholesome in contrast to the ostensibly exhaustingly complex lifestyles of the rich
it’s not simple it’s complicated and difficult and can severely impact your mental and physical health and making it seem all rosy-tinted is just another way for rich people to make themselves feel better about wealth inequality
So like, the thing is that Reaper makes a pretty obvious Phantom, right. But Jack as an ingenue? Jack as an ingenue would be the kind of pretty young thing who survives by dumpster diving in Paris back alleys & fist fighting for cash. Probably, in the grand historic tradition of pretty, broke young actors, offering blow jobs to smitten rich dudes.
And this is where it all goes off the rails. Because Eric goes all jealous murder-spree and drives Christine away. Whereas Jack chases Gabe down, screams in his face to knock that shit off and help him practice if he wants him to succeed so bad.
Raoul’s still a thing I guess. Dunno who he’d be but Jack is trash enough to enjoy watching two hot guys fight over him. Laughs at them after for thinking it has any bearing on which one he fucks. It’s not like they asked HIM. He was just enjoying a free show.
Let’s think about the seduction scene for a sec, though. I’m here for Jack in a corset & a frilly lacy white thing that reveals his thighs. Takes Gabriel’s mask off. Whispers, “Holy shit. You’re so hot.” Gabe like, “Don’t mock me, I look like a burn victim.” Jack: “Your face is fucked up, true, but I would happily die between those thighs.”
I always found this hilarious about the musical. Does anybody care what dude’s face looks like under that mask. Look at the rest of him. Jack: Fuck it man, just put that Red Death costume back on and we’ll roleplay our way through this.
I just love the image of ethereal, angel-voiced Jack with bull shoulders, a filthy mouth and an inclination to brawl like a drunken sailor.
Somebody really Breakfast at Tiffany’d that boy up.
They put him in a corset because his copious boobs won’t fit in the
costumes otherwise. Gotta rein those suckers in or he’s going to pop
buttons every time he deep-breathes for a high note.
Gabe follows that beautiful voice and finds him, aglow in the light of a stray sunbeam and singing as if he’s a human nightingale. Then Jack’s like, “What the fuck’re you supposed to be?” Clubs him with a stand lamp. “Keep your shitty hands off my costume, creepo, they’ll make me pay for it if it gets ripped.” Gabriel’s dazed. Partly by Jack and also partly because he might have a concussion. But he focuses on what matters. "Your voice is incredible but you need to lose that accent if you want to make it in this business.“ "What, the Ghost of Christmas Future breaks into my rooms to mug me and then criticizes my diction? Christ, I really am in Paris.”
And in the end Jack’s been saving up his money and buys them two tickets to San Francisco. “I hear they just opened an opera house. Let’s get the f**k out of this hellhole. Bet they could use a decent director and script writer.”
<b>Magnus:</b> *literally nearly dies*<p/><b>Cassandra:</b> so Alec came to his rescue, cool. bUT DO Y'ALL KNOW HOW CUTE CLARY AND JACE WERE??? JACE'S LIPS WERE ON CLARY'S KISSING HER DEEPLY AND SLIDING HIS ARMS AROUND HER WAIST WHILST CLARY HUGGED HIM AND WRAPPED HER LEG AROUND JACE'S NECK, BECAUSE WHO CARES ABOUT MAGNUS OR ALEC RIGHT??? : )))))))<p/></p>
I just want to say how much I love the fact that most of you are not super-racist about Yuuri and just write him as a world-record-holding skating champion (or potential champion) with anxiety.
I’m Asian, and I worry every time someone writes Asians that they’re going to be super-gross and make them speak broken English (which is never broken in the right way) and/or talk about eating dogs or some other seriously disgusting stuff. *gestures vaguely at just about every form of media*
But right now the ratio of “YoI fics I’ve read that don’t remind me of being bullied in kindergarten” to “fics that do” is about 2000:1, which is a much better ratio than I get from Hollywood, television, and published novels.
“This sounds really dumb,” she said with a sudden violence. “Really, really dumb! But it’s––” she groped, helpless, then sprang to her feet, unable to stay still.
“It’s like––there are all these things I don’t even know!” she said, pacing with quick angry steps. “Do you think I remember what I looked like, learning to walk, or what the first word I said was? No, but Mama does! And that’s so stupid, because what difference does it make, it doesn’t make any difference at all, but it’s important, it matters because she thought it was, and… oh, Roger, if she’s gone, there won’t be a soul left in the world who cares what I’m like, or thinks I’m special not because of anything, but just because I’m me! She’s the only person in the world who really, really cares I was born, and if she’s gone…” She stood still on the hearthrug, hands clenched at her sides, and mouth twisted with the effort to control herself, tears wet on her cheeks. Then her shoulders slumped and the tension went out of her tall figure. […]
“You’re wrong, you know,” he said softly, and held out his hand to her. “It isn’t only your mother who cares.”
