writers advocate

amazonqueendianaprince  asked:

...or, you know, some of us think Cap is and was right about the whole thing because we're also opposed to the real-world implementation of similar fascist legislation such as The Patriot Act and it has nothing to do with liking him more?

That quote basically says, yes oversight is the right ethical and logical choice, but Cap is a good person, and that puts us in a quandary and I am saying that that is bad math.

It’s also a similar bad math that comes up in A LOT of 616 CW discussions, where Captain America himself (and the anti-reg side) essentially takes the position to non-metas that they should accept that metas occupy a position above the law/beyond equal prosecution by the law, because, you know, they’re different, and their circumstances are different, but you trust CAPTAIN AMERICA, riiiiight? Let the metas judge their own and police their own, what do you need the Constitutional right of equality under the law for? Obviously, this base position is immediately complicated by the clusterfuck of everything else in CW, but I’d argue that that’s deliberate. It’s one of the reasons I’m not a fan of the event, because I really like Cap, and I hate the things it makes him argue and I find them antithetical to him as a character.

I also don’t exactly get why so many people find a difference of opinion on a comics event, or, apparently, an actor’s opinion on an upcoming film none of us have seen as a personal challenge? I mean?? Yes I hate fascism? And the Patriot Act? And I think Cap’s political position is largely wrong in CW though I understand why, as the plot is manipulated, he fights? These things are not incompatible?

I get what you’re saying, but I’m responding to the quote as written and many, *many* other posts and comics CW itself, which initially sets up the problem as a constitutional legal problem of supers as American citizens whose identities allow them to avoid legal repercussions and prosecution and that’s constitutionally unacceptable under the law. Once that actually gets stated, there’s a problem.  

I’m not talking about the Patriot Act here, which I abhor, because it wasn’t part of the quote or what I was responding to, and I think the CW treatment of post-9/11 politics was really terrible, tone-deaf, and inconsistent in its understanding of xenophobia** and power dynamics. 

behind the cut

 for long rambly stuff about comics CW that’s more for future reference to point anyone to should they ask.

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I like to write poems
Where the answer’s in the title
I like to lead you by the eyes
Instead of by the bridle
“Sweet intellect,
Come to me.
Ravage my mind
And hum to me
The melody of songs
I used to sing
But haven’t patience for
No more.”

I like to be the sinew
In the muscle
Just enough tendon
To spark the wrestle
Of bones with keys
Doubts with ease
Discord with memories
I like to earn my keep
But never enough to settle
Only staying for a night
Always alighting
Before the last note
Echoes and spittles

—  Maureen Armstrong | “Devil’s Advocate”
Fanfic reader advocacy

You know I’m a fic writer, and that I advocate pretty heavily for things that matter to fic writers, like leaving feedback and not offering unsolicited criticism. 

But I’m also a fic reader, and sometimes I see things in the fanfic community that are toxic for readers. I’ll read a post by writers that I know is well-meaning–I almost always understand where they’re coming from, since I am a writer–but it leaves me feeling attacked, as a reader.

So, rights of fanfic readers:

You have the right to only read stories with happy endings. There are authors who write gloriously angsty stuff, but if that’s not your cup of tea, you don’t have to read it. 

You have the right to only read certain pairings. There is nothing wrong with reading only the most popular pairing in your fandom. 

Regarding those two rights: You are not a bad fan and your tastes are not unsophisticated if you prefer happy endings with your favourite couple. You do not have to read anything you are not comfortable with or interested in.

You have the right to read anonymously. If you’re shy or just feeling overwhelmed, you are not required to leave feedback that identifies you. If you want to do something that says you enjoyed the story, an anonymous kudo on AO3 is an option, or an anonymous ask on Tumblr. 

You have the right to wait until a story is complete to read it. I often do, if I suspect there will be heavy angst–I need to be able to read the resolution right away, for my own emotional health. I love my weekly commenters, but I also love the people who binge-read the complete stories in a weekend. 

You have the right to stop reading a story if you lose interest. Even if you’ve been commenting. You are never required to keep reading, or keep leaving comments. 

You have the right to skip to the end. The angst getting to be too much, or you’re just struggling to stay interested? Go ahead. Skip to the end. You can always come back later if you want to. (Don’t tell the author if you got bored in the middle though.)

You have the right not to leave any kind of feedback. I’ve wondered occasionally if those posts make readers feel anxious, like they’re expected to do something they aren’t comfortable with, so I wanted to just state this clearly. Posts that go around about leaving reviews and whatnot are only written by authors because there’s a genuine gap of understanding regarding how much that means to authors. They are meant to inform, not command.

Basically, as long as you aren’t being rude to or about the authors, you have the right to read and interact with fanfic in whatever way makes you happiest. 

Go forth and read, fanfic readers.

On abled people’s hostility when the Disabled refuse their “help”:

“I’m coming to the conclusion that ‘helping’ us is actually a form of street theatre, performed for the adulation of the audience, and in which we are merely props.

Of course no one expects their props to speak up and critique the performance!”

–David Gillon, U.K. writer, blogger, disability advocate, and else-Web acquaintance of mine (quoted with permission)

This book is so great!!

You know how sometimes people say they care about animals but keep abusing and exploiting them?

Remember that time when certain activists and famous writers were outraged by factory farming, but that didn’t stop them from consuming animal flesh and animal products?

You might feel outraged by these inconsistencies and sometimes you might have no words to express this frustration in a civilized manner. Well, James McWilliams does this perfectly.

Search no more, get this book.

Just Food author James McWilliams’s exploration of the “compassionate carnivore” movement and the paradox of humanity’s relationship with animals.

In the last four decades, food reformers have revealed the ecological and ethical problems of eating animals raised in industrial settings, turning what was once the boutique concern of radical eco-freaks into a mainstream movement. Although animal products are often labeled “cage free,” “free range,” and “humanely raised,” can we trust these goods to be safe, sound, or ethical?

In The Modern Savage, renowned writer, historian, and animal advocate James McWilliams pushes back against the questionable moral standards of a largely omnivorous world and explores the “alternative to the alternative”-not eating domesticated animals at all. In poignant, powerful, and persuasive prose, McWilliams reveals the scope of the cruelty that takes place even on the smallest and-supposedly-most humane animal farms. In a world increasingly aware of animals’ intelligence and the range of their emotions, McWilliams advocates for the only truly moral, sustainable choice-a diet without meat, dairy, or other animal products.

The Modern Savage is a riveting expose of an industry that has typically hidden behind a veil of morality, and a compelling account of how to live a more economical, environmental, and ethical life.


Happy birthday to Buckminster Fuller! The writer and designer who advocated for “the total use of total technology for total population” was born July 12, 1895, in Milton, Massachusetts.

Fuller had a long relationship with Time Inc. that officially began in 1938 with his joining the staff of Fortune, although a 1932 letter to R.M. Ingersoll shows that he’d been in conversation with the magazine several years earlier as well. In 1968, Fuller was planning the premiere of his World Game. The “game” was to be a large scale simulation in which participants would cooperate to solve global problems. 

In a letter to Time Inc. editor in chief Hedley Donovan, Fuller explained his offer for the publishing company to report on the inception and eventually on the playing of the World Game. One of the reasons why he felt Time Inc. should take him up on the offer shows his characteristic zeal:

“I am confident that the computerized world game playing will become an ever more effective instrument in bringing about all humanity’s educational reorientations and thoughtful dispositions.”

Time. R. Buckminster Fuller. January 10, 1964. Time Inc. Records. New-York Historical Society.

Buckminster Fuller. Letter to R. M. Ingersoll. August 29, 1932. Time Inc. Records: Bio files. New-York Historical Society.

Buckminster Fuller. Letter to Hedley Donovan. June 10, 1968. Time Inc. Records: Donovan: Subject Files. New-York Historical Society.

Life. “The View from the Year 2000″ February 26, 1971. Time Inc. Records: Bio files. New-York Historical Society.

Friendly PSA reminder: Advocate for Artists

You wouldn’t take a chapter of someone’s Fanfiction/original story without their knowledge, post it online, and say “credit to the author” without naming them, right? So why do we do it to fanartists/original artists?

Stop spreading the disease - and I call it a disease because it never seems to end. These artists give us a gift - we should respect them! Credit the source. Don’t know who did it? Do research. Ask around. Find the author/artist and say: “I found your work. I appreciate you.”

That is all.

How to Make Magic Work in Your Fiction

by Sarah Curry

Turn on the TV or open a book these days and you’ll be convinced that there is magic woven into our daily lives. TV shows and books with fairy tale, supernatural, or odd elements are as omnipresent as ever.

Why so much magic?

There’s a feeling these works tap into: that the world and our lives are unsettled. We inhabit a time and place that is odd, sometimes crazy, a place where things don’t always make sense or add up. This can be beautiful and strange, but also dark.

Magic says what we can’t.

Magic can give us a method to talk about tragedy and injustice when we might not be able to find the words otherwise.

