My shop is called Callizgraphy Crafts (My name is Liz) and I’m selling mostly handlettering/calligraphy prints, as well as bullet journal-style collages and pet portraits. I’m also open to custom orders or commissions. I’d love to see you over there! :)
Here are a few samples of the things I’m selling (and sorry for the picture dump!!!) –
Summary: Through think and thin, you’ve always been there for Peter. Always. But when was he there for you?
Warning: Swearing. This story is… this is actually pretty depressing. So if you’re looking for a happy ending to this part of the story, you won’t get one. Maybe if I make another part, that would end happily. Just angst, angst, angst. The ending is a bit optimistic, if you squint and look at it upside down. Enjoy?
You stood at the entrance to the school library, waiting for Peter to come, checking your watch every now and then. It had been thirty minutes now and your legs were tired from standing. A rational person would have walked in and sat down in one of the overly cushy chairs, but you were waiting and angry and you were beyond rationality. Today was supposed to be a study day with him, like every Wednesday was. It was how you kept your grades the perfect A’s they were. You tapped your foot for another five minutes before giving up and walking back to the bus stop. Sure, you could have went and studied in the library anyway, but the librarian was giving you overly sympathetic looks and that made you want to throw up.
You sat on the cold wooden bench as far away as possible from the weird man who eyed you like a piece of meat. In the back of your mind you blamed Peter’s absence on some small thing like an unexpected errand, but it still hurt that he didn’t bother to text you in advance. At the time, you were only a bit mad with Peter and forgave him very quickly because he apologized the next day. You didn’t know this would be the first time of many.
a/n: here is the highly requested second part of unrequited! i hope you guys enjoy it (and let me know if you want part 3!) also, don’t be shy with requests or suggestions! i love doing them.
You couldn’t help but feel as though things had changed between you and Peter since he had asked your opinion on taking Liz Allan to homecoming.
Lunch was mostly silent, the only words exchanged being the progress of your chemistry homework and the quality of today’s meatloaf. It was torture for you, as you had spent almost every single day of your life for the past 5 years talking to Peter about whatever your minds could muster.
It felt as though you had let your feelings for him get the best of your friendship.
Half of you wondered if he knew. The tension between you was mutual, the lack of conversation a result of the both of you being reserved. Did he know, and did it make him uncomfortable?
In lieu of my recent appearance on a local TV/movies
podcast, where I defended Lizzington, I started mentally preparing a list of reasons why the romantic pairing is
legitimateand why the father/daughter reading of Spader and Boone’s characters is
Granted, this isn’t to say that there can’t and hasn’t been
some aspects of their relationship that have felt more like a father/daughter, uncle/niece,
teacher/student, mentor/mentee relationship than it does a romantic coupling…
but that doesn’t prevent the relationship from evolving into something romantic
later on, or from Lizzington being the endgame.
Among the bigger reasons I could think of were:
In-show evidence (which we will get into more in a second), including the original pilot script
Comments from the actors, producers, writers,
The types of roles James Spader takes interest
in (ie, romantic leads, not fatherly figures)
Parallels to other couples in
literature/history/pop culture, including but not limited to: Edmond
Dantes/Haydee from The Count of Monte Cristo; Bill/The Bride from Kill Bill;
Hannibal/Clarice from The Silence of the Lambs universe; and real-life Whitey
Bulger, who had at least one long-term relationship with a woman 16 years
While talking with the two guys on the podcast who had seen
the show, they argued that they hadn’t seen any evidence of Red’s romantic love
for Lizor the Lizzington endgame possibility, citing their age gap and Red’s
paternal type relationship with Liz as their reasoning.
I, in turn, mentioned a few scenes on the show where Red
acts less than fatherly, such as when he surrenders himself on bent knee in 1x21, and when he narrates the tango milonga very sexily to Liz in 2x11.
Either they didn’t recall these instances at all, or didn’t
see them as being romantic/sexual.
Thus, long after the podcast recording was over, I started
mentally forming a list of the Top 10 Lizzington moments on the show that
scream romance rather than father/daughter. Like, moments where if my dad or
fatherly figures ever acted like that around me, I’d be freaking the fuck out.
Or, moments where if I were writing a father/daughter pair (whether biological or
honorary), I would completely avoid such moments for the squick factor, etc.
Granted, there are plenty of moments to choose from, but I
wanted to pick big, meaningful moments, rather than just things like Red’s
casual reference to the G-spot in front of Liz, etc.
And, really, each individual entry on this list doesn’t
prove in and of itself that Lizzington will happen, but it’s really more a
combination of all these moments PLUS all the ones I didn’t list (along with all the other stuff I mentioned above). One or two
squicky moments can be waved off, but all of these, and as iconic and important
as they are in the show… yeah, Lizzington is legit.
