mouthporn.net
#long post – @chiaroscuroverse on Tumblr
Avatar

I could talk on lengths about why you should watch classic who; the quirkiness, the amazing companions, the absurd yet endearing effects, the insane story lines, the passion each actor brings, the furry lesbians, etc. 

Or, I could just show you this:

Avatar
therothwoman

Come to Classic Who, we have: flaming skulls

Fun Boxes

Dalek-flipping

Flying Gays

This

The universe’s worst assassin

and More

Come join us :D

Avatar
gen-is-gone

tag ureslf i’m flying gays

But don’t forget we also have

sass

badassery

the UNIT dating controversy

nose boops

style

DRAMA!

scary monsters

acting

shoes

jelly babies

actors you’ve seen in other things

the Doctor getting acquainted with the enemy

and don’t forget the running

there’s an outrageous amount of running involved

and so much more

Avatar
Avatar
flanaganfilm

Good day Mr Flanagan. please what does "the rest is confetti" mean to you and in the context it was used in hill house??

Avatar

Okay, here we go. Buckle up for a long read.

To answer this, I've got to explain a little bit about what was happening and where I was when I sat down to write episode 10 of The Haunting of Hill House.

Hill House was not a fun shoot. The picture above is from very early in production, when I was still chubby and happy.

It was my first foray into television. I was absolutely terrified that I'd mess it up. So I'd opted to direct all of the episodes myself, figuring that - if nothing else - I'd have no one else to blame if it went south.

It was the most grueling professional experience of my career. The shoot was by no means a smooth one, every day was an uphill battle from a budgetary perspective, and between the three giant production entities involved with the production, I spent a lot of time fighting over the creative and logistical elements of the series.

I began losing weight. I was smoking two packs of cigarettes a day.

By the end of the shoot, I had dropped almost 40 lbs.

I was very depressed. Every day was a battle, and for the first time in my career, I wasn't excited to go to work in the morning. We were fighting for basic resources, fighting for the show we wanted, and even fighting amongst ourselves by the end. It was grueling.

We hadn't written all of the scripts when we started production. I believe we had finished through episode 7, but the rest of the scripts had to be finished while we were already shooting.

We'd mapped everything out in the writers room, and I had great support on the other episodes, but I was writing the finale solo. I'd thought I'd be able to juggle it with everything else. I quickly fell behind.

I finally got to the script about halfway through production. I'd work on it between takes at the monitor, and then get home to our tiny rental house in Atlanta, where Kate was waiting with our baby son. (One of the rare bright spots of this shoot came when Kate found out she was pregnant about halfway through production. We even named our daughter Theodora, in honor of her origins.)

I'd typically fall down from exhaustion when I got home, but I had to push through it and work on the script. My weekends were spent shotlisting and prepping for upcoming episodes. We didn't have enough time to stay ahead of prep, so every available day was used for that... I went three months without a single day off at one point.

I'd sit up late staring at the script. I was in a dark, dark place. Overwhelmed, exhausted, and feeling like I lived in an eternal present. Each day bled into the next and it didn't feel like there was an end in sight. That feeling of unreality was heightened because we kept returning to the same sets, same locations, and even the same scenes throughout the 100 shooting-day production. Stepping back into the exact room we had shot in days or weeks or even months ago made the whole thing feel absolutely surreal. Making moves is always an non-linear experience, but this one felt particularly so... it was like the days of our lives were happening to us all out of order.

I remember feeling something like despair creeping into my daily experience on the show. And I remember dwelling on that when I got into the scene work of episode 10.

As I worked through the draft, I recall that despair coloring a lot of what was on the page. My filter was breaking down. There's a monologue at the beginning of the episode where Steven's wife Leigh (played by my dear friend Samantha Sloyan) spews out a torrent of eviscerating insults about Steve's value as a writer. That is just me vomiting onto myself. She was voicing all of my deepest insecurities about myself at the time, and of what I was doing with this series.

She says "Is anything real before you write it, Steve? The things you write about, they're real. Those people are real, their feelings are real, their pain is real - but not to you, is it. Not until you chew it up, digest it, and shit it out onto a piece of paper and even then, it's a pale imitation at best."

This was the mindset I was in for a lot of the shoot. The writing became a reflection of a lot of that turmoil, and I knew who I was referring to in that monologue - I was talking about my family. I was talking about how much of their lives I'd used as building material for this show. I was talking about the fact that I'd lost two loved ones to suicide, and seen what it had done to my mother in particular. And I knew I was using - possibly even exploiting - those people for this series.

There's a lot of despair in this episode. The Red Room, as we conceived it, was a place that would feed upon those emotions. Grief, sadness, loss... those were the real ghosts of our series, and where our characters find themselves at the start of the finale. They're being slowly digested - eaten alive - by those feelings.

So finally, it came time to write Nell's final scene with her siblings. I knew from the outline we'd constructed in the writers room what this was supposed to accomplish - she was supposed to be their salvation. She was supposed to take all of these feelings that we'd been wrestling with and finally provide catharsis... finally say something that would free everyone.

I remember sitting with a blinking cursor for a long time. The Crain siblings had just turned and seen Nellie standing by the door, and suddenly were able to hear her speak. But what should she say? What would I say? What would I want someone to say to me?

What she ultimately says lays bare a lot of what I was thinking about when it comes to grief. It exists outside of linear time, much as I felt I existed at the time. That sense of eternal present, that sense of a nonlinear eternity of moments and memories - it all came out in her speech to her brothers and sisters.

I remember feeling, looking at my insane present and looking back at my past, how strangely overwhelmed I was by memories. That I wasn't experiencing time in a straight line, and hadn't been for a while - for the better part of a year, I'd felt more like I was standing in a whirlwind of moments. "Our moments fall around us like..." Nell said, and I recall sitting back and trying to find the words.

"Rain," for certain, but there was something too uniform about that. The moments of life as I experienced them weren't that orderly, they weren't that small. They didn't fall the same way. Some sailed by, fast and unremarkable, while others lingered in front of me, twisting and stretching. So it was a good word, but not the right word. I left it on the page though.

"Snow" was my next attempt. Better, in that I imagined the snow blowing in the wind, swirling and dancing and feeling more organic. More chaotic. More like life. But for some reason, the word that stuck with me, the word I felt Nell Crain would connect with was...

"Confetti."

And that was because I was thinking not of Victoria Pedretti at this point, but of Violet McGraw.

Violet played Young Nell, and I wondered what she might have said if she experienced time this way. As an adult, Nell was despairing. Nell was overwhelmed. But as a child... there was an innocence to the word. There was a joy to the word.

I imagined moments falling around her, this little girl with the big smile and the wide eyes. Her moments would be colorful. They would be of different shapes and sizes, some falling fast and some falling slow, flipping and turning and dancing in the air, independent of the others. Sparkling, whirling, doing lazy summersaults as they sauntered down to Earth.