In an article by The Atlantic Monthly, “The Uncanny Power of Weird Fiction,” Jeff VanderMeer says:

“It is cathartic to seek out and tell stories that do not seek to reconcile the illogical, the contradictory, and often instinctual way in which human beings perceive the world, but instead accentuate these elements as a way of showing us as we truly are. Unruly. Unruled. Superstitious. Absurd. Subject to a thousand destabilizing fears and hopes.”

So whether you want to write a story with magic or an odd element because it seems fun, or because you’re looking for a way to tell a story about a social issue that is close to your heart … here are some tips for making your writing successful.

The Basics: What is Magical Realism?

  • Magical realism is literature that treats supernatural, extraordinary events as commonplace.
  • It transforms the common and everyday into the awesome and the unreal.
  • It treats the unreal as part of reality.
  • The reader has to accept the fait accompli [(def) a thing that has already happened or been decided before those affected hear about it, leaving them with no option but to accept)].
  • The rest of the story follows with logical precision. It explores the ripples of the weirdness.
  • Magical realism takes the supernatural for granted and spends its space exploring the human reaction to the event/thing/magic/weird.

How do you get a reader to accept the fait accompli?

  • Tell it straight and with authority. Treat it like it’s no big thing.  AND…
  • Set it up quickly. Example: “There were two mutant girls in town. One had a hand made of fire. One had a hand made of ice. Everyone else’s hands were normal. The girls met in elementary school.” – Aimee Bender, “The Healer” from Girl in the Flammable Skirt.
  • Provide details of the normal everyday world so we believe in it (Ex. Make your characters eats spaghetti.)
  • Make emotional reactions ring true.
  • Give us a pretty normal narrator we’ll follow and listen to. Sometimes this narrator will tell stories within the story. This is a nod to faery tales or fables or oral tradition. This also tells the reader how to read the story. “Aha, this is a modern fairy tale!” the reader says. Sometimes when the narrator says, “You won’t believe me” or “I know this sounds crazy” it makes them sound NOT crazy (a crazy person wouldn’t be concerned). Also if the narrator says it then the reader doesn’t have to and s/he can keep reading.
  • Use magic sparingly. Only one element of weirdness! (Nobody likes a story where the magic fixes every problem a character has or when the magic is so complex that it doesn’t make sense.)
  • Leave it unexplained.
  • Make the magic mean something. The magic is a theme that is used to tell a story that happens all the time in the real world (something unjust or tragic).

Sarah Curry is a MFA Fiction student at VCU and has a M.A. in anthropology from George Mason University. She has worked for several years for non-profits and campaigns as a writer, researcher, and advocate. And yes, she will read your vampire story.

Attention, Writers! Electric Literature is hosting an Answer Time with Authors Guild President Roxana Robinson and Executive Director Mary Rasenberger.

Answer Time: Ask Us About the Writing Industry
Monday, November 14
Noon - 1PM EST (9 - 10AM PST)

Ask us here: http://electricliterature.tumblr.com/ask
Answers will be posted live on Electric Lit’s Tumblr: http://electricliterature.tumblr.com/tagged/answertime

Electric Lit has teamed up with the Authors Guild to launch their new Emerging Writer Membership. For the first time, writers who are just starting out in their careers can join the oldest and largest professional writers’ organization in the country. As part of this wonderful new opportunity, we’re answering your questions about the writing industry.

The Authors Guild’s mission is to support working writers and advocate for the rights of writers by supporting free speech, fair contracts, and copyright. Together, Roxana and Mary will answer your questions about the Authors Guild, how to build a writing career, and how to protect your interests as a writer.

In addition to being President of the Authors Guild, Roxana Robinson is the author of nine books: five novels, including Sparta and Cost; three collections of short stories; and the biography Georgia O’Keeffe: A Life.

Mary Rasenberger is the Executive Director of the Authors Guild. Prior to joining the Guild, Mary practiced law for over 25 years, specializing in media and copyright law, and served as senior policy advisor for the U.S. Copyright Office and program manager at the Library of Congress.    


Encountering Beasts: A Guest Lecture with Newt Scamander 

This fall, Ilvermorny is honored to welcome Mr. Newt Scamander, the acclaimed magizoologist, magical creature rights advocate, and writer of Fantastic Beasts and Where to Find them, for a guest lecture on his latest research The lecture will take place at Ilvermorny’s Steward Hall Proscenium, from 3PM - 5PM on October 19th. 

Mr. Scamander will talk about the journeys he has taken throughout the expansion of magizoology as a field, as well as his studies on conserving natural magical floral and fauna in the present day, especially with increasing concerns of no-maj deforestation and trophy hunting. He has dedicated the last few years of his studies to the possibility of gradual reversal of regional climates, in order to assuage the damages to magical habitats done by rising temperatures and increasing droughts. The preliminary results of his research, which will become the latest chapters added to Fantastic Beasts and Where to Find Them, will be shared for the first time with Ilvermorny, before the publication of the 52nd edition of the book. The lecture will be followed by a half-hour Q&A session led by Professor Wu, who has taught Protection of Magical Beasts, Herding the Forests, and Introduction to Magical Flora and Fauna at Ilvermorny for more than twenty years. 

Students interested in attending this guest lecture must RSVP via owl or in person with Professor Wu by September 28, as last minute sign-ups will not be accepted. It is recommended for students who have taken Protection of Magical Beasts, Herding the Forests, History of No-maj and Wizard Encounters, and Weather Patterns and Weather Magics to attend. 

For a more detailed biography on Mr. Scamander and his wife, esteemed Ilvermorny alumnus Porpentina Goldstein, please visit the Upper Library. 

inspiration credit @durmstranqs

On This Day: August 19

World Orangutan Day

  • 1791: African-American scientist Benjamin Banneker sends appeal to Sec of State Thomas Jefferson about “injustice of…slavery”
  • 1864: Anarchist Joan Montseny, aka Federico Urales, born in Reus, Spain.
  • 1877: Militant anarchist and antimilitarist Pierre Jules Ruff born in Algiers, Algeria.
  • 1888: In Seville, Spain, Ricardo Mella republishes the newspaper Solidaridad.
  • 1893: In New York City, Emma Goldman helps lead a procession of several hundred anarchists to Union Square, where, among many other speakers, she addresses a crowd of the unemployed.
  • 1894: Large anarchist gathering in New York welcomes Emma Goldman back. Among the speakers are Voltairine de Cleyre, English anarchist Charles Mowbray, and Italian anarchist Maria Roda.
  • 1897: Anarchist propagandist Cesare Zaccaria born in Genoa. He was editor of the clandestine newspaper La Rivoluzione Libertaria and of the review Volontá.
  • 1909: IWW issues first edition of the “Little Red Song Book”.
  • 1916: Scabs hired by Everett Mills owner attack and beat picketing strikers as local police watch and do nothing in Washington State.
  • 1919: Afghanistan gains full independence from the United Kingdom.
  • 1921: Anarchist Georges Darien dies in Paris. He was a writer and an outspoken advocate of Georgism.
  • 1936: Camillo Berneri, after organizing an Italian anarchist column within the Francisco Ascaso Column in the Pedralbes barracks (renamed “Bakunin”), with Angeloni and de Santillán (from the CNT-FAI), leaves Barcelona for the Aragonese front.
  • 1936: Newspaper Guild staff start successful strike over arbitrary dismissals and “efficiency” at Seattle Post-Intelligencer paper.
  • 1944: Uprising begins in Paris against German Occupation as Allies near.
  • 1945: Viet Minh led by Ho Chi Minh take power in Hanoi, Vietnam in the August Revolution.
  • 1954: United States goverment passes Communist Control Act, making the Communist Party illegal.
  • 1958: Clara Luper and the NAACP Youth Council conduct the largest successful sit-in to date, on drug store lunch-counters in Oklahoma City.
  • 1989: About 600 East Germans escape to the West during the “Pan-European Picnic” protest held on the Austrian-Hungarian border.
  • 1989: Hundreds of demonstrators as they protested on whites-only beach in Cape Town.
  • 2001: Donald Woods dies in London. He was a South African ournalist, anti-apartheid activist and friend of Steve Biko.
  • 2006: Great Lakes Anarchist Gathering begins in Bowling Green, Ohio.
  • 2006: Anarchist América Josefina Scarfó dies in Buenos Aires. She was wife of famed anarchist Severino Di Giovanni.
Who The Hell is Donald Ressler?

Ha! I could not resist with that particular title because so many simply do not understand the complexities in writing good white knight characters with structured principles. This is an in depth analysis of one of the rarest archetypes in television: THE GOOD GUY and while some viewers may not be able to appreciate male characters with these these traits, writers love them because good characters are a rarity in fiction. 

Everyone wants the gray character that can teeter in between right and wrong like Raymond Reddington. That is understandable. It is much easier writing a character with no limitations. In fact, its quite simple. But to write a character that is as close to REAL as possible, the ones that live in the confines of our real universe, the ones that we admire and look up to in today’s society, that’s a miracle, and one that should be praised. Consider this: How often in television do you get a good looking guy who happens to be well, not just a good guy, but a hero in the process?