I tried to pick out single, individual moments, but there
are two exceptions on the list. And, I only went up to the end of S4. I haven’t found any really strong Lizzington moments in S5 thus far, mostly because Liz believes Red is her dad.
And, again, these aren’t my favorite Lizzington moments; rather, the ones that I feel like most “prove” or support the idea of a Lizzington endgame/coupling. Once the series is over, I might do a full list of my favorite moments between Red and Liz.
(It wasn’t until after I’d made this list that I remembered the scene in 4x22 where Liz confronts Red about being her dad and he neither confirms nor denies that he is. Instead, he has this look on his face that I’ve seen on the faces of other TV/movie characters when they’ve been “friend-zoned” or, in Red’s case, “father-zoned.” Eh. Whatever. I’m going with the list as I already wrote it.)
But, now, starting at Number 10 and work our
way up to Number 1:
Fulcrum memory extraction scene in 2x10
I put this
one pretty low on the list, because it’s mostly the cinematography that implies
the lack of personal space and physical closeness between Red and Liz. Like, he
never actually does anything untoward or inappropriate to her, but he
definitely gets super close to her face, and holding her, and some of
the angles on those shots make it look so close between them.
And, granted, I’m
not technically including the fall-out of this sequence, but I absolutely love
the scene after when Liz accuses Red of only being in her life because he’s
using her to find the Fulcrum. Like, all of his attention and affection toward
her has been a manipulation, and as he reaches out to give her a reassuring
touch, she recoils and spits venom at him. And he looks absolutely devastated.
I feel like that scene is one of my favorites in the whole series, but, as far
as the entry on this list goes… the closeness between them in that memory
extraction… it’s low down on the list, but, it deserves a spot.
#9: Waiting for her outside the courthouse in 3x10
Again, this is also pretty low on the list, because – in and of itself – it doesn’t scream Lizzington. Not the actual action of the scene itself. I can imagine plenty of dads or father figures waiting patiently outside courthouses for their daughters.
But, it wasn’t really WHAT happened in the scene, but HOW it happened. The music, the fact that the had the bus move, and he was there behind it… a notable romantic trope. The fact that he was waiting OUTSIDE. My dad would absolutely be right inside the door, wanting to see me as soon as possible. Granted, other dads are different, but the music and the staging with the bus were strong factors for this scene being where it is. The looks on their faces when they embrace; the fact that they don’t say anything… again, low down, but it deserves a spot.
explanation of Tom’s betrayal in 2x19
This is another instance where WHAT is happening in the scene isn’t as important as HOW it’s happening. In this instance: HOW Red explains Tom’s betrayal, how he emphasizes that Tom betrayed him because he wanted a life of intimacy and commitment to Liz… and the look that Spader has on his face when he says it. He’s absolutely shattered. It’s something that’s beyond jealousy, I feel like. It’s this sense of complete heartbreak that, not only did Tom achieve something Red now longs for (intimacy with Liz), but that Liz was happy in that life with Tom, even if it was built on a lie. That Red’s loss was Tom and Liz’s gain.
Granted, I don’t think Red was in love with Liz whenever he found out about Tom’s betrayal. He absolutely cared for her and wanted her to be safe. Hence why he felt he had to turn himself in. But, now that Red has met Liz and presumably fallen in love with her, he completely hates Tom for what he did to both Liz and himself; and I think that his obvious devastation over Liz’s discovery that Red initially hired Tom is more because he feels guilty himself, not because Liz now thinks badly of him (again).
This one is low on the list, but I felt like it deserved a spot because I can’t imagine a father or father-figure speaking to his daughter (figure) the way Red does here. I imagine it’d be more like, “Hey, I may have hired your ex-husband, but he was an asshole and betrayed me to save himself and needle his way into your life.” Not the way Spader delivers it… with that emphasis on Tom’s desire to be intimate and committed to Liz.
#7: The dinner date in 1x02
You know, because if I were a dad and I reunited with my long-lost now-adult daughter after years and years, I’d tell her to get dressed up, because I want to take her out to dinner. And then while we’re on said fancy dinner-date, I’ll bring up out of nowhere, and with little to no need,that if anyone asks she’s MY GIRLFRIEND. Squick indeed.
And for those of you who might be saying/thinking, “Yeah, but THEN, he says she can be his daughter.” To which I reply, “THEN WHY EVEN BRING UP THE GIRLFRIEND THING IN THE FIRST PLACE!!!”
When coupled with everything else that happens in that scene: how he whispers, orders her a drink in French (showing off), asks her to profile him, etc., … what father acts like that while on a dinner date with his daughter? Ew.