I thought of myself, and of the members of my family. I thought of those we'd lost. I realized what I hoped for them, and for us all, in the end... was to look upon that mosaic of experience, that avalanche of days and minutes and moments... and to smile with some of the joy we had as children.

And this, I thought, was something that gave me hope. This gave me a glimpse of some kind of salvation for them. This was also how I hoped my life might seem if I was a ghost - a cascade of color and light and shape and movement, something I could dance in.

So Nell smiled and said... "or confetti."

It stuck with me. The rest of her monologue gets heavy again, and gets to the real point of the show - the point of the whole series, if I'm honest - and that's forgiveness.

I figured the only thing that would let the Crain children out of the Red Room was to be forgiven. I thought of the losses in my own family, and I thought of what I wished for my mother and for my aunts and uncles and cousins and I tried to pour that into her final words.

"I loved you completely, and you loved me the same," she said, "that's all." And this was the point I wanted the most to make. That at the end of our life, if we can say this about each other, the rest doesn't matter. The rest is that rainstorm, or that blizzard, that fell around this one central truth, and maybe built itself in piles around it, to the point we lost sight of it along the way.

And I thought again of that little girl, and almost as an afterthought, wrote "The rest is confetti."

I liked the way it sounded, but I was insecure about the line. I almost took it out, in fact. I remember asking Kate to read the scene and talking about that last line with her. "Is it too cute?" I wondered. She was on the fence. "Depends on how it's acted," she said, and I figured she was right. We could always take it out if it didn't work. The scene could end with "I loved you completely, and you loved me the same. That's all."

Why not shoot it and see what happened.

I turned in the script, we published it quickly so that we could start breaking it down and prepping it. And the next morning I was back on set. I'd deal with episode 10 when it came down the pipe again, sometime in the coming months. We had a lot of shooting to get through before I had to worry about it.

I recall Netflix asking me to cut a lot of that monologue, and I remember them also having questions about the "confetti" line. I pointed out that it didn't cost us any extra to shoot it all, it was only words, and fought to keep the script intact.

Ultimately, they insisted I make a series of cuts on the page. I begrudgingly agreed, but left Nell's speech alone. I made superficial cuts around it, throughout the draft, and even considered changing the font size to fool them into thinking it had gotten shorter (I ultimately was told I wouldn't fool anyone and not to risk starting a war). But Nellie's final goodbye stayed intact.

It must be said - Victoria Pedretti SLAUGHTERED this scene.

By the time we got around to filming it, things had never been worse for the production. There was almost nothing left for a lot of us. Tensions were sky-high, resources had been exhausted completely, and we were all ready to give up.

Filming in the mold-ridden Red Room was depressing, morose, and led to a lot of arguments and unpleasantness. The room itself just felt gross, always, and we were in there for days at a time. The last thing we had to shoot in there was Nellie's goodbye.

Victoria came to set having to push through pages of monologue, and she did so with captivating bravado. I recall being teary-eyed at the monitor watching her work. And when we finally made it to the last line, I watched her deliver it with... a smile. A sincere, innocent, longing, joyful smile. A smile informed by the sadness, grief, and loss of her own situation, of her own life... but a smile that finds forgiveness and grace after all. Pedretti knew how to say the line, and how that word would work.

And as she said it, I knew it would stay in the show.

Over the years, that sentence has become something of a tagline for The Haunting of Hill House. I'm always a bit mystified and touched when I see people approach me with the line on T-shirts, or even tattooed on their bodies.

I started signing it with autographs back in 2020 after enough fans asked me to. Now it's my go-to when I sign anything related to Hill House.

The line, for me, represents a lot of things.

It's about the insane, chaotic, non-linear experience of making that show. It's about trying to find and hold onto joy, even in the grips of despair.

It's about the way the moments of our lives aren't linear, not really, and how we may be unable to understand them as we exist in their flurry. It's about finding hope, innocence and forgiveness in the final reckoning.

And it's about how, outside of our love for each other, the rest is just... well, it's fleeting. It's colorful. It's overwhelming. It's blinding. It's dancing. And, if we look at it right, it's beautiful. But it's also light. It's tinsel. It flits and dances and falls and fades, it's as light as air. The rest is the stuff that falls around us, and flits away into nothing.

It's the love that stays, though.

Avatar
Avatar

One thing about fandom culture is that it sort of trains you to interact with and analyze media in a very specific way. Not a BAD way, just a SPECIFIC way.

And the kind of media that attracts fandoms lends itself well (normally) to those kinds of analysis. Mainly, you're supposed to LIKE and AGREE with the main characters. Themes are built around agreeing with the protagonists and condemning the antagonists, and taking the protagonists at their word.

Which is fine if you're looking at, like, 99% of popular anime and YA fiction and Marvel movies.

But it can completely fall apart with certain kinds of media. If someone who has only ever analyzed media this way is all of a sudden handed Lolita or 1984 or Gatsby, which deal in shitty unreliable narrators; or even books like Beloved or Catcher in the Rye (VERY different books) that have narrators dealing with and reacting to challenging situations- well... that's how you get some hilariously bad literary analysis.

I dont know what my point here is, really, except...like...I find it very funny when people are like "ugh. I hate Gatsby and Catcher because all the characters are shitty" which like....isnt....the point. Lololol you arent supposed to kin Gatsby.

Avatar
afronerdism

I would definitely argue that it’s specifically a bad way….a very bad way.

Depending on the piece of media, it could be the intended way to interpret it and thus very effective. When I watch Sailor Moon, I know at the end of the day that Usagi is a hero. She is right, and her choices are good. She and the Sailor Scouts may make mistakes, and those mistakes can have consequences, but by presuming the goodness of the protagonists, I can accurately describe what actions and values the story is presenting as good. (Fighting evil by moonlight. Winning love by daylight. Never running from a real fight. Etc etc)

If I sit around and hem and haw about whether or not Usagi is actually the villain because she is destined to reinstate a magical absolute monarchy on Earth in the future, then I'm not interpreting it correctly. I can write a cool fanfic about it, but it wont be a successful analysis of the original work.

But like I said, that doesnt work for all pieces of media, and being able to assess how a piece of media should be analyzed is a skill in itself.

I was an English major. One of our required classes was Theory & Criticism, and I ended up hating it specifically because of the teacher and the way she taught it, but the actual T&C part of it was interesting. And one of the things we learned about was all the different ways of reading/interpreting/criticizing media - not just books, ANY form of media.