Voyager Chapter 22 All Hallows’ Eve
“Don’t you see, Mama? He has to know––has to know he did it, he did what he meant for us.” Her lips quivered, and she pressed them together for a minute.
“We owe it to him, Mama,” she said softly. “Somebody has to find him, and tell him.” Her hand touched my face, briefly. “Tell him I was born.”
Voyager Chapter 23 Craigh Na Dun
“It’s verra fine to see ye, Claire,” he said softly. “I thought I never… well.” He shrugged slightly, as though to ease the tightness of the linen shirt across his shoulders. He swallowed, then met my eyes directly.
“The child?” he said. Everything he felt was evident on his face; urgent hope, desperate fear, and the struggle to contain both.
I smiled at him, and put out my hand. “Come here.” […]
“My… she…” His voice was hoarse with shock. “Daughter. My daughter. She… knows?”
“She does. Look at the rest.” I slid the first picture from his grasp, revealing the snapshot of Brianna, uproariously festooned with the icing of her first birthday cake, a four-toothed smile of fiendish triumph on her face as she waved a new plush rabbit overhead.
Jamie made a small inarticulate sound, and his fingers loosened. I took the small stack of photographs from him and gave them back, one at a time.
Brianna at two, stubby in her snowsuit, cheeks round and flushed as apples, feathery hair wisping from under her hood.
Bree at four, hair a smooth bell-shaped gleam as she sat, one ankle propped on the opposite knee as she smiled for the photographer, proper and poised in a white pinafore.
At five, in proud possession of her first lunchbox, waiting to board the school bus to kindergarten. […]
“Tell me about her.” One forefinger traced the pudgy features of the baby in the snowsuit. “What was she like as a wee lassie? What did she first say, when she learned to speak?”
Imagine Steve in an AU where he adopts the Maximoff twins!
“So Friday tells me if you
want to stay, we have to get started, like yesterday
on your alphabet soup visa type applications because it can take a while and
like—Friday, can you explain it?” Tony
flashed a quick smile. “Pepper usually handles this sort of thing. Sorry.”
“Sure, boss. Their B
visas expire in approximately 4 months.
They’ll need to apply for an H1-B if they want to stay. Though, it’ll be a stretch. I’m not sure if the government will consider
what they do as ‘skilled labor’. Worth a
shot, and they’re familiar with Stark Industries sponsoring visas. We just have to hope they make it through the
Pietro quirked an
eyebrow. “And if we don’t?”
“-We can find a way. Right?”
Tony glanced towards the ceiling.
“We might be able to get you back on an L visa, if we can set you up in
our Sokovia branch. It’s mostly a
foundation, but it’d be just about all we have left as an option. A green card would be an option, too, but
it’d take some time. More than we have.”
After Sokovia, with the twins joining the Avengers in a not-so-low-profile move to the Tower, the government was asking a lot of questions about their allegiances and intent. Tony had lawyers for that, but they were still working on the best way to legally keep the Maximoffs in the country. They kept coming up short. Tony dropped heavily onto
a couch with a groan. “Uggghhh. This is why Pepper does all this. What the hell.”
“Or” Steve had come out of nowhere, dropping a folder onto the glass
table. “We do an adult adoption.”
“Can you do that?” Tony sat up straighter.
“I’ll have to look into it, boss.
But without any living parents, provided they consent, Captain Rogers
should be able to.”
Wanda smiled slyly. “Is that why you give Vision side-eye? Do you
disapprove of the relationship we may or may not have?”
Pietro laughed. “You do a great Disappointed Dad face. I will not call you Dad, though.”
Steve grinned. “I don’t expect you would.”
Wanda glanced over the
paperwork Steve had brought. “Ok. Yes.
But,” she pointed a finger at Steve, “only if you promise to stop
looking so suspicious of Viz.”
Steve held up his
hands. “Sorry, ok.”
Tony clapped his hands
together. “This is great. I’ve gotta go organize a party. Adoption shower. Something.
There’ll be cake. It’s gonna be
great. Friday! Friday, take care of Steve’s paperwork.”
i think the narrative should explore the fact that clary is valentine’s daughter.
by which i mean - clary is dangerously charismatic. even alec, who hated her and has been forced to pick up after her, becomes close to her in the end. clary has stomped on every tradition and rule he was raised with, endangered countless lives - but still in the end he forgives, thanks her for saving isabelle’s life when she’s the one who endangered it.
maybe it is jocelyn’s daughter that saves the little mage child. but it is valentines daughter that went marching to magnus’s in the first place. jocelyn went to magnus when she was ready to hide - clary went to him when she was ready to fight. and when she brings the vampires and werewolves together - that type of leadership and manipulation is valentine. jocelyn helped save the downworlders by running from valentine and stealing the cup - clary doesn’t run. from the beginning she doesn’t run.