#6: The May/September reference in 3x05 (and other Blacklisters’ references to Lizzington)
“Some say it’s a daddy/daughter thing; others swear it’s May/September. I prefer to believe it’s a little of both.” –Matias Solomon
This is one of those entries where I’m going to cheat, because while I think Solomon’s quote is the most pro-Lizzington thing a Blacklister has ever said, he’s not the only one to point out Lizzington. From Anslo Garrick to Luther Braxton to Berlin to that lady in the all-woman thief squad to The Director to Madeline Pratt to that annoying FBI agent in S4c to Naomi Hyland.
Liz is Red’s girlfriend, princess, prima ballerina … someone he chose through fate; someone he cares for as much as he care for his wife; someone who blinds him to his passion; someone with whom Red “still has the touch”; someone Red makes feel like she’s the center of the world; someone whose relationship with Red is described as “still the in honeymoon phase”; someone who charmed Liz.
Again, if you’re writing a father/daughter-type relationship: WHY EVEN FUCKING BRING IT UP IN THE FIRST PLACE!!!!
If you’re just trying to throw red herrings at the audience, why do it in that way? And, if anyone points back to Solomon’s quote and says that it’s both, I say: EXACTLY. Red can definitely have a mentoring relationship with Liz and be overly protective of her, while also still being in love with her.
#5: “My life, My heart” in 3x19
What dad, upon watching his daughter die, would describe her as “a woman… who was my life, my heart”? The fact that Red is talking to his own imagination, or at least to a complete stranger makes me wonder why the hell he would ever phrase it so vaguely – instead of saying something more straight-forward, like, “My daughter was my life. My heart is broken now that she’s dead.”
Also, if Red is her dad, why does he feel like killing himself? Yes, his daughter died, but he still has Agnes. Tom be damned; if Red’s her grandfather, he deserves an opportunity to be in her life. No, Red feeling like the love of his life is gone makes more sense. As much as he wants to be, he has no right to be in Agnes’ life if that’s the case, and Tom (as Agnes’ dad) has every right to tell Red to leave them alone.
#4: Surrendering on bent knee in 1x21
Even IF Red doesn’t know he’s related to Liz, the writers HAVE to know. What idiot writes a bajillion-dollar network show and says, “Fuck it, idk how these peeps are connected! We’ll make it up as we go along!” No, the writers absolutely know what the connection is between Red and Liz, and if they were related, there’s absolutely no way they would ever write a scene where the man GETS DOWN ON HIS KNEES after a super-moving monologue about what Liz means to him and how a kiss from a woman making nearly dying well worth it.
I don’t care if he’s just surrendering himself to the authorities. There’s less dramatic, less trope-y, less romance-hinting ways to do it. The fact that he does it so slowly, so meaningfully, never breaking eye contact with her… fucking hell, what dad does that to his daughter? Or what writers would have an unwitting dad act like that with his daughter? Either Red’s fucked up or the writers are, if they’re really and truly related.
And, even if it’s just an honorary father/daughter thing, the point still stands. I have plenty of fatherly figures in my life, and if any of them looked at me the way Red looks at Liz, gets done on his knees and surrenders (to the authorities) in front of me, I’d definitely be weirded out. Remember, that IN-SHOW, Liz already has a fatherly figure: Cooper. I know other people have pointed this out before, but these two men act very differently for both supposedly being fatherly figures in Liz’s life. By contrast, Red is much physically closer, more intimate and more “romantic” (but not like overtly) and in a way more chivalrous than Cooper would ever be. Could you imagine Cooper getting down on his knees as Red does? No, and that’s a good thing.
#3: Sexy tango narration in 2x11
This is another instance where, if you substitute Cooper into this scene in Red’s place, it becomes immediately weird. James Spader can pull it off because he’s James Spader. He’s drawn to characters who are erotic and sensual and intelligent and romantic; or, if they’re not already, he makes them so, because that’s how he is.
I think that maybe has blinded people to how weird and inappropriate this scene would feel if it was a father/daughter or father-figure and his protege (like, with Cooper and Liz). Imagine Cooper saying the same things to Liz in this scene; describing the tango in the exact same way, with the same tone of voice. It’s no wonder James Spader gets a pass. We’ve come to expect the weird and sensual from Red (like the G-spot reference in 1x03), even though it wouldn’t be accepted in everyday conversation. That’s just the guy Red is.
Or is it more that it’s how Red is around Liz? Yes, Red is plenty weird and sensual and stuff around Samar and other people on the show, but he seemingly cranks it up to 11 around Liz.
Definitely not something a father or fatherly figure should do.