Specifically, I remember when we read The Turn of the Screw, by Henry James. We had special editions of the book where the first half of it was the novel itself, and the last half was like five or six different critical analyses of the book from different schools of theory. The two I remember specifically were a Marxist interpretation and a feminist interpretation. I remember reading both of those and thinking “wow, these people are really reaching for some of this”, but the more I read into the analysis and the history of those schools of thought, the more I got it. So for my final paper for that class, I wrote an essay that basically had the thesis of “when the only tool you have is a hammer, every problem looks like a nail”. If you have trained yourself to view every piece of media through a single specific critical lens - well, you’re going to be only viewing it through that lens, and that means you’re going to read or watch it in such a way that you’re looking for the themes you’ve trained yourself to look for.

My teacher didn’t like that, by the way; she’d wanted each of us to pick one of these schools of thought we’d been learning about and make it “our” school of thought. She wanted us to grab the a hammer, or a screwdriver, or a spanner, and carry that with us for the rest of our lives. She somehow didn’t expect me to pack a toolbox.

My point is: Like OP said, sometimes the tool you need is a hammer. Sometimes you need a screwdriver. Sometimes you can make a hammer work where what you need is a screwdriver, but you’re going to end up stripping the screw; sometimes you can use a screwdriver in place of a hammer, but it’s going to take a lot more effort and brute force and you risk breaking the screwdriver. Sometimes you need a wrench and trying to use a hammer or screwdriver is going to make you declare that the bolt is problematic and should never be used by anyone. Sometimes what you really need is a hand saw, and trying to use any of the others...well, you can, but it’s going to make a mess and you might not be able to salvage the pieces left over.

These skills aren’t being taught in school anymore and you can see it in the way high school aged kids act about media and stuff.

They wouldn’t survive something like Lolita because I swear they’re being taught to turn their brains OFF and be spoon fed all their thoughts by someone else.

It’s really creepy.

I promise these skills are taught in school. I'm an English teacher. In a school. Who teaches them.

Now, Lolita is generally reserved for college classes. But a lot of the rationale behind continuing to teach the "classics" in high school (beyond the belief that a shared literary foundation promotes a better understanding of allusions and references) is that a lot of the classics are built on these kinds of complex readings and unreliable narrators and using historical and cultural context helps in their analysis. (I do think that we should be incorporating more diverse and modern lit into these classes, please understand)

Do all schools or individual teachers do this *well*? No, of course not. Do all students always really apply themselves to the development of deep critical thinking skills when their teacher pulls out A Tale of Two Cities? Also no.

But this isnt a "public school is failing / evil " problem. Being able to engage in multiple forms and styles of analysis is a really high level skill, and my post was just about how a very common one doesnt always work well with different kinds of stories.

Avatar
uuneya

OP, why do you describe analyzing Sailor Moon in a different way than (you assume) the author intended as "hemming and hawing?" I would argue there's a lot of value in approaching texts at a different angle.

Because ignoring context, tone, and intent when analyzing media is going to lead to conclusions are aren't consistently supported by the text you are looking at.

"Usagi is a villain because she's a queen and I think absolute monarchy is bad" ignores the way that Usagi, the moon kingdom, and basically all aspects of the lore are actually framed within the story. None of the characters' actions or motivations make consistent sense if we start from the assumptions that "Usagi = monarchist=evil" and it would cause you to over look all the themes and interpretations that DO make consistent sense.

Avatar
pom-seedss

At some point you have to take a work at face value and see what it is trying to say.

Is the breakdown of monarchy actually relevant to the themes and messages presented in Sailor Moon? No, not really.

So focusing on the Moon Kingdom monarchy and the ethics there of is sort of... besides the point. The Moon Kingdom is a fairy tale, not a reflection of reality.

I’m not actually interested in the tax policy of the Moon Kingdom, you know?

Now, is it *cool* to look at works in various ways? Sure! Are some people interested in the tax policy of the Moon Kingdom and want to explore what that would look like? Sure! And honestly if you want to explore the ramifications of idyllic fairy tale monarchies on the real world, then that’s really cool too! 

But if you are looking at a work to understand what it is trying to say with the text itself, then you need to take some of its premises at face value. Usagi and the Sailor Scouts being the Good Guys is one of those premises. 

And really the “Usagi is secretly a princess from the moon” is just a part of the escapist fantasy for most little kids watching more than it has anything to do with actual themes of monarchy.

There is a lot of value in being able to look at a text from various angles. And it’s perfectly okay to use a text and concept as a jumping off point for other explorations.

But the problem comes when people say that Usagi was definitively a villain in Sailor Moon, or that say Steven Universe with themes of family and conflict resolution is excusing genocide by not destroying the Diamonds. It misses the point of the fantasy. It misses the important themes, the lessons and point of the show to look at it like that.

Basically: reinterpretations are cool, but you gotta know how to take a work on its own premises too.

Exactly. Like, magical princess that shows how monarchies (or the idea of princesses in general) is broken or toxic? Utena and Star vs The Forces of Evil are right there.

The idea of a cute talking cat granting girls magical powers to turn them into warriors against evil and getting them killed being evil? Not a good take on Luna, but Kyuubei in Madoka? Exactly this. That's like, the point of Kyuubei- to riff on the trope that Luna, and Kero, and Mokona represent.

Media can raise all sorts of interesting conversations and discussions and ideas. But there's a very real difference between trying to awkwardly force those readings on a work where the tone and framing and context don't support it and acting like the media is actually supporting those messages, and using those ideas to explore it in a different work or to analyze the trope across the genre more broadly.

Avatar
irishais

Moral and pure does not a protagonist make, and fandom is rife with that exclusive interpretation of storytelling. OP makes really good points; this thread is one of the best analyses I've read about lit crit on this site lately.

Stories aren't made in a vacuum-- every trope/theme/character archetype comes from somewhere and (general) you do yourself a disservice by viewing everything as whether it's morally uncorrupted or not.

@red--thedragon​ ‘s tags also make a very good point

Avatar
bitegore

[id: a screenshot of tags reading (formatted for ease of reading):

I'd like to add something along the lines of like, "in-universe" and "out-of-universe" analysis are two different beasts, a lot of this is applying "out-of-universe" analysis to "in-universe" stuff I think. ie: x character is the protagonist =/= x character is good, and x element is meant to be good irl =/= x element is good to the people in the work for example - if we look at Usagi's moon kingdom - out of universe we understand that the moon kingdom is a fairy tale, we understand it is meant to be part of a parable for kids to express moral lessons from, but in universe the moon kingdom is monarchy and a state with ultimate power concentrated in one person's hands. I think we understand that irl that is bad. Analyzing it with an in-universe framework that you can come to that conclusion as well, but you miss the authorial intent and context of "Sailor Usagi is meant to be a positive example for children." And if you take that analysis out of universe and attempt to claim that Usagi is the real villain you're kind of misreading everything but then comes fandom! Transformative works! and writing Usagi as a monarchial villain who tries her best is not- like- that's a perfectly solid way to engage with the text! anyway in conclusion Analysis Wacky

end id]

I often find myself within nerd spaces recontextualizing arguments. I often find myself saying “to start with, we have to take it as a given that x is true.” You can criticize the inclusion of X, or the execution of X, but if you want to engage with the material in good faith, you have to acknowledge that within the insulated context of the story, e.g. all orcs are evil and killing orcs is a moral good. The protagonists of LOTR aren’t evil for killing orcs, because that’s not the way the world they live in is structured. If you don’t accept the premise, you’re not actually engaging with the work, you’re just looking for things to be mad about.