Originally posted by thearsnova

We admire these archetypes for their righteousness, and probity. It is extremely difficult to maintain a balance when giving them an edge. Sometimes their principles are mistaken for self-righteousness, or a hypocritical stance. To me, that isn’t fair nor is accurate. Donald Ressler is the most human-like character on the Blacklist, and it is for this main reason why Bokenkamp LOVES the character. He’s written to be one who maintains the differences between the black and white world he grew up in as a child. Yet Raymond Reddington, a character that Donald had the task of hunting down, sees a criminal as a criminal when a law is broke. 

What has changed Donald is the love of one woman, who now paints his world to a whiter shade of pale-the kiss from a rose on the gray, as Seal would say. Liz challenges his every belief in what is right and wrong, and that has him second guessing himself in the things he’s done. He never used to bend the rules, but for Liz, it is a foregone conclusion. Consider When he first met her: He’s suspicious, jealous and quite flummoxed at someone so pretty, turning his world upside down because of her naive, and fresh idealism into his jaded, and concrete world.

Originally posted by cirandadeincertezas

This happens to be one of my favorite episodes from season one, and coincidentally, the Head Writer’s [Jon Bokenkamp ] and it is pretty understandable as to why. For the past two episodes, Donald is seen as unable to trust Liz, out in the field and is ordered by Cooper to watch her due to the Victor Fokin investigation. What happens, so eloquently is Donald sees Liz not just as a partner, or the competition, but as a human being, and one that clearly affects his way of thinking to the point where he would compromise his ethics and work with his sworn enemy to get her back. The dialogue here is delicious as is this montage moment that clearly shows, he’s been conflicted over Liz since season 1.

Ressler: Mind if I come with you? Nothing would make me happier than seeing Hector Lorca being sent away for life.

Liz: Why do I get the feeling that you’re less interested in watching Lorca than in watching me? 

Ressler: I don’t know. Are you hiding something?

The conflict vanishes immediately after Liz is captured by the Stewmaker, in what becomes the future of Liz/Red/Ressler as the show progresses and enters into season 4.  I truly feel, this is where Bokenkamp has wanted it to transform all along. This episode, Anslo Garrick, The Major, Tom Keen along with the Director 1&2 articulate Reddington’s faith in Donald to protect Liz at all costs-even after she’s broken his heart and shaken his trust. I’d expect two more episodes in the back half of season three showcasing exactly that.

Ressler: I swear to God, if you had anything to do with-

Reddington: What you’re forgetting is we want the same thing, Agent Ressler.

[At this stage in the game, Ressler doesn’t know Red’s motivation with Liz. All he knows is Red’s a criminal that may have endangered his partner, but his fervor in wanting to get her back crystalizes that Ressler will enter the gray for the right reasons.]

Ressler: I’m coming with you.

Reddington: Then understand I take no responsibility for your safety. And the FBI backs off. No surveillance, no wires, or you can find what’s left of Agent Keen yourselves.

Ressler: As soon as you have information on Agent Keen, contact me. I’ll get backup, and we’ll take him.

Reddington: No. I’m gonna make him feel safe. Lorca’s gonna walk, and you’re gonna have to just trust me.

Ressler: Lorca’s not going anywhere. And I’ll never trust you. You know why? 

Reddington: Because after tracking me for years, you’ve come up with one undeniable truth I only do what’s good for me. And that is a person you can trust, Donald.

[Here Reddington is trying to persuade Donald to trust his instincts not his rulebook. Reddington has studied up on Donald for a reason, and brought him into the task force for the simple reason that he admires the man. He admires the fact that in a corrupt government that tried to destroy him, Ressler represents the good that is missing. Ressler is an agent because he wants to save the world, not destroy its very foundation and for Red that naiveté is appealing, especially for a writer because its hardly seen anymore.]

Reddington: Oh, this is Special Agent Donald Ressler of the Federal Bureau of Investigation.

Ressler: Whoa, whoa, what the f-

Lorca: It must be open season on the FBI.

Reddington: He insisted, dying to meet you.

Ressler: What’s he saying? 

Reddington: He’s telling his man to be ready to cut off your head.

Lorca: You want to tell me why I shouldn’t? One chance. Make it a good one.

Reddington: Better start talking, Donald.

Ressler:  Red - 

Lorca: Kill him.

Reddington: Aah! He’s also a wonderful dancer.

Ressler: How do you think Red got you a new I.D. New passports? Established Interpol data background? New history, false prints? That’s all me. ’m not the guy you kill, Hector. I’m the guy you pay.

[Here in this scene, Ressler proves fully able to take care of himself. Call it an initiation from the future father in law, because it is clearly a test that Reddington puts forth to Donald in seeing how he can handle himself in Red’s world. This was a remarkable episode because the chemistry between Diego and James, can sell the show even while Liz is firmly in the background. Therefore it is easy to see why all three characters are featured not just on the cover of the comics, but the face of the show. It simply works, and maintains a healthy balance for conflict to naturally arise. Thats a plus for any writer.]

[The shared embrace by Liz and Ressler established the beginning of trust and respect between the two characters. She took a chance leaning on him for emotional support, exposing Ressler’s vulnerability to feel for the first time. His job is all he’s had since he became an agent. In season three he is conflicted with the duty of his job, and his true feelings compromising his ethics. This began heavily in season 2 to the point that Liz took advantage of his good nature. That cannot be allowed all the time because then his core character is compromised. You either RESPECT and ADMIRE the character based off his principles, or its about personal gain. This is why Ressler is cautious in who he trusts. Liz broke down his walls then betrayed him in season 2, forcing the wall back up.]

In The Courier, Ressler reveals a bit of his backstory that leaves Liz and the audience curious.

Originally posted by riversonfire

Ressler: You want to watch me bleed, see if I react? I’ve already lost the only thing in this world I’ve ever loved.I have nothing in this world, except this job.

Ressler: You saved that kid’s life, Keen.Good job.

Liz: That story you told Dechambou about your job being the only thing left that-

Ressler: I was undercover.I said what I had to say to sell it.

[Did he? Hard to believe three seasons later. He lost Audrey because of his blind pursuit of Reddington in order to make a name for himself; he lost his father due to a crooked cop who had him murdered, and is still a cop, and now he’s lost Liz [in his mindset] therefore he throws himself into the job, knocking down doors, saving children, and the weak and oppressed. His motivation to bring bad guys to justice stems from the fact that Mako Tanida steals the one chance he had at happiness, and the law betrayed his father. Ressler’s mindset is to protect the system, not wreck it. But now after Liz was framed by the Cabal, and Laurel Hitchen gets away unscathed, Ressler is jaded once again in his principles. The system doesn’t always work. It didn’t for his father, it didn’t when it came to Audrey, and now with Liz. Throw a child into that mix, and Ressler’s beliefs in the law, intensify with a penchant to do what is necessary to fight the evil within. Imagine if he is on a task force, or in Reddington’s organization to fight the Cabal as he did in the Director? Its slowing coming down to that choice where Ressler will need to choose: His career, or the life he truly wants even if it means, entering the gray.]

Keep reading


Edward Carpenter (August 29, 1844 – June 28, 1929), English socialist, poet, philosopher, anthologist and LGBT activist. Born in Hove, Sussex, he was educated at Brighton College and graduated from Cambridge in 1868. He initially became a curate for the Church of England, but grew increasingly dissatisfied with the church as well as despairing at the condition of the working-class poor in England. Additionally, he grew to accept his homosexuality; after the rupture of a brief relationship in college, he had spent time with male prostitutes in Paris; reading the work of the gay, spiritualist American poet Walt Whitman awakened his sense of his own sexuality and his determination to help the less fortunate. He left his position with the church, taught for a while in Leeds, worked with the Socialist Party in Sheffield and, after the death of his father left him financially independent, finally settled in Millthrope, near Barlow, Derbyshire, where he bought land to create a farm. Spiritually, he became fascinated and heavily influenced by Hindu mysticism and Indian philosophy, travelling to India and Ceylon in the 1890-91. On his return to England, Carpenter met and fell in love with a working-class man, George Merrill, 20 years his junior; Merrill moved in with Carpenter in 1898, and their relationship inspired their friend E.M. Forster in the creation of his novel Maurice (written 1913-14, published 1971), which portrays the relationship between the upper-class Maurice Hall and the games keeper Alec Scudder (portrayed in the classic 1987 film adaptation by James Wilby and Rupert Graves, respectively). Carpenter’s home in Millthrope became a magnet for many of the left-leaning luminaries of the era, including Forster, humanitarian Henry S. Salt, sexologist Havelock Ellis, political activists John Bruce and Katherine Glasier, feminist Olive Schreiner, and poet and critic John Addington Symonds. Following Symonds death in 1893, Carpenter became the foremost writer advocating for the acceptance of gay men and women; he also wrote extensively in support of the rights of women (famously exclaiming that marriage is essentially legalized prostitution) as well as socialism and capitalism, nature and the environment; Carpenter was one of the founders of the modern Labour party, though his many radical ideas caused him to be not just vilified by the right but even mocked by some on the left. Following Merrill’s sudden death in January, 1928, Carpenter’s health deteriorated; he suffered a stroke in May of that year, and died the following June. His fierce, almost solitary advocacy of gay rights would inspire subsequent generations.