#2: The Ugly Fish and North Star monologues in 2x09
People on Tumblr have brought up before Red’s parallels to Edmond Dantes from The Count of Monte Cristo; it makes sense: Red, our anti-hero of the story, has certain parallels to the classical Byronic hero, which Dantes falls into. You know who else is a classic Byronic hero? Mr. Rochester from “Jane Eyre.”
“Jane Eyre,” for those of you who’ve never read it or seen an adaptation of it, is about a young governess fresh out of school who eventually falls in love with her moody but intelligent employer, Mr. Rochester. He tells Jane, after she saves him from a fire, that he knew she would do him good one day, that she would revive some goodness in him. Later, he refers to her as regenerating him with a vengeance and that she would be his means/instrument of salvation, and that he believes she would help him to live in a higher and purer way.
Now, who else does that sound like?
I get that people believe their kids are their saving graces, their second chances, their fresh starts, etc. Hell, one of the reasons The Bride leaves Bill in “Kill Bill” is so she can make a fresh start with their child. But, the way Red words these little speeches, the meaning behind them, how he gazes at her with complete adoration, how frequently he tells Liz that he sees his “second chance” and saving grace, etc. … it seems a little overkill for a parent to do. A simple “I wanted to make a fresh start with you” or whatever would be just fine.
The strong parallels between Red and Byronic heroes like Edmond Dantes and Mr. Rochester – both of whom end up with women who are much younger than them… young enough to be their biological daughters – absolutely make me roll my eyes any time people say that Red’s love for Liz is fatherly, and only fatherly.
Plus, with the North Star scene, that song that plays over the scene also doesn’t exactly scream “platonic” or “familial,” now does it?
I really want anyone who believes Red is Liz’s dad to watch any adaptation of Jane Eyre, or at least the scene where she saves him from the fire, and then rewatch one or both of these TBL scenes, and notice the similarities and parallels. Y’all. It’s like ridiculous how romantic these scenes are.
#1: The sexy dream (“What do you really want?”) in
Because, you know, when I have dreams about my dad or my fatherly figure withholding secrets from me, I imagine him in my hotel room while I’m somewhat scantily dressed and laying on the bed, standing over me and asking in a husky voice, “What do you really want?” This gives us a hint very early in the show that maybe Liz doesn’t see Red as quite so fatherly as some believe. All his little hints and sensual comments… all the lip-staring and meaningful looks between them… Liz’s “I feel possessive of him” and similar comments… all comes to a head here (at least at this point in the show). Already, Liz subconsciously, if nothing else, realizes Red’s love for her is not quite platonic and that he’s a very sensual man who – while he would definitely give his life for hers without a second thought – also sees her as a man sees a woman, not as a friend sees a friend (or honorary father sees an honorary daughter).
Now, I realize that might be unfair, as Liz can’t consciously control her dreams. But the writers can and do. Why write that scene like that? Why stage it in that exact way, with Liz holding onto the headboard of the bed, with Red standing over her? Why have those exact camera movements, with Red coming toward Liz’s bed, and the shot moving down to her legs and then up to her head? Him standing where he was would’ve been just fine, but, no, he comes closer to her while she looks up at him a little bit taken aback.
Also, notice how there’s no wide-shot in that whole sequence with Red standing over Liz’s bed? It’s a panning or moving shot. It’s almost like lingering on this image of Red standing next to Liz’s bed while she’s scantily dressed and asking her what she really wants would be … gasp, sensual! Or I guess even more overtly sensual.
Again, if it’s just the writers trying to throw us off… there are plenty of other ways to do that … there are plenty of other ways to write this scene without any kind of squick factor … if all you wanted was a dream where Liz imagines Red killing Tom to protect his secrets from Liz, then why write it and then SHOOT it as they did? Everything we see and hear on-screen is intentional.
Spiderman Homecoming was masterful storytelling. It completely exceeded my expectations, and I had expected a great film. It was writing and directing at its best. As such, it is by far one of the best Marvel movies ever, not to mention an amazing movie overall. Director Jon Watts did an incredible job combining so many different elements, to make this not only an entertaining film, but a critically good one. Watts and the writers cleverly weave together a plot full of great action scenes, comedy relief and the second hand embarrassment characteristic of a high school coming of age drama. In particular, the direction of the early scenes highlight Watts’ precision in crafting multiple settings for Peter to inhabit, as two different personas. On top of the direction, the dialogue was Marvel at its best, remarkably moving between comedy and tension from beginning to end. As someone who was sad to see John Francis Daley leave Bones (in order to pursue screenwriting more), I am so glad to see him at his very best throughout this film. There is no doubt in my mind that this movie brought together the very best, and as such, created one of the best superhero movies I’ve ever seen.