There ARE genres that encourage that kind of questioning, mind-screw stories and horror stories that ask you to decide for yourself what the message is, if any exists. But that’s also a matter of recognizing what tool is best for the specific puzzle in front of you.

Absolutely!

While it's very interesting to think about the Orcs- JRR Tolkien himself went back and forth on the question of whether or not Orcs have souls, since either answer is morally and theologically troubling- Aragorn isn't *evil* for killing them. They have a narrative purpose and contemplating the morality of killing them will get in the way of engaging with the work meaningfully.

One of the weaknesses of the new Star Wars trilogy, in my opinion, is that it DID question the morality of killing storm troopers in episode 7 with Finn's defection. But then it never goes back and follows up on that in episode 8 or 9. So now we've established that the storm troopers are in fact, indoctrinated child solider who can (and should) be liberated... and then we watch our heroes kill them by the thousands without a thought and the narrative never goes back to acknowledge that.

Avatar
Avatar
xbuster

Marvel movies have completely eliminated the concept of practical effects from the movie-watching public’s consciousness

Not just practical effects just like. Basic set design lol

Avatar
wemblingfool

How… How do they think sci-fi was done before CGI?

Avatar
seldo

Really badly? Do you remember sci-fi before CGI? It was shit. And don’t say Star Wars because they went back and fixed that with CGI later.

*big sigh* *puts head in hands* heathens who’ve never watched pre-MCU sci-fi movies OR the unedited Star Wars movies, my beloathed

So first of all, most people agree that the majority of the “CGI fixes” in the Star Wars original trilogy (excluding minor visual/sound effects like lightsaber colors and blaster sounds) are unececssary, extremely conspicuous, and/or bad. This is not news to literally anyone older than about 20 who has consumed Star Wars content on any level. There are quite literally two very famous ‘despecialized’ fan projects explicitly dedicated to un-doing all of the shitty “fixed” CGI effects while simultaneously restoring the OT in HD.

And yes, I do, in fact, remember sci-fi special effects before CGI was the foundational cornerstone of moviemaking. It was not, in fact, shit:

Also, ironically I can show you by….*gasp* using fucking Star Wars, of all things. Welcome to the Tatooine pod race set of The Phantom Menace, which was not, as popularly believed, CGI’d but was instead a fully-built miniature set:

Yes, they built the entire set as a minature, built life-sized pod racers for the actors, then spliced the two together using digital effects. Yes, they did such a fantastic job that people think the entire set and scene sequence was basically completely CGI’d to this day. You’re fucking welcome for undervaluing the time, effort, and talents of set designers by implying that set design and practical effects inherently mean things will look like shit.

CGI also ages really poorly. What you think looks incredibly realistic now is going to look terrible in a few years. Just look at the original vs remastered Star Trek. They “restored” Star Trek around 2006 and replaced a lot of the practical effects with CGI, and maybe it looked ok in 2006, but it looks so bad and fake now.

You can see a video comparison for one episode here: https://youtu.be/ruPVTPCavdM

In the 60s they built a whole model of the Enterprise, complete with blinking lights and beautifully sculpted/painted details. It looks stunning! Then they replaced it with that horribly smooth and fake looking cgi ship.

Just look at this beauty

You can see the model at the Air and Space Museum in DC

Unfortunately the remastered version is the only version available to stream, but you can still find DVDs with the original effect.

Avatar
karadin

made in 1968 and still stunning 2001 A Space Odyssey

the designers worked with engineers at NASA to make realistic futuristic special effects using models and matte paintings no computer effects at all! - and incidentally inspired David Bowie to write Space Oddity, later performed in space by astronaut Chris Hadfield

The CGI of the original Jurassic Park may not be aging well (though arguably still better than some), but the practical effects will always look stunning. 

I want to talk fantasy.

This shot was achieved with splicing and green screen.

This wild-looking shot (and similar manipulations) was famously achieved by having a professional juggler in a duplicate of Bowie’s jacket and gloves sitting behind him, basically with Bowie in his lap, doing the handwork while Bowie kept his arms behind the juggler. You may have seen a game based on this on Whose Line Is It Anyway.

This? Wires! Splicing! THE CGI TO DO THIS DIDN’T EXIST YET! (The juggler is hidden under the cape. If there’s a scene where he’s wearing a cape, that’s actually probably why.)

And this? This heartstopping shot?

This does appear to be from the version with CGI—

—CGI THAT WAS USED TO ERASE THE SHADOW FROM THE PRACTICAL EFFECT.

The shot itself hasn’t changed. The lift itself was done with wires and Bowie was given some propulsion with an air cannon so he could make that turn at speed. A minor amount of CGI was used in the 30th anniversary to “touch up” the work done in 1986, and one of the things they did was to remove a shadow on the wall from one of the wires.

How about this?

You don’t know it, but you’re looking at a practical effect. In real life, the Ruby Slippers are almost orange. That luxe, rich ruby color showed up on the film as black when the shoes were the correct color, so the costumers adjusted the actual costume to give the color they wanted.

A MODEL OF A HOUSE SHOT INSIDE A NYLON STOCKING ATTACHED TO A FAN.

MAN IN A COSTUME.

HORSES DUSTED WITH COLORED GELATIN.

And this? This is where it would’ve been useful to have CGI. Margaret Hamilton got really badly burned on the steam doing one of her entrance/exits, and ended up in the hospital. THIS is what you use CGI for.

You come into my house and insult practical effects?

I’ll just finish off by reminding you THIS IS ONE, TOO.

That last one, iirc, was there was a double in a sepia-toned costume, and the interior door and wall there was painted brown, so when it was lit and shot it all appeared to still be in the sepia tone of the Kansas scenes, and part of why Dorothy stepped back out of the frame was so the double and Judy Garland (in the proper blue-and-white costume) could swap.

You are correct. The double’s name, by the way, was Bobbi Koshay.

Avatar
Avatar
vonbaghager

A faerie introduces himself. Then, holding out a hand, asks, “And your name, please?”

And, like a fool, you give it to him.

I got asked for clarification on this (but can’t reblog that particular post cuz on mobile), which I’m more than happy to provide.

In this post, a faerie is asking for ‘your’ name. The way he is wording it, however, and the accompanying beckoning motion, makes it seem as though he is asking for you to physically hand your name over. Which, because of how some faeries operate, he is.