Hey there,

My name is Hitachi Baylou and I am a 24 year old Model, Writer & Campaign Creator/Advocate from London.  I am Asian(Indian)/Caribbean descent and Bisexual.  I created my own campaign in 2014 to raise awareness on physical and sexual abuse to all genders/sexualities (Including Non-binary).

My campaign so far has been in online newspapers, a TV interview done in August 2015 and self-funded flyers in my local area.  Everything is all me. *I need for more people to join and pose for my campaign*.  No matter the age, ethnicity, size, weight, shape, sexuality, features, gender or complexion.  I want it all…PLEASE MAKE A STAND With me.  

Please Read On to find out More -

REASONS for my creating the campaign and my story: 
I ran away at 17 and got my own house at 18. Growing up my mother was very abusive and jealous of me. Jealousy from a mother to her child, is not as unusual as some may think it is. She would give me two black eyes at the same time, lock me in the garden, hide food, call me a prostitute because I got a lot of male attention, beat me til my skin went hot or habitually (by habit) drag me on the floor by my neck.

My uncle had feelings for me and has dragged me on the floor by my shoulders ( nothing sexual ). My grandmother had inappropriate feelings towards me and touched me up inappropriately, yes that’s very disturbing I know. But that’s a part of my reality!

I have had years of on / off depression since I was young, because of my mother. Developed PTSD in late 2014 because of my grandmother and have had OCD since age 18. Many people claim OCD, but have no idea what it actually means to have it. PTSD is Post Traumatic Stress Disorder and for me involves flashbacks, sometimes nightmares of the trauma, paranoia and loss of sleep. 
I am very resistant, love myself very much and admire my strength. I no longer talk to any family nor even consider them “family”. Just because they have that title, does not make their actions in mistreating you right or acceptable. Whether that be family, partner, friend or a colleague.

I have no problem sharing my story and love to inspire, please join my campaign. Oh and I don’t really mention my father, as I find him so irrelevant but think I underestimated the bad impact he’s had on me. Ex druggy, fraudster, ex convict, womanizer and even bragged to me as a child about him having had killed someone. When he was around he would teach us, not to tell “that girlfriend” about “that girlfriend”. And you found he came around with motive and if he wanted you to be of use for something. He’s dragged me on the floor once also.

With Love



Personal Fan Page: Facebook.com/Hitachibayloumodel 
Google: Hitachi Baylou


- Get a blank white A2 cardboard or paper, big enough to cover your breasts/chest and private area.
- Write on the top half of the card/paper “This Is Mine” and on the second bottom half “Not Yours”. Please use any colour, but particularly a dark one so that it is clear to see on paper.
- Cut the card/paper into half, as shown in my official campaign photo (Landscape angle).
- Take a photo nude or in underwear, whilst using the first top half of the card/paper to cover your breasts/chest. The second half is to cover your private area. As you will be using both of your hands to hold up the sign, you will need to have somebody take your photo ( Not professional ) or use a self-timer.
- Email your photo’s to Hitachibaylouhearsyou@gmail.com, to be displayed on my campaign blog/campaign Facebook page (with all photos edited with the #THEHITACHIBAYLOUHEARSYOUCAMPAIGN)
- If you are choosing to do your campaign photo nude, you will have to be 18 or over. Please note that this campaign is raising awareness, for people being abused at any age. My campaign is for ALL genders (including non-binary) and ALL sexualities.

You may also see examples of others who have joined via my instagram.
Thank you very much. 


As a Girl and as a Women who loves girls.  This video really does something for me ♡ 😍

I am a professional Model, Writer, Campaign Creator/Advocate and Dance teacher from London.  OH and it just so happens I can sing too ; )

I am of Indian, Caribbean and Scottish descent.  
And Bisexual.

Check out my song Cookie Jar Glory, made at a time that I first questioned whether I was gay - https://www.youtube.com/watch?v=7l0y8BXlKUw

Google me: Hitachi Baylou
Fan page: Facebook.com/HITACHIBAYLOUMODEL

Who The Hell Is Donald Ressler Pt.II-When Boy Meets Girl...

“I know that sounds odd coming from a man who has brought you some of the worst, but it’s the reason why Tom had to work so hard to be that for you… To be kind, to be thoughtful, make you laugh, to make you love him. Because you deserve that. And it will come.”

This portion of any character analysis always seems to be the favorite amongst fans. The Boy meets Girl formula of a character-driven romance. For The Blacklist, the long-term seeds of love for Donald Ressler and Elizabeth Keen were planted since day one to blossom at full capacity to right about end of season 2, into season three then hits into overdrive in season four. But But…what happened to waiting five seasons for a romance to blossom and just GIVE EYES? Too soon of a slow burn kills it, right?

Originally posted by always-keenler

NO. It depends on how it is written, the powerful chemistry of the actors, and the dedication from the writing team. This is not the 80′s or 90′s anymore. In television, gone are the days where networks committed to longterm, EXPENSIVE production costs with a blind eye. BUDGET IS EVERYTHING. The competition is fierce. 

Originally posted by nataliedormier

Look at the other networks grabbing that crucial 17-34 and 18-49 treasured demographics? Viewers are caught up in the “Marvel-lous” superhero comics coming to life along with their prospected love interests. Such as Arrow, The Flash, Agents of Shield, and Supergirl. It is not a coincidence that the Blacklist has jumped into the comic series featuring Ressler/Red/Liz as their main arc. Nicole Phillips pens them so well, the comic as itself, solidifies a writer’s future,  legacy of the show, and in the end can be adapted into film or a reboot 20 years from now.

However, An impatient audience does have it’s pros and cons. On one hand, they long for even a smidgen of hope, or a carefree scene like above a true love scene from the writers that reveals their couple is the one true pairing that they can root for and not just imagine. Trust me, the writers know this. Once you’re officially on the hook, they will continue to drive you insane. Why?

Because you gave them the power when you fell in love with their characters. 

Happens all the time. Writers do not mean to be cruel, we love it when our fans invest in our alter egos. It motivates us to take the characters to the level you want, not yank the rug. Love is messy and conflicted and part of a pairing’s journey, is the slow and bumpy ride that instinctively gets them to hold on tight for the uphill and downhill slide. So, let’s examine how the creator came up with such an amazing love story for Ressler and Liz. I start with the Head writer’s own words after season one. To me, the only way to ever understand character development and longterm bible of the series is by their insight alone. If you choose to negate what they say, you’re truly going to be disappointed. Bokenkamp on Ressler and Liz after the first season finale. And let’s focus on the word: ORGANIC.

“In the pilot, Ressler has zero respect or need or interest in Elizabeth Keen. And I think over the season we’ve seen Ressler lose Audrey, he’s gone through the wringer and Liz has now gone through a similar sort of struggle with Tom. And they both lost somebody in their life. So if nothing more than to just sort of understand or connect on that level. I think is the first time, in a strange way, they really have something in common, other than Reddington. Where that goes, who knows? I mean… But the idea that they could connect feels organic. It feels natural to me.“ — Jon Bokenkamp - Beyond the Blacklist

When the head writer goes on and on waxing poetic over his true pairing compared to the plot driven one that is being played out on screen, you know what’s up and where the long term aspect of these two characters are going. 

“Who the hell is Elizabeth Keen?”

Well for Ressler it was fireworks at first sight.

From The Freelancer:

Originally posted by lizresslers

Ressler: You let him go.

Liz: I let him go?! Who notified rcmp?! You compromised an asset.

Ressler: He’s number 4 on the most wanted list, Keen. What did you expect?! And now he’s gone because of you!

Ah, yes. When the potential married couple acts like a married couple in front of everybody, including, Raymond Reddington. Notice this dialogue is all character  and not plot? That’s the point. Natural chemistry flows like fine cabernet under dense candlelight and slow fizz jazz at the Vanguard. When a writer sees it play out, its magical especially to Sinnerman.

Originally posted by redalertworld

Reddington: Hey, there, guys.

Ressler: You planned this! You knew he would never show! 

Reddington: Take a breath, agent Ressler. You think I’m gonna fly all the way to Montreal for the cheese cart?-Hey Donald, how about that cheese cart?

[Sorry but I laughed my ass off at that scene. Hook, line and sinker.]

From Gina Zanetakos:

Ressler: Give us a minute. This is evidence. Listen, Keen, whatever you think this may mean, I admire what you’re doing, standing up for your husband, but I think we both know it’s time for you to protect yourself.

[But did she? NO. And here we are in season three. Red has confirmed Gina was involved in Tom’s heist, yet Liz has no physical reaction. Odd, don’t you think?]

Originally posted by fandomfatale

Liz: What the hell did you do? -

Ressler: Excuse me? -

Cooper: Calm down.