This movie was promoted first and foremost as a coming of age drama, except one that is also part of the superhero genre. It is very much both of these, to the point that it is difficult to even separate the two. I would have to say however that on reflection, this film is very much about a high school kid coming to terms with himself and what makes him different, just in this case his major point of difference is superhero powers. You cannot completely separate Peter Parker from Spiderman, and that’s why this second reboot works so well, precisely because all aspects of who Peter Parker is are brought together. Carefully balanced, Peter’s different personas (and their associated problems) bleed into his separate identities. What Peter experiences as a high school kid and as Spiderman are completely entangled, these experiences affect both personas and his reactions to various situations.
The transitions between different scenes and plot points were seamless, as both aspects of Peter’s life come together, and interact with each other. The incredible score really set the tone, and enabled these smooth transitions very effectively. There’s nothing better than watching a movie such as this in a cinema full of other people that are just as invested as you are, on its opening day. The joy and tension is heightened precisely because you can feel everyone else reacting to what you are watching. The movie was littered with humourous lines and sequences that had the entire cinema laughing as one. Even better were the scenes in which you could feel the tension emanating from the entire audience, as Peter fought for his life, or even more so, at the great plot twist towards the end of the film.
From what I could tell, everyone in the cinema was shocked by the plot twist. I had heard from an early review that there was a great plot twist, and didn’t think much more of it until it showed up towards the end of the film. One thing I’ve complained to various people about the Marvel movies, is that often their villains are rather poorly constructed. In this case however, the Vulture is a well-rounded, even sympathetic villain at times. His motivations and actions are even understandable in the situation that he finds himself in, even though those actions are clearly immoral. And yet, the very plot twist that reveals the Vulture as Liz Allen’s own father makes the Vulture an even better villain. The best villains are often the ones connected to the hero, and it is clear that Peter battles many emotions over the Vulture once he learns the truth. It is this connection that causes Peter to use everything he has to save the Vulture. And in some small way, it is this determination to ultimately save him that suggests the Vulture will not reveal Peter’s identity to anyone. In another movie, this plot twist might seem cheap, simply added for shock value. Whilst it does shock, it also adds another layer of depth to the narrative and the villain’s storyline, which was already miles ahead of many earlier MCU villains.
I actually liked how the trailers were handled, for I had a preconceived idea where the different scenes would fit in, but they turned out to be wrong. I genuinely hate when you watch a movie and feel as if you’ve already seen it because the trailers show everything, but I didn’t think that was the case here. The trailers gave different impressions of the film’s focus, and as such, the unfolding storyline was just so much more interesting. One thing that stands out is that Tony Stark has a much smaller role than anticipated based on the trailers. In fact, most of his scenes were in the trailers, emphasising that he was used more for promotion purposes and settling Peter into the MCU. This is a positive of the film, because it would not do for the first Spiderman movie of the MCU to be overshadowed by too much Tony Stark. I felt that his appearances were handled well, he was there just barely enough to keep an eye on Peter as a mentor, and yet allow for Peter to grow and fight independently of him.
Tony’s inclusion however is a critical aspect of Peter’s journey. Without Tony’s presence to begin with, Peter would not be on his way to eventually joining the Avengers, nor would he be as determined to do so. Furthermore, it is Tony’s absence that propels his story forward, as Peter is desperate to prove his worth. And yet, it is this desperation which leads to him putting people in danger, and earning Tony’s disappointment. We learn that all along, Tony has been listening to Peter, though his lack of communication suggested otherwise. Whilst Peter is demoralised on Tony taking the suit back, he chooses not to give up. In doing so, he fights harder and smarter, earning back Tony’s trust. This aspect of Peter’s journey is so important because it emphasises that he’s still a kid learning to be a superhero, and makes mistakes along the way. This Spiderman’s genius lies in the fact that Peter is constantly learning, to improve not only his skills, but how he reacts to situations. Even by the end of the movie, Peter has not stopped learning. He recognises that he is not yet ready to join the Avengers, even as Tony is ready to announce his acceptance into the Avengers to the media (and I loved that Pepper showed up for a couple of minutes, and she and Tony are back together!).
I enjoyed the first post credits scene with the Vulture in prison, as his decision not to reveal Peter’s identity references his earlier decision to give Peter an out, and request a thank you for not killing him. It does appear to suggest however, that the other man may come after Spiderman at some point. I especially enjoyed the second post credits scene, even though Marvel were obviously trolling us with it. I can’t believe they actually gave us a Captain America PSA extolling the importance of patience-even if you end up waiting a long time for something that you didn’t want/expect! It was certainly a humourous moment.