In this instance, saying your name aloud to the fae would be literally giving your name over to him, the exact consequences of which are left up to the imagination–usually, a fae even knowing your name gives it some measure of power over you, but giving something your name would likely let it completely take over your life.

In this instance, the wording you want to use is something like “I will not give you my name, but I will tell you that it’s [name].” Alternately, you can just lie to him.

Avatar
ayellowbirds

Might i suggest the less direct yet still name-preserving “you may call me…”? It dodges the request while still giving an answer of a name, which does not even have to be yours, but any name you feel like telling the fae they can use to refer to you. I would recommend “Ainsel”.

Avatar
linkedsoul

The first time he asks for your name is the first time you meet him. He appears as you walk by the færie ring, that you have not entered because your grandmother has repeated so many times not to do so, and, curious of your presence, watches as you jump when you notice him.

You recognize him instantly. It is the Fæ whose influence your village is under, the one the elders have told you and your friends to be wary about, for the people who have been seen walking away with him have never come back.

You don’t know what he does to them. The villagers have never dared to confront him about it, never dare to address to him at all. He is not evil: he sometimes speaks blessings upon the cattle, talks the horses to calm after a storm, ensures a good harvest for the farmers, makes the flower bloom in spring even when the weather is still too cold. He is, simply, a Fæ, whose ways humans cannot understand.

“Hello, little one,” he says as you stand very still, back straight, hands fidgeting with the fabric of your skirt.

You do not go away - you cannot. This, your grandmother has taught you, would be considered as an offense, and you could be cursed, or he could take out his wrath onto the village. You do not shy away from his stare, however, even not knowing if this will displease him or not. You are eight, have the courage and the recklessness of your childhood innocence, the boldness of those who have not yet learnt how to fear; but you have been warned against the Fæs, who like to toy with humans and play tricks upon them, so you do not defy him either.

He walks up to you. You pray he will stay in the færie ring, as it feels like a protection, and fortunately, he does. He isn’t too malicious to the youngest ones, you have been told once - just do not know if this is true or not. You knew a girl your age called Nimia, that has been caught a year ago, and she has never come back to the village, and her parents have cried all week cursing the Fæ.

You summon to your memory everything your grandmother has taught you to ward off Fæs, and protect yourself against their tricks. You do not want to be the next Nimia.

He introduces himself as Áed, although you suspect it is merely a nickname. Then, holding out a hand, he asks, “And your name, please?”

There is your grandmother’s warning at the back of your head: names give power over people. The Fæ is asking you to literally give him your name, and who knows what he’ll do with it - he might as well use it to take you away, like he surely did to Nimia. To all the people who have never been seen again. To your own mother, two years after you were born, even though she was too clever to be caught by a Fæ’s trick.

So you remain quiet, watching him with wide eyes, until his own stare darkens, and he shakes his hand under your nose.

“Your name, little one.”

You pull yourself together. He might curse you if you don’t answer. You gather your courage, and, with the spontaneity of children who have freedom in their veins and do not bend to rules, you stretch out your hand back without touching his.

“I am sorry, lord Fæ. I haven’t heard you very well. Can you give me your name, please?”

He looks at you with surprised amusement. “Oh, well played, little one. You’re clever. Just for this one, I will let you go.”

He retreats his hand, and you scramble back as quickly as you can, bowing to him clumsily before taking your leave.

You had passed by the færie ring to go the well to wishes, even though the elders forbid the youth its access, disobedient little child that you are. You just wanted to wish for your father to let you wear your mother’s necklace - ‘not yet’, he always says, ‘when you are thirteen’. You forget about going there, after this encounter. You go back home, and your grandmother scolds you for having been gone for so long.

You do not tell her about the Fæ. She has already lost her daughter to him. If she knew he had tried to lure you, you would not be able to leave the house again - and you value your freedom too much for that.

The second time he asks for your name, you are fifteen, and you have ran to the well to wishes again, forgetting the elders’ warnings. You have sworn to yourself you would not go back home anyway. You are not sure what you want to wish for, but at least for all this pain within you to fade; just to be more, or maybe less, like your mother, to accept the village’s rules better, to simply fit in and be happy that way.

Eyes full of tears, breath uneven, barefooted on the grass, your mother’s necklace beating against your chest as run, you have not made a detour to avoid passing by the færie ring. You trip and fall in front of it, and Áed finds you curled there, crying and cursing to the world.

“Those are not pretty words,” he says.

You freeze. You push yourself on your elbows, sees the færie ring, feels dread slip into your head. It is only the second time you see him, and you are not a child anymore. You have learnt to fear.

The Fæ, who has taken Nimia, then Lettie, on the day of her wedding, and even the old Mack, hovers over you curiously, at the edge of the færie ring. You remember to keep still, not to offend him. You feel the fear you should have felt when you were eight; and yet again, as tonight sadness and despair have already filled your heart, you do not manage to remain terrified.

“I don’t care,” you answer, sitting on your knees.

He finally sits down, too. He does not talk, so you do not feel compelled to talk either, and silence stretches between you for a while.

“Were you going to the well to wishes?” he asks eventually. You nod. “It does not work anymore. Whatever you wish for, it will not grant it.”

You feel your chest tightening.

“You might not say the truth.”

He smiles. “Indeed. I might not. But you can try yourself.”

It might have been his way to allow you to leave - but you do not find it in yourself to do so. You are tired. You have run as fast as you could from your home. Your grandmother must be worried about you, and she will probably never let you stray from the village again. Your father’s shouts still resonates in your ears, saying you are not a good daughter, that you will never be, asking why you feel such a need to always run free, just like your mother, then asking why you cannot be her.

You know you should listen to your elders, tame yourself, learn to properly take care of your household, and stop fleeing from your duties and your classes to explore the wild. You just cannot help it. You were already a disobedient child; but the teenager you are now cannot bear authority.

Freedom.

Is it too little to ask?

“Are you going to stay here?” Áed asks.

You shrug, unable to answer properly. You feel too pitiful to try to talk with a Fæ - a tricky exercise, as Fæs like to twist words as they like and get human souls from a clumsy sentence.

“You can,” Áed then says. “I will watch over you.”

“This sounds too nice, lord Fæ.” You haven’t been able to prevent the dryness of your tone. “It might be another trick.”

And yet, you lay on your back, somewhat desperate, arms crossed behind your head, not knowing where else to go or what else to do. The Fæ, after all, is not evil, you remind yourself. He also does good things, occasionally. You might just be lucky.

“Aren’t you afraid, little one? I know you do not trust me.”

“I am too tired for that.”

He laughs. “Will you not give me your name, then?”

“I cannot give you my name,” you reply. You know what it would lead to. Giving your name to a Fæ is giving him the power to take over your life. “But I will tell you that it’s…”

You hesitate. The Fæ knowing your name would also give him some power - that is what has lost Lettie, you’ve been told.