she fights, but not alone. she draws people to her, like moths to a flame. even meliorn is impressed by her, grants her a favor he’s granted no other. she negotiates with vampires, with simon’s help yes, but on her own.
and speaking of simon - valentine turned his best friend into a werewolf, and clary turned hers into a vampire. granted he was trying to kill luke and clary was trying to save simon, but still. jocelyn left luke wounded in a barn to make his choice, but clary made simon’s choice for him.
valentine and clary act - jocelyn only ever reacts. jocelyn may be a fighter, but she’s not a leader. she’s a soldier. luke is a soldier. but valentine and clary are smart enough and charming enough and ruthless enough to be generals. clary is always convinced she’s doing the right thing - even when lives are in danger and people are getting hurt she thinks she’s making the best choice for everyone. and she can usually convince most of everyone that she’s right. this is dangerous.
she’s not the same kind of leader that valentine is now. valentine is hard and violent and makes you walk over coals for his approval. but once upon a time he did what clary did - was kind and charismatic and told people that he knew what was right, that by listening to him they would be saving the world. clary has been in this world a couple of months and already she draws her inner circle around her, already she has allies that no one else has ever had before.
people are right to be wary of clary for being valentine’s daughter, but not for the reasons they think. clary will die before she joins her father, but she has the potential to succeed where her father failed. clary doesn’t like the clave, doesn’t agree with the clave, and she is valentine’s daughter more than she is jocelyns. those who knew valentine must see all his best and most terrifying qualities shining out in her. she may succeed where her father failed, and if she decides the clave is doing more harm than good - what’s to stop her in leading her allies in tearing it to the ground?
she is joan of arc, she is julias caesar. people believe in her, are willing to fight and die with their worst enemies for her, break oaths to their queen for her.
the only way to get rid of people like her is to stab her 52 times in the senate or burn her in a holy fire. but then she becomes a martyr and then shes more dangerous dead than alive.
there is someone in the clave who’s seeing clary and is seething, panicking, because this little girl is her father’s daughter, and she has the potential to amass an army that will destroy them all.
clary is valentine’s daughter.
her enemies should fear her - including valentine himself.
One of the thing that deeply irritates me the most about star wars is how all these huge planets with ridiculously large populations all have a single monolithic culture with very little by the way or variation or even the kind of divisions you see inside a country on earth. And I guess that to some extent this is the product of being part of a galaxy where space and time are easily collapsible, so nationalism naturally expands it’s borders to include an entire planet in its purview.
But at the same time it doesn’t explain the lack of cultural variance in things like art or clothing or ritual or even relations to the Force and religion. I think it comes from this retrograde anthropological idea that every culture is easily classifiable and describable when cultures are these weird organic and complex entities which partially emerge in response to things and partially emerge because humans like to make meaning out of nothingness and partially because humans just like to do weird shit. I think the same would hold true for all sentients in the GFFA.
The thing about this retrograde view of culture is that it emerges from a particular political and social milieu (colonial and imperial) but it’s reproduced here in space without questioning at all. And then it just keeps getting even more irritating because you then have space fascists like thrawn who on some level are meant to have an appreciation of art, but on another level have this deeply functionalist understanding of art as an expression of an inherent cultural tendency or serving a particular psychological purpose/representation in a society. This is again this colonial understanding of material culture which posits that an object cannot exist in and of itself for itself or for anything like pleasure or individual expression, but that it directly expresses a cultural and universal expression that represents some inherent truth about a whole people (a psychological function, a function describing social relations and sociality). In thrawn’s case this is then put to use to conquer them. And this could be commentary on the colonial mindset of functionalist anthropology and understandings of culture, except that all of thrawn’s assumptions are proved correct over and over again - and his assumptions about monolithic cultures are reified over and over again in other books in the EU and in the movies and in canon shows like rebels.
So rather than having culture as this weird and manyheaded entity that no one ever perfectly maps to or understands - it is possible, for example, to feel like a stranger in your own “culture” because you have been subjected to so many global influences, and I’m guessing this same pattern would easily replicate itself here - you have a single culture which is also, incidentally, traditional and historical culture. This weird and exotic thing that you can write about in your colonial era anthropology books because it is strange and intricate and deeply rooted in the past - a distant and unnameable past - and rarely ever in the present. Culture, in other words, as primitive, as the Other to modernity which is apparently cultureless. And this too is a political idea which manifested in a cold war era milieu where modernity was a state of being that all other “developing” cultures were meant to aspire to - not just in ritual or dedication to science or dress or sexual freedom but also in modes of consumption but also wrt these more intangible ideas such as the american dream and it’s constituent personality traits like individualism. Star wars just kind of keeps reproducing it and sometimes there’s slippage that allows for you as a fanfic writer to write back against this (which… fandom… doesn’t… which is a rant for another day) but mostly it’s just an uncomfortable tension where you have these deeply colonialist assumptions and understandings of culture constantly being reproduced uncritically and as though this is natural and objective, quantifiable truth.