What worked well throughout this movie were the characters, particularly the kids. Whilst I didn’t care much for Liz as a love interest (mostly she just wasn’t very interesting to me), I really enjoyed Peter’s interactions with the other characters. There were so many great friendship moments between him and Ned, and it’s significant that Ned discovers his secret early on, as the film is peppered with his questions, but more importantly, Ned is therefore able to help Peter out when he cannot rely on the help of anyone else, including Tony and Happy. And without Ned, Peter would certainly have died towards the end of the movie. I also loved the updated interpretations of Flash and MJ. I knew from the trailers that Michelle was going to be my favourite, but unfortunately she had few scenes apart from what we had already seen in trailers and sneak peeks. This was probably my one major criticism of the movie, because I felt she could’ve been utilised more, although it’s evident that she will have a larger role in the next movie. Michelle revealed as MJ was perhaps not too much of a shock for many in the audience, given that this has been a prevailing theory since Zendaya’s casting.
The acting in this movie was amazing. I have heard before from many people that they liked Tobey Maguire’s Peter Parker and Andrew Garfield’s Spiderman. But this version is different, and in my opinion, better (although I did enjoy The Amazing Spiderman). Tom Holland impressed fans in Captain America: Civil War, and continues to do so. Both his Peter Parker and Spiderman were incredible, and brought a new vitality to the character. This version appears to combine the aspects of both personas into one amazing character. But it is not just Holland that brings a lot to the acting table, with RDJ, Michael Keaton, Jacob Batalon, Zendaya, Laura Harrier, Tony Revolori and Marisa Tomei bringing everything they have to their scenes. And I must admit, that I absolutely loved the final scene, in which May finally discovers Peter’s secret.
I highly recommend Spiderman Homecoming. At this stage, I’m even more excited for the next Spiderman instalment. And hopefully, the upcoming Marvel movies live up to the high bar that Spiderman has now set.
Not many people knew Liz Allan had a younger sister, mostly because you knew you were not like your sister. Y/N Allan, a shy, nervous teenager, completely different from your popular older sister. Being shy is what made you stand out to Peter Parker.
“But Liz, he even said he liked you before. There’s no way someone like him could like a nervous mess like me,” you said, making your sister stop in her tracks. She turned around slowly, her red dress moving slightly as she moved.
“That was months ago. Besides, he’s not good at keeping secrets. Now will you trust me already?” Liz asked, making you frown a bit before she grabbed your hand and pulled you into the large room where the music was playing at. “Now I’m going to dance, and you go talk to Peter.” She said before walking away from you.
A heavy sigh left your lips as you looked around for the brunet, walking out of the room as the song changed. A grunt left your lips as you ran into someone while looking at your phone. “I’m so sorry,” you said before looking up to see Peter. “Peter? What are you doing out here? Shouldn’t you be in there dancing?” You asked quietly.
“I was looking for you to ask you to dance with me, but I’m not very good at dancing and crowds make me nervous,” he informed you, making you laugh softly before smiling. “Do you wanna ditch and get some food with me?” Peter asked, making your smile grow before you nodded.
↳ hopes for season 5 | I’m really excited to see how things will unfold this season, mostly between Red and Liz. Also I’d like to see them team up more and take down Blacklisters together. And I want to see more strong and badass Lizzie, going undercover and being awesome.
Also, please, more scenes with Red wearing a tux and being cute with dogs.
How time runs in the different circles of Hell in Cambionverse.
We ran into difficulty trying to figure out how much time was passing in Hell during various storyline events because canon conflicts itself because Dean says his four months felt like forty years 4.10), whereas Sam says his two or three minutes felt like a week. There are a few explanations to this, one being that Sam wasn’t actually in Hell for that flashback, so it’s only his mind that felt like it was gone for a week, but…
Well, we decided that was too easy and that we needed to make things hard on ourselves, so we went with an Inception-like system where the deeper into Hell you go, the slower time passes, because Hell is all about the torture. (You’ll notice that with this formula, time passes faster in Heaven, reflecting the old “time flies when you’re having fun” adage.)
We went with nine circles of Hell because of the Dante references in S6, the ninth circle holding Lucifer’s Cage as it does in Dante-canon.
A few things about this table:
obviously, EM/HM stands for Earth Minutes/Hell Minutes
the calculation formula is 2.51543669159^x, where x = the level of hell
the formula is not ours; this genius came largely from the mind of the amazing rubato, whom without we would be nowhere
Dean was in in the fifth circle. He was in Hell from May 2 to September 18, roughly 201,600 Earth minutes. This formula has those Hell minutes being something like 38-39 years in his circle of Hell, which we’re more than willing to call “good enough,” as it’s not like they had calendars or whatever down there, and Dean’s attention was more than a little monopolized at the time. (Why Wrath instead of Violence or Heresy? Honestly, the math worked better. Poor Dean wouldn’t be out of place on any circle, though, would he?)