“Elaine.”

You close your eyes, and Áed simply laughs. He does not speak afterwards; yet you remain wary, and heavy thoughts are on your mind, so you do not find sleep easily. You end up turning towards him, and opening your eyes again, wondering if he has left, too bored to stay watching over a sleeping human.

But he’s still there.

“Little liar,” he says, not smiling but not sounding angry either. “This is your mother’s name.”

You are somehow not surprised he has noticed. Your grandmother said your mother used to go the well to wishes often - she might have met him too, talked with him, before he took her away. Just like you, your mother didn’t fear the way to the well to wishes and the færie ring. The same recklessness, the same need for freedom runs into your veins. That might be why your family is so afraid to lose you.  

“You remember her?”

“I do. I remember Nimia, also. That foolish girl, Lettie. The old Mack, who tried to cut the færie ring. And all the others.”

“Why do you take them away?”

He looks at you. “Humans are fascinating. You poor little things, so weak and powerless, your lives are so short, and you do not know half the wonders that exist. And yet. You manage to find happiness.”

You feel yourself drifting off to sleep, listening to the soothing velvet of his voice. Exhaustion has caught up to you. Your eyes are already closing off.

“It is no reason to take it away from us,” you murmur, tiredly.

He keeps on staring at you, but does not answer. After a while, you simply close your eyes again, and this time, sleep finds you after a few minutes.

When you wake up, Áed is gone. You go back home, and your grandmother cries when you arrive. She forbids you to leave ever again. Your father apologizes for his harsh words, and you apologize for your rebellious attitude.

“Where were you?” your grandmother asks, once the calm has returned to the household.

“I slept by the færie ring,” you say. “But the Fæ wasn’t there.”

You can hear it in your head, ‘little liar’ said with his voice, and it somehow makes you want to smile.

“You shouldn’t,” your grandmother admonishes. “Your mother used to do that too, and look where that led her. You were lucky.”

“Yes,” you reply, and this time you think it, too.

The third time he asks for your name, four years have passed ever since you have slept by the færie ring, and your grandmother has still not allowed you out of the village. She does not like the longing looks you throw to the forest and the valleys beyond either, says you are now of age to be married, and should do so before she picks you a husband herself. This annoys you. She has, however, loosened her strict watch, and you can come and go out of the house mostly as you please.

For a few months, now, Kevan has been courting you, and you enjoy having the freedom to spend time with him. He is the blacksmith’s son, has had several lovers before you; but he assures you he can only look at you now, that you are the special one, and he swears if you marry him, he will make you the happiest woman of all Qelt.

You always laugh at that. He is cute and charming, but freedom is still your keyword, and you do not see yourself speaking vows to anyone yet. He shrugs, whenever this is your answer, then takes you in his arms, and makes you laugh some more.

But tonight, he doesn’t shrug. He has drunk, you know, maybe too much, and you look at him in slight fear when he grabs your arm too tightly after you have refused him once again.

“Why?” he groans. “I’m nice to you.”

“I know, Kevan,” you reply, trying to keep your calm. He is simply drunk. You have talked to more drunk boys than one, nothing has ever happened to you. “Now let go of me, please. I told you, I simply do not want to marry yet–”

“You do more than that. You refuse yourself to me. I’m courting you, but it never goes further than an embrace.”

“I do not owe you more than an embrace. If this bores you, you’re free to woo another woman.”

He pulls you to him, and his grip hurts, this time. “I do not want another woman!”

“Kevan, you’re drunk!”

You put a firm hand on his chest to keep some distance between you, keeps your head away from his. You know what he wants, but you do not want it.

“Why don’t you love me?” he asks, accusatory.

Part of you feels guilty. Part of you feels angry.

“I don’t owe you feelings.”

“You’ve seduced me. You’ve let me court you.”

You thought you loved him. You simply wanted to take it slow, to grow a friendship with this charming boy, before doing anything. You enjoyed his attention. You enjoyed playing this little game of cat and mouse with him, thinking it would end well for the both of you once you would have decided your freedom could also be with him.

But not anymore.

Your freedom cannot be with a man who will not wait for you, yet will not move on to someone befitting him better.

“I just wanted time, Kevan,” you try, despite knowing the idea of a future with him is over. “Can you understand that?”

“No!” he roars. “I’ve waited enough. You’re mine, you hear me?!”

“You’re drunk, you don’t know what you’re saying, you-”

“YOU’RE MINE!”

He pulls you closer, and you break free. He screams your name, but you’re already running out of the inn, under the confused eyes of the other villagers who have always seen you two getting along so well, and do not understand what has happened.

Kevan screams your name again, chasing after you.

Fear takes over.

What is he going to do? He is drunk, simply, he surely himself does not understand his own acts. But what if he catches you? Will he just shout? Will he cry? Will he stop himself, being the charming boy he has always been?

Unless this charm of his was nothing but a way to get into your bed, and this friendship you wanted, he has never had any use of it?

And if he catches you, he will get his way with you, whether you want it or not?

No, he wouldn’t do that. He isn’t like that. He might not go that far.

But you can feel his need for bruising kisses, for his hands on your skin, at least, and you can see yourself crying as he holds you tight and calls you his, because it is not how it was supposed to be - and this, you do not want at all.

He calls you names. Yells insults. You run, never turning back, never slowing down. You cannot lead him to your home, you think. Your grandmother and your father are sleeping and you should not even be out, and he would get you before the door.

So, you keep on running.

Your legs carry you to the only place where you’ve found safety outside the village, and when you hear Kevan’s voice louder, his steps closer, you scream before diving into the færie ring.

“ÁED!”

He receives you in his arms. You fold against his chest, trembling and still unable to believe the man you thought could become your husband has gone as far as chasing you outside the village, to the færie ring all villagers avoid.

You do not even want to know how Kevan has reacted. You breathe in and out, slowly, letting Áed hold you and stroke your hair.

“Easy, little one,” he whispers to your ear. “Easy.”

“What are you doing?!” Kevan’s shout. He sounds afraid. “Get back here! It’s–”

“Hush, human.” You have never heard Áed speaking so coldly. Kevan falls silent - drunk or not, every villager knows to respect the Fæs. “This one is under my protection.”

There are no words exchanged for what seems to be a long, long time. You can hear Kevan’s ragged respiration behind you, just one meter away. The færie ring feels like a protection once again; yet you’re inside, this time, and that’s where you feel safe.

“Leave.” There is the hint of a threat in Áed’s voice. “Now.”

Kevan’s steps finally hurry away after a few seconds of hesitation, and you break. You cry. You cling on Áed’s tunic, and you shed your tears, resting your forehead on the crook of his neck.

“It’s okay, little one. He’s gone. You’re safe.”