Liz: Don’t tell me to calm down! -

Cooper: Agent Keen

Liz: That woman was the link! She was the only proof that my husband is innocent! And now she’s what? Dying? Lying unconscious in some hospital? 

[So much for gratitude when a man saves your life. This is proof of Liz’ losing her brain cells whenever she defends her duplicitous and conniving husband. Logic evaporates.]

Originally posted by enalgunlugar

Ressler: She’s in surgery.

Liz: Have we forgotten that there’s a bomb out there?

Ressler: I haven’t forgotten anything. I’ve been here for seven years. You’ve been here for seven weeks.

[And still learning while having spats with the future hubby.]

From Wujing:

Ressler: [Still suspicious due to the Victor Fokin file but cannot help himself to be…nice.] Look, I just wanted to say, uh maybe I’ve had some doubts about you. Maybe I haven’t done the best job of keeping them to myself, but what you did today was good work.

Liz: Thanks.

Ressler: If you didn’t get that message out when you did, Henry Cho wouldn’t be alive. Whatever else went down in there, you should feel good about that.

Welcome to conflict. She’s pretty, smart, lands on her feet…but Reddington? Why? Warning bells go off for the skeptical secret agent man because he’s been on that task force for seven years, her seven weeks. He’s just  got to be right about her otherwise…his feelings are tangled up into something else. For an orderly man like Donald Ressler, it sends his entire world into chaos. In The Stewmaker, we saw how those feelings came to the surface and what he’d do in order to protect her. Once Reddington said those words:

Reddington: Agent Keen needs medical attention.

Ressler: Get a medic in here now! It’s all over now. It’s over now. It’s okay. Everything’s okay.

Donald stayed focused on only one person. Not the Stewmaker, not the case, nothing. He sees Liz in such a fragile stage that for the first time, his job becomes second, and I will prove this once we get into season 2. Think you will see this tenderhearted moment again? Absolutely. This season but with emotions coming full circle.

Originally posted by dammitdiego

Ah yes, which brings us to The Courier.

This episode to where we are today in season three demonstrates just how much Ressler respects and cares for Liz.

Ressler: I’ve been ordered to include you in the oversight committee brief on Reddington next week.

Liz: Cooper told me. Here’s the profile I prepared on him.

Ressler: Have I told you yet I don’t place much stock in profiling? And by “much,” I mean “none. It’s never once helped me solve a case. You know what has? - Hm? - Facts.

[Let’s examine his cocky comment because it proves something. Ressler evolves from this mindset in season 2 where he learns to profile then finds deep respect for LIz’ skills in season 3 Lady Ambrosia.]

Originally posted by lizresslers

Liz: Yeah. I also prepared a profile on you. "Uptight, fueled by an inner rage, "capable of the occasional moment of tenderness, "which likely brings on the desire to stay up all night watching Asian porn.

[You gotta love it, sexual tension in episode four and the challenge is on.]

Ressler: Not even close.

Liz: “Huh. How about this? You don’t trust me. You think I’m tainted somehow Maybe a traitor.You resent the fact that Reddington wants to work directly with me instead of you.

[Now take this dialogue and transfer it to season three. Liz a Russian spy, a terrorist, a traitor…Reddington’s words to Ressler. Think that is a coincidence or full circle dialogue taking these two characters back to square one to the moment of the Kingmaker where Liz shows up at his doorstep, that leads to a similar scenario in season 2 after her birthday. That is called Reverse Engineering. The writers tackled this in the fall with Ressler’s character, and will continue with it in the back half of the season. Winter Season pretty much builds tension in order to get to the climax of the story.]

Originally posted by owenselliot

Ressler: So, that’s what this is about? You knowing that I’ll find her and giving me a blacklister in exchange for when I do.

Red: No. It’s not a trade or a bribe or an offer of payment in kind to entice you to look away. I admire your probity too much for that.

Ressler: So, what do you want? ‘Cause you only give to get.

Red: All I want is your word as a man of honor.

Ressler: My word.

[Which is the equivalent to a golden lottery ticket entering Wonka’s Chocolate Factory Notice how Diego is now playing the scene. He isn’t uptight like in season one, nor is he flying off the handle. He is painfully restrained for reasons the audience has yet to know.]

Red: You know Elizabeth. You know she’s not a Russian spy or a traitor or a terrorist. You know that’s not who she is.

Ressler: Doesn’t matter what I know.

[It does because in the current story, Liz believes this is how he views her thus causing her to run away from who she is. Ressler’s opinion has always mattered to Liz because he represents the truth and the reality-not the fantasy.]

Originally posted by iwantthepony

Red: If you catch her, it will. It will matter a great deal.What you know about her, what you feel about her could make all the difference.

[Bokenkamp and Eisendrath completed the blueprint to launch Ressler and Liz beyond the moon eyes. Whenever dialogue is placed like this in the beginning of an arc, then confirmed by the interloper in the story, its a done deal, and these words are the spoiler throughout the entire season going all the way back to that profile exchange in The Courier. Full circle storytelling to get to the next level. That dialogue pertains to the back half of the season. Liz is still running away and it will be up to Donald to stop her before she leaves with Tom. That is a classic angst scene between two people who share more than just “a partnership” and the closer he gets to her, the more she resists. Liz has never found her true home because she is so afraid of being abandoned. She is not sure how he feels which is why Red said those words to Donald. The writers use Reddington as the matchmaker between the two. ]

Originally posted by buenomdz

Tom: I know you care. About Liz you can pretend that you don’t but I know that you do.

[Ressler NEVER denies it because it will be revealed in the back half. Once the ex reveals to the audience the true feelings of the lead hero, it is pretty much in the mindset of the heroine. It is not unrequited by any any means.]


Speaking of “profiling skills” Something Ressler once stuck his nose at, now finds it incredibly resourceful in solving cases and discovering facts for the greater good.

Season 2 The Deer Hunter:

Ressler: But the more I look at it, the more I think we’re wrong, that there really is a copycat. I just can’t prove it. What is it?

Liz: What? Nothing.

Ressler: Come on, Keen. What is it? I know you better than that. Where’s your head?

Liz: That cop, the one investigating the harbormaster? He’s got evidence. He found the body. And the witness.

Ressler: Did he talk?

Liz: I think he did, yes.

Ressler: It’s your word against his.

Liz: I’ve hidden behind the task force for as long as I can, told him I couldn’t talk because it was classified, but he’s taking the case to a federal judge.

Ressler: Tom is the one who killed this guy.

Liz: But I was there. I should have –

Ressler: What, stopped him? Liz, you tried.

Liz: They’ll have enough to arrest me.

Ressler: Then go to Cooper, ask him to talk to the AUSA. The last thing he wants is some cop poking around asking questions about what we do. Liz, listen to me. Tom may have killed this guy, but “FBI Agent Goes To Prison” is the headline. All they’re gonna care about is taking a bite out of y– That’s it!

Liz: What?

Ressler: Kruse was right about the copycat. I can prove it.

Ressler: Aram? The bite marks.

Aram: Right. Uh, turns out, the, uh, distance measurements on the upper arch are 2.8% wider in the first six victims than in the second six.

Liz: Two different bites at the proverbial apple. Nice work, Ressler. So, it’s official– We’re looking for a copycat.

Ressler: After complaints were made by a female student. Aggravated harassment. Nonstop phone calls, stalking her in class. The girl was terrified, but no criminal charges were filed. That’s why it wasn’t on our radar. Stalkers, obsessive types, men who get violent when the women they want reject them.That’s what Mary Henning was hiding – she was afraid of her husband. Whoever killed him might have been protecting her. If we’re right, these seven men had dangerous fixations on seven women. The copycat killer was protecting those women.

Liz: Yeah, but those women were in five different states. How did the killer even know they were in danger?

Ressler: Hang on a sec. Diane Cosgrove got legal help with her divorce from a local nonprofit called Docket One. Uh, the student advocacy group that went after Judd Liggett – was called – Bright Voice.

Liz: Bright – Bright Voice.

Ressler: They’re both affiliates of a national organization called Whitehaven Shelters.

So let’s dig into this exchange. It is the middle of season two, Liz had that god awful Harbormaster storyline. She confides into Ressler in the Decembrist.Here in The Deer Hunter she is contemplating turning herself in. is Ressler forcing her? 


Ressler: You okay?

Liz: Yeah. Fine. Back there, uh I can’t do this.

Ressler: Maybe you need some time, a couple weeks. When’s the last time you took a vacation?

Liz: You’re kidding, right? I would have killed her if you hadn’t shown up.

Ressler: You would have done what you had to do to survive.

Liz: Same as on the boat.

Ressler: No, that was different. That was Tom. You tried to stop him. 

Liz: But I didn’t. I hesitated. And maybe I thought for just one second it would be better for me if he were dead.

Ressler: Liz –

Liz: No. That man had a family. He had a life. I’m gonna go to Wilcox. I’m gonna tell him everything.

Ressler: How many people do you think are alive today that wouldn’t be if it wasn’t for the work that we do?

[Back to the Greater Good, and saving Liz.]

Liz: [ Sighs ] Please.