Sam, of course, was in the ninth circle with Michael and Lucifer. We used 2.5 minutes for him to stay right between the “two or three” mentioned in the show. This bit is more exact; multiply 4032 by 2.5 and you come up with 10080, the number of minutes in a week exactly.
Castiel finally has a good explanation for always showing up to Earth a few minutes late, bless
demons, on the other hand, can mobilize alarmingly quickly, especially the more powerful ones coming from the lower levels; demons from the ninth circle would have three days to get their shit together in the time it takes Dean to finish scratching his balls in the morning
Purgatory is said to be “Hell-adjacent,” but Crowley said it, and he’s a liar and also sir-not-appearing-in-this-verse, so there’s no reasons why Purgatory can’t be Earth-adjacent too/instead. It runs the same as Earth time because it, like Earth, is an “in-between” of Heaven and Hell. (Just go with it!)
An awful lot of work went into figuring this out, so if you wind up using these calculations, we would REALLY appreciate a link back!
(If you were wondering about some of the “encyclopedia”-like stuff we mentioned earlier, this is one of those things we do behind the scenes and almost never use, and if we did use it nobody would realize it, but it’s super cool anyway. Right now I (Liz) am trying to clean up a few more entry-things to get them in the queue. This would be easier if more of them were complete!)
75 with peter (preferably the reader isn't dating peter yet)
“Mind if I join you?”
“Hey, (Y/N), we’re still on for later right?” You looked up from your locker and saw your chemistry partner, Ned. You nodded, smiling, noticing Peter Parker next to him.
“Yeah, hi Ned! Hey Peter!” Peter didn’t answer, just gave you a close-lipped smile and a nod. “We’re meeting at mine?” Ned nodded, handing you the notes he borrowed from you. “Thanks.” The bell rang, signaling fifth period. You took your Calculus book out and shut your locker, nodding toward the two boys. “Gotta get to calc,” you held up your book, rolling your eyes, “I’ll see you after school Ned. Bye, Peter!” Before Peter could give you his usual nod, Ned interrupted him.
“Don’t you have Calculus together?” Ned blurted out, causing you both to look at him with wide eyes. “Yeah, why don’t you guys walk together? Peter likes company, right Pete?” Peter gave him a look of disbelief before looking at you with a smile, nodding slightly.
“Sure, uh – if you want to, i’ll walk with you.” You smiled, nodding.
“I’d love that! Let’s go, before we’re late.” You hooked your arm with his and dragged him along. Ned smiled in success. His poor best friend had had a crush on you for as long as he could remember. Peter hadn’t really spoken to girls much since Liz left – except MJ, which was mostly for decathlon – so, Ned tried to give him the extra push.
“So,” Ned said, sitting at your desk. “When are you going to ask Peter out?” You almost choked on the grape you had in your mouth, spitting it out immediately.
“What do you mean ask Peter out? We’ve spoken, like, three times. He doesn’t seem to like me all that much.”
“He does! He’s just – he’s Peter.” You narrowed your eyes at him, indicating his answer was all but helpful. You ignored his question and went back to the project. Ned needed to do something, so he did the most reasonable thing he could think of. “Hey,” you looked up again, “wanna meet up somewhere else tomorrow? We could meet up at that diner two blocks away from school? Might be good for the brain, a change of location.” You shrugged, agreeing, not thinking too much about it.
“Hey, wanna get something to eat after school?”
“Aren’t you meeting up with (Y/N)?” Ned shook his head. Peter shrugged, checking his phone for any notifications from either Happy or Tony. When he didn’t see anything, he agreed. “Sure, I’ll meet you at your locker?” Ned shook his head.
“I’ve actually got to go home really quick, meet me at the diner two blocks down, yeah?”
“Do you want me to order you anything?” Ned shook his head again. “Alright, I’ll see you there.” Ned saw you making your way toward them, so he agreed quickly and ran the other way. You approached with a confused expression.
“What’s his problem?” Peter had the same look as you did, shrugging.
“I don’t know.” The bell rang, “Ready for fifth?” You groaned, linking your arm with his like you always did. “I’ll take that as a ‘hell yeah!’.” He said teasingly, laughing when you shoved his left shoulder.
“Ned? Where are you? Stop sending me to voicemail. I’ve been sitting in this booth for fifteen minutes, getting weird looks. Call me. Or, hurry up!” Peter hung up, with a sigh.
“Mind if I join you?” Peter looked up from his phone, seeing you standing next to the booth. “I take it Ned said he’d meet you here, and then didn’t show up? Yeah, that’s why I’m here.” You laughed lightly. “I think Ned might have ‘parent-trapped’ us.” Peter smiled, shaking his head.