You somewhat forget he has taken your mother, Nimia, Lettie, the old Mack, and all those other missing villagers from before you were born, during the centuries he has lived. You somehow forget of what you risk, being in a færie ring, in a Fæ’s embrace.

And Áed does not lie to you. You’re safe. He lets you cry in his arms, without asking anything of you, without taking you to Fæqelt, the holy land where his kind resides, without any tricks or malice.

“I do not want to go home,” you murmur.

“It is okay, little one. You can stay here. The færie ring is safe for you.”

You pull away to look at him. “Are you not going to trick me?”

“I won’t.” He is grinning. You believe him, even though you should not.

“Not even ask me for my name?” you try to joke, pathetically.

He raises a brow. “Would you give me your name?”

“No,” and this time you’re smiling, even just a little. “But you may call me Ainsel.”

He laughs and ruffles your hair, and keeps on calling you ‘little one’ - he’s a Fæ too old to be tricked back that way. You end up laying down side by side in the færie ring, and he talks with you until you fall asleep.

When morning comes, you’re in your bed. When you finally stop avoiding him, a few days later, Kevan apologizes to you, then never talks to you again.

You prefer it that way.

The fourth time he asks for your name is very soon after. You come to the færie ring at night, darkness being the only way to escape your grandmother’s watch to leave the village, though you do not enter it.

Last time seemed like an emergency situation. You are not sure you can be so lucky not to be tricked by the Fæ again.

You are not so sure why you have come here either. Maybe it is the fact that you have started appreciating Áed, despite all his evil deeds - that he yet does not see as evil, simply as a Fæ’s doings. Maybe it is because you are starting to understand that your parents’ wedding and your birth was, for your mother, more of a curse than a blessing; and that the same fate of having to bend yourself to what everyone is expecting you to do might be awaiting you as well.

But maybe, it is just the freedom of being able to run under the moon wherever you want, and feel the wind into your hair, away from a village you love but which has started to grow too small for you.

“Little one!” he calls when he appears. He seems surprised, but pleased. “I did not expect to see you so soon. Are you going to the well to wishes?”

You shrug. “No, I wanted to see you. Please do not ask me why.”

“Why?” he maliciously asks.

You shake your head, raise your eyes to the sky. That makes him laugh. He is infuriating, in a way; yet you cannot help but smile.

“How are things, with the ruffian?”

“He has apologized, but has stopped talking to me. He thought me going into the færie ring was a dream, though. I’m glad of it. Had he talked about it, it would have caused me troubles.” You grimace. “My grandmother would have locked me in the house, and married me off immediately.”

“And I could not see you again?” he exclaims. “Horrible. Why would she do such a thing?”

You look at him quietly, and his expression shifts to a less mischievous one.

“She has already lost her daughter to you,” you say, voice soft. “She does not want to lose her granddaughter.”

He opens his mouth to talk, closes it. You are convinced that years ago, he would not have reacted the same way. Would not have taken it so seriously.

“Do you miss her?” he asks.

“I was two, when you led her away. I did not know her well. But my grandmother and my father miss her, and I have always been able to feel there was something lacking in our home.”

He nods. You nod back. There is something strange, in the atmosphere, though you cannot say what. You are not sure he regrets what he has done - how could he? He remains a Fæ, after all -, but you know he has no intention to talk about it with any kind of pride anymore.

“Come here, little one,” he finally says. “And I promise, nothing will happen to you. I will not bring you any more harm.”

You step into the færie ring, standing proud in front of him. Your heart is strangely beating hard in your chest, and he smiles at you, eyes gleaming with a light which is not mischief, but something much softer.

“Will you give me your name, little one?”

It is not a bargain. He already knows your answer.

“You will let me refuse, won’t you?”

He winks. “I will.”

“Then, I can’t give you my name,” you decide, amused. “You are still welcome to call me Ainsel, however.”

“Oh, ‘little one’ suits you better.”

You laugh, and you two sit in the færie ring to talk again, and you tell him things you cannot tell anyone else - you tell him about your dreams of freedom, your wish to explore the world, even Fæqelt, the fact that the village has started to be a prison for you, instead of a home, that your family is your anchor but not your guide, about your need to leave.

He listens. He gives you some answers. Tells you about Fæqelt, about how færie rings can be used to travel within all Qelt and beyond, about himself, also.

And you start thinking it wouldn’t be so bad, traveling with him.

You start coming back to the færie ring more and more often. You are curious about him. A strange bond has started developing between you two, and the more you know about him, the more you notice the constellation of golden freckles on his cheeks, the way his eyes glint with a reflect of starlight, how his laugh sounds when he’s particularly happy, the softness of his smiles which are not tainted with mischief.

Soon, you find yourself craving for those interactions.

There is no one else in the village able to understand you, to support your desire to wander around the world. No one else to talk about travels and adventures with. Even your childhood friends, who have shared all your ups and downs, cannot get why you do not want to become a fine housewife, and live the rest of your life surrounded by what you have always known.

You know, now, why your mother has walked with her hand in Áed’s, while she was too clever to be taken away.

It was the craving for freedom.

She should have known better than abandoning her family; but you can understand how trapped she must have felt in this little village, especially if a marriage and a baby was not what she had wanted. She must have looked longingly to the forests and valleys beyond the village, as you now do, and must have thought it would be better to be led astray by a Fæ than to remain chained down and become a shadow of herself, needing freedom as one needs oxygen.

You understand.

You would have done the same, had you married Kevan as you planned to, all those months ago.

But one night, you stay too late, and your grandmother is waiting for you when you come home at dawn. She notices the grass on your dress, asks for explanations, does not believe any of your lies.

So you tell her the truth, for she has always been one of your pillars, but she screams the moment she hears you have bonded with the Fæ - and her screams wake your father who cries and despairs when learning what you have done.

For the first time in years, he says again you will never be a good daughter. He cries that you are too much like your mother, with the same craving for freedom, the same desire to leave the village, that if he does not keep an eye on you, you will run away to Fæqelt and never come back. He accuses you not to love him, for your mother surely did not love him and the idea of a family with him - or not enough to stay.

Your grandmother locks you into the house, does not allow you out again except under her watch. She promises to marry you soon, as she did for her daughter when she understood her daughter would one day leave her if she did not. The world is too wild for humans, she tell you. Binding you here is the only way to protect you.

This is for your own good, they say, but it does not do you any good.

The village learns about it. Kevan understands what he had seen that night was not a dream, reveals you have stepped into the færie ring, into the Fæ’s arms. And then the villagers, those people who have raised you, seen you grow, watched you live, whisper that you are lost, and that you are a Witch. They say you will bring bad luck to the village, that you are a channel through which curses and tricks from Fæqelt will pass; but they cannot get rid of you and risk the wrath of Áed.

You are not even sure they know what a Witch is. You do not, not really. Witches are wanderers who have strange powers, people say, obtained through a pact with a Fæ. It is like making vows with mischief itself: Witches might be human, but like Fæs, they cannot be trusted.