Ressler: 50? 100? How many, Liz? How many families haven’t buried a mother, a father, brother, sister? Children?

Liz: That doesn’t make it right.

Ressler: No. It’s never gonna be right. See, the only question is the body count. So, you go ahead and you nail yourself to a cross, and while you’re up there feeling sanctified, you consider how many people are gonna die because this task force gets shut down and the rest of those animals on Reddington’s list are still out there feeding.

Liz: Ressler!

Originally posted by resslerneedsahug

Ressler: No. Don’t. Don’t ask me to feel your pain, Liz. I got more than enough of my own.

[Ressler’s point of contention is the greater number. A Utilitarian society of justice. One body vs thousands. It doesn’t make it right what she did, and in truth, this portion of the story should’ve been her wake up call. But it wasn’t. Ressler can justify the gray as long as its for the greater good Kant’s rule. Here he does just that. He sees the good being done with the task force and that is quite a reversal from his suspicious nature in season one. But because of his feelings for Liz, no matter how ridiculous her reasonings would get, still defended her.  Until Tom Connolly. This is what Liz fears she’s broken.]

Here in The Decembrist, Ressler goes to great lengths in order to prevent Liz from losing her badge. Keep in mind here how Bokenkamp wrote this scene. Clearly you can identify who is the interloper and it is not Ressler. The trigger for him, is Liz is still hung up on her ex, yet Ressler’s involvement with her begins to enter the gray.

Ressler: Liz, why would you do this? I mean, you’re risking everything. 

Liz: To find Berlin. 

Ressler: You’re a federal agent harboring a fugitive. I mean, worse than that… You’re keeping him captive. 

Liz: 500 cops are out there looking for Fitch right now, and we’re gonna find him because of this.

Ressler:  Whether he leads us to Fitch or not, I got to take him in. Are you hearing me? You had to know when you told me that this is where it was gonna go. I… Liz, I can’t be part of this. 

Liz: He’s an informant, like Reddington. 

Originally posted by novecientosonce

Ressler: The difference is you’re not in love with Reddington. 

[Ressler will not be a number two guy waiting in the wings. He just won’t it is not his alpha persona. This is why he has no trouble stomping out Liz martyrdom, or passive aggressive nature with cold hard reality. She admires it yet fears it because manipulating him, is not an option.]

Tom: I got an address. 

Liz: Where? 

Ressler: Where? What difference does it make where? What? You’re gonna follow his lead to someplace he says Berlin is hiding? No. There could be 50 guys waiting. 

Tom: That’s stupid. 

Ressler: Hey, shut up. I wasn’t asking you. 

Tom: You want Berlin or not? 

Ressler: There’s no way I’m gonna let you go in there. This is a setup, an ambush. 

Tom: What are you, her boyfriend? 

[Quite possibly, yes.]

Liz: Hey! [Gun cocks] What address? 3952 Spalding street, apartment 24. 

Ressler: Hey, pal. I’m coming for you. 

Ressler: Good luck with that.

[Tom hoever, Liz can manipulate because he has unresolved guilt for the things he’s done to her in their marriage and after. Liz cannot play that card with Ressler. This is why she has “incredible respect” for him. He doesn’t have an angle he’s trying to play, he’s just straight forward. That is a different type of man she’s been involved with therefore, breaking trust with such a man who has trust issues, will piss him off and rightfully it should.]

 Ressler: Well played, Keen. I mean, look at it. Berlin’s gone. Tom’s free. 

Liz: He brought us Fitch. 

Ressler: Berlin handed us Fitch on a silver platter after he had a bomb strapped to his neck. [Let’s go here. He knows Liz manipulated the situation. Second, his follow up here, he said quite a bit in the car..[Sighs] Look, I’ve been thinking about what I said in the car, and… 

Liz: Don’t worry about it, Ressler. I’ll tell Cooper. 

Wright: I understand you’re responsible for finding Fitch. About the source… 

Liz: Yes. 

Wright: Does he have information about Berlin? 

Liz: Yes, we believe he does. 

Wright: I don’t care if your source is confidential or what promises you’ve made him. I want him here, I want him interrogated, and I want his name. 

Ressler: You must be kidding. 

Wright: Do I sound like I’m kidding? 

Ressler: It’s Reddington. Her source is Reddington.

[He didn’t protect her for the sake of the task force, he did that because he doesn’t want her to lose her badge. Therefore, who gave Liz the passports in evidence for Tom Keen in Vanessa Cruz? If you think about it logically, it isn’t difficult, and if you’re involved with such character, using them for something else, is NOT an intelligent idea. Especially if the man is willing to put his own career and reputation on the line. Some spout that Ressler is a sexiest chauvinist against women. I do not see that.]


The Deer Hunter storyline was about abused women seeking out a copycat killer [Amanda Plumber] to eliminate their abusive spouses. The ones that hit beat, verbally abuse their wives and girlfriends. If you would like for me to post Bokenkamp’s quote calling Tom Keen a “prick” for hitting his own wife, I’ll get it for you.  Ressler isn’t anything like that. He respects women, and their authority along with the boundaries in between. His once belief that profiling never helped him solve a case…Liz teaches him to see a different way of investigating-that is respect. He begins to slide into the gray with Liz while trying to save her from Tom Keen’s twisted view of “saving someone” which many would call, psychotic. Ressler’s desire to be Liz’ hero overall  is simply put, “FBI AGENT GOES TO PRISON” and in season three, he wanted to avoid that by bringing her in because deep down his feelings are all over the place.

Cooper: Ressler, take Keen to that hospital. I want a psych eval on the kid. 

Agent Ressler? Hi. Judy Sickler, Child Services. 

Ressler: This is Elizabeth Keen. She’s a clinical psychologist. She’ll be assessing the child.

[This little gem of dialogue. Think its a coincidence? Liz with a title as a clinical psychologist, now that she is no longer an agent or his partner. Ressler makes it a point in season 2 to give her professional status as his shrink. The level of respect he has for her compared to his suspicions in Season 1 demonstrates his feelings have shifted and not just in the dialogue, but in the eyes. They are more soulful, longing, heartbreaking. It is clear from this scene compared to the identical Ivan in season one, their relationship has crossed over. Natural progression of a slow burn. Now its about to smolder.]

Originally posted by thearsnova

[Season 3 The jail scenes in the Director Conclusion. Can we talk about about Terlesky’s brilliance please? There were too many long intense, intimate camera angles depicting that these two were more than just colleagues. More than just partners. More than just eye f$cking.  Ressler didn’t yell nor berate her. He wasn’t cold or unfeeling. He missed her, and it is clear from their exchange with the soft whispers and up close facial contact they share more than just an office. Ressler’s offering to give her his jacket to sleep on was an olive branch to build back trust for arresting her. Liz handing it to him slowly, demonstrates she does. He was the one she needed and wanted to believe in her the most, that is why she whispered thank you to Red while looking at Ressler. That’s what we call angst and it is leading to something big in the back half. Don’t look at these scenes where in threes, you have Liz waking up, rolling over to find Ressler’s head in the shot as if he were lying next to her not to mean something. That is deliberate to foreshadow intimacy.]

Liz: They were gonna kill me.The Director wasn’t taking me to any black site for questioning about actionable Intel.If you hadn’t shown up when you did, I’d be dead.

Ressler: I’m sorry, Keen. I expected the Director to try something, but I also expected Reven Wright to be there to intervene.

Liz: What happened? 

Ressler: I think Laurel Hitchin killed her or had her killed.

Liz: My God.They’re in the White House.

Ressler: Hey, look, Reven may be gone, but the safeguards we put in place for your arrest are still intact.She arranged for your case to be heard by a judge she trusted completely.

Liz: As much as she trusted Laurel Hitchin? 

Ressler: Pending trial, you’ll be housed under military guard at Fort Meade.We can keep you safe there, Liz.I wouldn’t have brought you in if I didn’t believe that.

Liz: I need a pen and paper.

Guard: Against protocol, ma'am.

Liz: I don’t have a will.

Ressler: Give her the damn pen and paper. [Ressler breaking protocols again] Who do you want me to give this to? Uh Tell you what. I’ll hold on to it. Give it back to you when this is all over, okay? 

[Gentle nuance, tender nurturing scenes to reassure her that Liz will survive this because he isn’t going anywhere. Keenler doesn’t have to play in every scene because one episode like this dissolves the bubbles. That is plot point for the back half and character driven storytelling. The bond is that strong, and why Liz is avoiding him-for now.]

Originally posted by pl3as3-tak3-m3-t0-w0nd3rland


Ressler: Your arraignment’s tomorrow morning.We got authorization to keep you here overnight. [Sees the fear in her eyes] Hey, don’t worry. I’m not going anywhere. [Grabs a chair and sits next her.] Cooper reached out to Allison Gaines.

Liz: The criminal defense attorney? 

Ressler: One of the best in the country.She’ll be here in the morning.One more thing Yeah, it’s me.- 

Reddington: Are you all right? - 

Liz: I’m here.