“What an ass,” he mumbled, his cheeks going red. He gestured for you to sit down and offered you what was meant to be Ned’s menu. “We might as well make the best of it.” You smiled, nodding as you looked over the menu.
“Wanna split a milkshake?” Peter nodded, mumbling a small ‘yeah’, not moving the menu from in front of his face, scared you’d see his smile and slight blush.
He’d have to remember to thank Ned tomorrow at school… after he scolded him, of course.
Last time on Daredevil 101, Matt and Foggy accepted an offer to join the firm of cutthroat attorney Rosalind Sharpe. Finally, we find out why Foggy was so very eager to be a part of her team.
Content Warning: Emotional abuse by a parent, lousy treatment of mental illness.
Rosalind, who doesn’t like anyone or anything, has taken a shine to Karen. The two of them happen to run into Foggy giving Anna Nelson a tour of the office, and the bombshell finally drops:
Yeeeeeah. I do wonder how surprising this was to readers who didn’t already know, or if the foreshadowing was heavy-handed enough? Also, I suspect Foggy is meant to be facepalming over there, but I like the idea that he thinks if he can’t see anyone else, they’ll just disappear.
We never get a huge amount of detail as to how this situation developed, but the fight that erupts between Rosalind and Anna fills in some of it:
Foggy never actually gets to speak for himself on the Rosalind issue, so we never actually know how he feels about her, whether he did in fact go into law to please her, if he feels that she abandoned him and his dad, etc. I do like this argument, though, because I feel like between Anna and Rosalind the two sides of Comics Foggy’s personality are made really clear: the nurturing, loyal, unexciting-but-true-as-steel side, and the cutthroat attorney of dubious moral character (Rosalind was once a mob lawyer, and Foggy has worked with and for numerous unsavory types, including Fisk).
Meanwhile, Matt’s been getting his ass kicked by the supervillain of the week, but how does he respond to this shocking information?
H A R P E R S // B A Z A A R . Celebrating its 150th year, Harpers Bazaar has been one of the worlds oldest and leading fashion publications. Bazaar has harboured some of the industries most talented and iconic Editors, photographers, designers and Supermodels and given us some of fashions greatest moments! My favourite era is that of Editor in Chief, Liz Tilberis. Former British Vogue EIC, Liz took over at Bazaar in the 90s, “Entering the era of elegance” with her first issue, September 1992. The 90s of course is one of my favourite periods in fashion and what Liz and her team were doing at Bazaar was nothing short of phenomenal! It was one of my favourite magazines and provided me with many of my favourite images of all time! During her reign, Ms Tilberis’s Bazaar gave Anna and her team at Vogue some serious competition, enlisting the likes of Demarchelier, Lindbergh and Testino, as well as championing up and comers like Craig McDean, David Sims, Mario Sorrenti ( and many more in between ) along with stylists like Paul Cavaco, Tonne Goodman and Elisa Santisi, it made for a great moment in magazine publishing. The magazine and Liz’s “Era of elegance” would not have came to fruition with out the many great Supers who graced her covers and stared in the many memorable and beautiful editorials. Everyone from Linda, Christy, Naomi, to Gisele, Carmen, Maggie and every major girl in between! Although Liz sadly passed away in 1999, the impact she left on the world of fashion, and in particular the world of fashion publications is immense. In my opinion her years as editor in chief are the most definitive in the 150 years of the magazines history. Sadly it’s never been the same, and has over the years since her passing, become incredibly boring and uninspiring. So over the next few weeks I’ll be sharing my favourite memories and editorials from this legendary magazine, mostly those from the “Liz Years”, naturally… #modelmonday#the_bearded_blogger_modelmondays_ #harpersbazaar #90s#00s#supermodels#vintage#fashionblogger #liztilberis#tonnegoodman #paulcavaco #elisasantisi #fabiencohen #eraofelegance#happybirthdayharpersbazaar#150#harpers150years #the_bearded_blogger_
“Which one of you is Reddington?” The Blacklister asks in a thick Russian
accent, the words blurring into something sharp-tongued and biting. “I only
speak to Reddington.”
Great. This is just what they need.
Next to her, Red is rolling his eyes. Despite the lingering darkness of the
makeshift cell in which they are currently withering away, Liz can easily tell
that he is vexed. Too bad that he can’t do anything about it, she thinks and –
heaving a suffering sigh – Liz turns back to the goon-ish figure looming large
in the doorway.
“Well, it’s your lucky day. I’m Reddington – a pleasure to meet you, I’m
sure.” She says, letting her lips stretch into a bright smile that is just this
side of manic. “And this right here is my rookie FBI sidekick, Agent Keen.”