Reddington: Lizzy, you will make it through this. Everything happens tomorrow. Agent Ressler won’t let you out of his sight.

[Once again the writers establishing the bond between Ressler/Red/Liz. It hasn’t changed in 3 years. That is how you know its for the longterm. Without that trio connected, there’s no show, no movement and no character growth for all. The baby provides that opportunity.]

Originally posted by teaandcookies1000

Liz: [gives eyes to Ressler] Thank you.  [rolls over and see him in her headshot. Huge huge I cannot say this enough.] You look tired.

Ressler: There’ll be plenty of time to sleep when this is over– - for both of us.

[That line is HUGE HUGE….if he meant himself and her separately the writers would’ve wrote the line different. It is foreshadowing, not a tease.]

Liz: When’s the lawyer coming? 

Ressler: [She slips him back his jacket gently through the barrs. Huge display of kindness, in spite of everything that has surpassed. Which tells you, you’ll see it again. ]

Ressler: Courthouse opens in half an hour.

Liz: [And we got moon eyes, that are ready to cry, ready to touch his face through the bars. Angst for a pairing.] Thank you. 

Grief and Anger and how it builds or reduces character. In Lord Baltimore Season 2. Ressler struggles with addiction. I’ll analyze that in another post, but for now, we deal with his mindset and how much he trusts Liz at this point in story.

 Liz: I mean, I just feel like… I don’t know… someone is watching me.

Originally posted by owenselliot

[YES All season LONG and Bokenkamp made it a point to reiterate this after the baby reveal. The show made it a point to bring this up today, “there’s always someone watching.” YES. So its a safe bet that someone else knows about Liz and Ressler’s encounter. Take a guess.]

Ressler:  Is that why you’re living out of your trunk? Those motels? The aliases? You got to stop doing that, Keen. Tom’s dead. 

Liz: You talk to Dr. Friedman yet? 

Ressler: Don’t change the subject. The visits are mandatory. Look, the Bureau isn’t interested in our mental health. They’ve assigned a shrink to talk to us to cover their asses in case one of us wigs out, but that ain’t gonna be me. 

Liz: You’re too healthy to talk to a shrink? 

Ressler: I talk to you all the time. Aren’t you board certified? 

Liz: Yeah. And in my professional opinion, I think you need to talk to Dr. Friedman.

Originally posted by pl3as3-tak3-m3-t0-w0nd3rland

Dr. Friedman: Agent Ressler. 

Ressler: [Sighs] Sorry, Dr. Friedman, but we’re in the middle of an investigation. 

Dr. Friedman: You do know I could suspend you pending assessment. [Sternly] Agent Ressler. I will recommend you for suspension. 

Ressler: Look, I don’t mean to be a prick here, but I’m not sure what you think you’re gonna fix. 

Dr. Friedman: Yeah, I’m not sure either… Until we talk. 

Ressler: About what? Those agents who died today? About the fact that we lost a woman that we were supposed to protect? How do I feel about that? I feel like crap. But I know the good we do here, why it matters. And am I worried that someday it’s not gonna be enough? Yeah. And when that day comes, you’ll be the first to know.

Love and Other Drugs

In Season one, Ressler had to deal with loss. In season two its pain, anger and addiction. For someone like Ressler to deal with a crutch it is humiliating. It goes against every ethical code that he holds. Therefore when Liz became his support system, she gave him the strength to get help and most of all, her feelings for him came to the surface. 

In Monarch Douglas Bank.

Signs of Ressler’s addiction reared its ugly head in Warsaw. 

Liz: I’m sorry. 

Ressler: For what? 

Liz: In the taxi in Warsaw. I came at you pretty hot. 

Ressler: Fog of battle. 

Liz: When Kaja was down, you talked her through the worst of it. We could have lost her. You did good. 

Ressler: You’re right. I was amazing.

[Flirtatious banter that got a reaction out of Liz.]

Originally posted by valdeznico

In Mako Tanida, Ressler faces great loss after the death of Audrey Bidwell. What he believed to be his one and true chance at happiness. The grief for Ressler is insurmountable to the point where he needs to focus on his job to function. For some viewers, they cannot understand how his mind works. To me, it is pretty clear:

He is not your emotional character like Aram. He doesn’t wear his heart on his sleeve he keeps it hidden, and only shows those signs of tenderness to people he trusts. Therefore, work, helps him not to feel. He gets up goes takes care of the world, then shuts down. The pain pills were a way to deal with not feeling any emotion, any grief, any anguish.

Ressler: Stay, stay stay with me. Stay with me. Don’t go. Come on, Audrey. Come on, Audrey. You can’t sideline me.

[Now, for any head writer or creator of this scene which Bokenkamp was, you know this is going to repeat in the same fashion. Back then, he did not know Audrey was pregnant. Liz, he does. Stakes will be higher. It is necessary for Donald to get past this flashback in order to let go of the pain. Liz being faced with such a potential tragedy will crystalize that realism for him AGAIN. And not just Ressler, but for Reddington. There’s a reason why No one saw Ressler’s or Tom’s reactions to Liz pseudo death in Arioch Cain. It’s being held back because Liz will be seen in a life and death struggle. Do not underestimate the writers. Part of culminating the most n a drama is to squeeze every drop of it. Ressler reliving what happened to Audrey, losing his unborn child becomes the focal point moving into the back half. Liz’ safety. The danger. Is. Coming.]

Dancing on someone’s grave. Only the devil would do such a thing, right?

Originally posted by leveraged-buyout

Ressler: You really expect me to care about procedure? 

Cooper: Of course not. I can’t imagine what you’re going through. I wouldn’t dare. But don’t compromise yourself. You’re a good agent A good man.

Ressler: I have to do something.

Cooper: You’ll grieve.

[The defining moment when dark characters beg for the good ones to stay in the light and not cross over. This will be another test for Donald in the back half.]

Reddington: Agent Ressler. Once you cross over, there are things in the darkness that can keep your heart from ever feeling the light again.

Ressler: All I feel is hate.

Reddington: Good. You’re gonna need it.

[Liz trying to save Ressler.]

Originally posted by zhivchik

Liz: Ressler where is he? I know he came to you. I know you told him about that hospital.

Reddington: Agent Ressler came to me for assistance, which I provided.

Liz: You sent him after Tanida.

Reddington: No. I provided a bit of direction in an otherwise blind pursuit.

Originally posted by asundayinaugust

Liz: He’s not like you. He can’t just murder someone in cold blood and come out of it okay on the other end.

Reddington: Nobody can murder someone in cold blood and come out okay on the other end.

[Case in point, Liz who murdered Connolly. Ressler’s anger in season 3 against Mr. Solomon will replay itself in episode 17. The question will remain, can he let it go, or will he be faced with the same set of circumstances. Liz here is the catalyst.]

Ressler: Couple months back, I was in this hospital. I’d been shot. Sitting in there for days, all alone. And Audrey just Pops into my head. Couldn’t have been more than an hour later, she walks in. It’s like the universe tilted and brought her to me, like it was fated to happen. But It wasn’t fate. You know why? Reddington. I can tell you this because you’re gonna die. I work with Reddington. Believe it or not, I was shot protecting him. That’s why I was in that hospital. It’s because of Reddington that Audrey came back into my life. He’s why I got three more months with her. And because of you she’s gone. My greatest enemy brought her back to me, and my best friend took her away!

[Powerful scenes, yet only Liz can talk him down off the ledge. Ressler goes home to find Reddington avenging Audrey’s death with Tanida’s head in a box in order for Ressler to stay in the light. It is a profound gesture of respect that Reddington carries for him.]

The teleplay here is pitch perfect.

Reddington: Donald, I want you to know that I do understand how you feel. There is nothing that can take the pain away. But eventually, you will find a way to live with it. There will be nightmares. And every day, when you wake up, it will be the first thing you think about. Until one day It will be the second thing.

Originally posted by detectivehalstead

[Ressler now deals with his pain of losing Liz. Unable to reach out to her, Ressler now compartmentalizes his emotions by kicking down doors, apprehending pedophiles, murderers, child killers, and saving autistic children. He cannot sit at home. He needs to work through his emotions. Liz, counseling him all in season two provided that. Their partnership was so unique they could share everything. He cannot do that with Samar. The writers are deliberately showing the contrast between the two.]

[Case in point, his reasoning for shooting Jonica and Tanida=Audrey. Now, Solomon, its about Liz. Now that he knows Liz is pregnant, its ALL about the baby, and Ressler’s feelings coming to the surface. This puts him squarely in Liz’ shoes when she shot Connolly. The writers here are demonstrating that Ressler can relate and accept Liz’ actions without judgment. Which is why once he escorts her down to the courthouse, its all about telling her what she’s always wanted to hear, “For what its worth I believe you were framed.” He always did, but now he feels the system damaged Liz, and that is something he himself cannot deal with because he holds himself responsible for her shooting Connolly.]

Solomon: Good morning.

Cooper: Agent Ressler, listen to me. Put the gun down.

Ressler: You should leave.

Cooper: Stop.

Ressler: Do you know the damage you’ve done? That your organization has done to this country, to my friends? 

Solomon: I don’t care about your friends, and I hate this country. Well, "Hate’s” a strong word. I like the part where I make bail and catch the next plane to France. 

Ressler: You’re not gonna live to see the inside of a courtroom.

Solomon: Sure, I am. And not just any courtroom, but a courtroom of my choosing, with the judge of my choosing. [Plot point. Laurel Hitchen gives the name of the judge in the conclusion. The one hired to put the Marshall away in a psyche ward.] God bless America.

Cooper: Agent Ressler. You’re not gonna do this.

Solomon: You deserve to die.

Cooper: Put down the gun.

Tom: I know he does, but not by your hand.

Ressler: Since when did you grow a conscience? 

Tom: I don’t know. Since I’ve been hanging out with you. I’m not happy about it either.

Ressler: Ah, he’s right. We bring him in, he walks. He doesn’t pay for any of this.

Tom: Your dad. You wanna know if he died for nothing. Whether he did or didn’t depends on whether you pull that trigger.

[And we will see in episode 17 if he does just that…or does someone else.]

Ressler: Matias Solomon, you’re under arrest for the attempted murder of a federal agent, for the attempted murder of a material witness in a federal investigation, treason, espionage Conspiracy to– You know what? Why don’t I get you a penal code? It would be easier to figure out what you haven’t done.

[In Season one, Cooper’s attack, and Audrey and Meera’s deaths, Ressler was on the verge of cracking, like any rational human being would. It is understandable he’d be pushed in such a way. You will see that again in the back half.]

Ressler: Funny thing, you know– I used to be a real Boy Scout, strictly by the book, followed all the rules. Then this thing happens. My fiancee, she gets killed-murdered right in front of me. The guy who did it– the only way I could get him was to forget all the rules. It was a real crossroads for me. Had to choose which path to take. The thing is, I think it’s real important for you to know– the path I took there wasn’t any rules. And the thing I realized was that sometimes, that’s okay. Like when some greasy Russian starts murdering my friends! I want a name. I want a name! I want a name.

Ressler is on pills while interrogating the Russian. Did anyone notice that? He’s self medicating in order to deal with all the loss in his life. To me, this scene only establishes that he is human. In season 2 the fallout. 

The Mombasa Cartel 

Liz: FBI. We were wondering if you wouldn’t mind assisting us in an investigation we’re conducting.

Man: What kind of investigation?

Ressler: The kind of investigation where, if you don’t help us out, I just yell, “gun!” And we beat your ass to the curb.

Man: I’m unarmed.

Ressler: You gonna cooperate? Please say no. What?

Liz: Nothing. You were late to work again. You seem a little edgy.

Ressler: I’m fine. Thanks, Mom

Liz: Uh, we need to talk. 

Ressler: I got things under control. 

Liz: Uh-huh. When’s the last time you used? 

Originally posted by owenselliot

Ressler: Sitka, almost a week. 

Liz: This happens all the time… agents taking meds to get over injuries and then they get hooked. It’s no big deal. 

Ressler: What are you gonna do, Keen? Tell Cooper I’m an addict? 

Liz: I want you to get help. 

Ressler: And I’m telling you, I can kick this on my own, and if I can’t, hell, I’ll walk into Cooper’s office myself. I got no problems with that.

[This difference between Samar and Liz. Samar would tell Cooper in a heartbeat. Liz, kept it in the vault, same as him. The eyes have it more than you know.]

 Eisendrath specifically told TV GUIDE for season two there wouldn’t be a romance between Ressler and Liz because they were building Ressler’s character. 

Is there any chance that Ressler and Liz will get together on The Blacklist? — Jon
The producers want to spend more time getting to know the man before they actually pair him up with Liz. Then again… “In doing that, [we’ll] put him in emotionally vulnerable places,” executive producer John Eisendrath says. “By putting him in those positions, it will give Liz an opportunity to reach out to him and support him in a way that will deepen their relationship.”

Originally posted by detectivehalstead

Liz: I thought for a second we might lose you back there. 

Ressler: Prospect of having to live without me… must’ve been terrifying. It was. The irony is… with all the drugs they pumped in me, this is the best I’ve felt all week. 

Liz: What about that? Is that gonna be a problem? 

Cooper: I just got a call from MPD Harbor Patrol. They fished a man’s body out of the Anacostia. Matches your description of The Scimitar. Get there. 

Liz: Yes, sir. Hmm? 

Ressler: I’ll catch up.

It is these vulnerable scenes that deepens their connection and gives way to the secret the two share in season 3. In the Scimitar, Liz feared Ressler was going to die in their car accident. Her fears were real even though the accident and hospital stay was a ruse. But it culminates Liz’ fears with Ressler’s addiction that it is enough to get him to wash his pills down the drain and get help.

Now let’s go back to The Kingmaker Season one.

Here, Ressler puts out the hint that he is interested in Liz, a long pause the two share due to sexual tension and he breaks it in order to get back to the case.

Liz: Sorry. Husbands lie to their wives. I have no problem believing this guy is capable of just about anything.

Ressler: Hey, Keen, you ready? Okay, so, what’s the deal? 

Liz: Chandler drove up from the south.

Ressler: No. No, not with the case. Something’s wrong, and it’s not just Reddington being at that hospital. You and Tom having problems? Look, you’re not the first one to deal with this. You know, people wake up and realize their husband or wife isn’t everything they hoped for.

[Right here his dialogue contradicts himself. One second he is telling her the marriage is over before she even says it is. That’s how you know, Ressler has been waiting for Liz to drop Tom and come to him freely.]

Liz: We had a fight. He left the house. I don’t even know where he went.

Ressler: He’ll be back. It’s not over. You know that. [Long pause] So, Chandler drove up from the south.

[Liz finally at her breaking point reaches out to Ressler in what Diego Klattenhoff calls a “magical scene” because it is deliberately open to interpretation that something may have occurred, or not. The running joke with this show is that just because you haven’t seen it play on camera, doesn’t mean its not canon. You will see shades of that in the back half of season 3.]

Liz: I didn’t know where else to go.

Originally posted by canarycassidy

In season One, Liz wanted to adopt. She had the perfect home, perfect husband, the perfect dog, and the longing to have a baby girl. With the reveal that Tom Keen working for Berlin, Liz’ perfect idea to rewrite her past went up in smoke. Ressler lost Audrey, then by some miracle thanks to Reddington, he had three more months with her until she was tragically killed carrying his baby. This is not a coincidence. The parallels were always there through the cases they worked on about family and children. Cases that Reddington brought forth much like he is doing now in season three. The Cyprus Agency, Gina Zanetakos, the Good Samaritan, Frederick Barnes, the Alchemist, and the pilot. Children have always played a huge part in developing these two characters. 

But what about Actor Diego Klattenhoff says regarding the potential romance? From a writer’s perspective, he’s got the pulse and the temperature exactly right. You don’t do it just to do it, you do it as a natural, organic progression to allude to mystery and intrigue. (I did say that before, didn’t I?)

Keep reading

Nothing could be more normative, more logical, and more authoritarian than, for example, the (politically) revolutionary poetry or prose that speaks of revolution in the form of commands or in the well-behaved, steeped-in-convention-language of “clarity.” (”A wholesome, clear, and direct language” is said to be “the fulcrum to move the mass or to sanctify it.”) Clear expression, often equated with correct expression, has long been the criterion set forth in treatises on rhetoric, whose aim was to order discourse so as to persuade. The language of Taoism and Zen, for example, which is perfectly accessible but rife with paradox does not qualify as “clear” (paradox is “illogical” and “nonsensical” to many Westerners), for its intent lies outside the realm of persuasion. The same holds true for vernacular speech, which is not acquired through institutions — schools, churches, professions, etc. — and therefore not repressed by either grammatical rules, technical terms, or key words. Clarity as a purely rhetorical attribute serves the purpose of a classical feature in language, namely, its instrumentality. To write is to communicate, express, witness, impose, instruct, redeem, or save — at any rate to mean and to send out an unambiguous message. Writing thus reduced to a mere vehicle of thought may be used to orient toward a goal or to sustain an act, but it does not constitute an act in itself. This is how the division between the writer/the intellectual and the activists/the masses becomes possible. To use the language well, says the voice of literacy, cherish its classic form. Do not choose the offbeat at the cost of clarity. Obscurity is an imposition on the reader. True, but beware when you cross railroad tracks for one train may hide another train. Clarity is a means of subjection, a quality both of official, taught language and of correct writing, two old mates of power; together they flow, together they flower, vertically, to impose an order. Let us not forget that writers who advocate the instrumentality of language are often those who cannot or choose not to see the suchness of things — a language as language — and therefore, continue to preach conformity to the norms of well-behaved writing: principles of composition, style, genre, correction, and improvement. To write “clearly,” one must incessantly prune, eliminate, forbid, purge, purify; in other words, practice what may be called an “ablution of language” (Roland Barthes). 

from “Commitment from the Mirror-Writing Box,” Trinh T. Minh-Ha, Woman, Native, Other