You cannot go anywhere without hearing the whispers, or feeling the heavy stares in your back. One day, at the market, you receive a stone from Lettie’s former husband, who did not know better. Your grandmother, ashamed, as she cannot even marry you off to a villager anymore, does not defend you.

After that, you stop leaving the house at all.

And you understand your mother’s decision even better.

The fifth time he asks for your name, it’s Early Summer Night, the beginning of the warmer days, celebrated by the entire village around a banquet. Your grandmother and your father have left the house. They are convinced you will not. No one would want to see you at the banquet, after all.

But your need for freedom is still there.

You escape your home which has become your prison, and you only feel like living again once the wind is in your hair, the grass under your feet, and you can breathe in fresh oxygen. You run. Your legs welcome the dearly missed sensation blissfully, take you to the færie ring.

You do not know where else to go.

“Áed,” you whisper when you step into the færie ring, and he’s there, and you’re in his arms, and he’s holding you so tight you realize he must have missed you like you have missed him.

“Do you know how scared I was, little one?” he asks in a strangled voice. “I thought– I thought you would never come again.”

You break in tears. Everything is too much, feels too much, has been too much ever since your grandmother has discovered you had approached the færie ring. You feel like shattering - and in a way, you do, pressed against his chest, pouring your heart out and wishing this night would not end.

“I thought they had killed you,” Áed murmurs, caressing your hair.

“They wouldn’t,” you sob. “They scorn me, now, but they’re not murderers. And I have done nothing evil.”

“What’s inside you, what you are capable of, it scares them. And scared people lose their minds far too easily.”

You shake your head like a child. “They would not harm me.”

“Not physically. But they could have harmed you in other ways. Your beautiful mind, for example. They could have killed this spark in you.” He pauses. “Forced you to give up on your freedom.”

You think of all those days spent the same way, cleaning, cooking, sewing, all nice tasks as long as they’re not the only ones in your life, looking by the window and desperately wishing to feel the warmth of the sun on your skin again, to walk around without fearing to be called names or to receive stones.

You think of how, had you not known him so well, you would have already escaped and given him your name, for getting lost forever in Fæqelt will always be better than the life you now have.

“They almost did.”

You realize, belatedly, how terrified you sound. Áed takes your face between his hands, looking so worried you think he might cry too.

“Little one, you do not have to remain here. You can leave. That is what you have always wanted.”

“But,” you weep, “they are my family.”

“Family should push you forward, and not hold you back. They might warn you, but they should not bind you. Leave, little one. Take your freedom. They do not own you. Come back to this village a fine traveler and a proper Witch, and show them they were wrong to outcast you.”

You manage to smile weakly. “You make it sound so easy.”

“Because it can be. Witches are travelers who venture into Fæqelt and explore it, little one. That, you can be easily. You have the wit and the courage for it.”

You take a breathe, in and out, the despair in your stomach slowly turning into a glint of hope.

“Aren’t humans supposed to lose themselves in Fæqelt?”

“Not with the blessing of a Fæ,” Áed replies softly, and your heartbeat fastens.

The future, all of a sudden, seems open with a thousand possibilities. You see the roads, the travels through færie rings, the foreign people in the inns, the new towns, the vast, vast world you have always dreamt of seeing, the holy land of the Fæ, mysterious and enthralling, only ever told in myths - and Áed by your side, being his usual self, smiling at you so brightly.

“Yes,” you say to this future, to this everything. “I would want that.”

There is relief on Áed’s face, relief and fondness - as if he had wanted you to say that, for your sake and because that was something he wished for, but was not sure you would bring yourself to do so.

“I will come for you during Midsummer Night, when Fæs can leave the færie rings, and blend in with humans. Be strong until then, little one. Do not let them bind you.”

“Thank you, Áed. Thank you.”

“Just give me your name in exchange,” he jokes to cheer you up.

It makes your chest so warm the tears pour out again. Áed smiles, kisses your humid cheeks gently.

“Next time”, you promise, crying. “Next time.”

You still want to give your village a chance.

Or at least a goodbye.

The last time he asks for your name, you are ready to leave. You are but the shadow of yourself, now. The days until Midsummer Night have been endless. Your grandmother has suspected you had gone out during Early Summer Night, but has not been able to prove it - she now barely talks to you at all. Your father has managed to marry you to a farmer in the next village, who hasn’t heard of you.

You have long wondered why their worry has turned into anger and resentment, why they have caged you, when they simply wanted to protect you. No matter your apologies, your explanations, they won’t listen to you at all.

Now, you suppose it is easier to hate than to forgive, especially when there is finally someone to blame for your mother’s disappearance - for all those disappearances. But they have not realized what they are doing is what drew your mother away from them, what is also drawing you away.

They cannot understand. And what they cannot understand, they fear; and what they fear, they try to keep it locked somewhere until it dies.

“Gather your belongings,” your father tells you when the night is falling. “Tonight, you will meet your future husband. We will celebrate the wedding when the dances end.”

They are taking you to celebrate Midsummer Night in the next village, and are getting rid of you the same day, so that no villager will have to bear your presence ever again. You tell them all goodbye in your head, sat in your father’s cart, the bag containing your few belongings on your lap as you watch the little houses and the streets where you have grown up fade away into the night.

Your future husband is introduced to you as soon as you arrive. He is nice, and his family welcomes you warmly; but you can see they are just like the people of your own village, thinking everyone should be content doing what they’re expected to do, and they would frighten of your need for freedom. You already suffocate when they say everything is ready for the wedding, insist on celebrating Midsummer Night first - and fortunately, they all agree.

You embrace your father and your grandmother before joining in the dances. They do not quite understand when you already bid them farewell.

You share a few dances with your future husband, a charming man who would never be able to understand you, and would fear you if he really knew you. He feels guilty leaving you to go dance with his sister, but you laugh and encourage him to do so.

You do not tell him you will dance again anyway.

That would be a lie.

You watch as he nods and hurries to his family, then change partners yourself, taking the hand of the first man who approaches you–

“Hello, little one.”

–and you nearly cry when your eyes meet his. He is so beautiful, in the light of the high flames lit in the middle of the village, you almost think he is a dream - but he is not, oh, he is not, and you have never been so happy.

“You are of exquisite, tonight,” Áed says.

You are wearing the wedding dress you have sewn yourself, all those days spent in your house, and your mother’s necklace resting on your chest, that necklace you longed for so much when you were just a child, which is the only thing from her your father has allowed you to keep.

“Thank you,” you tell Áed, for calling you exquisite, and for everything else.

He laughs and makes you twirl, and for the first time in what feels like centuries now, you laugh too. He does not let go of you. You do not want him to.

“Will you give me your name, little one?” he asks; but this time, you know what he will do with your name, with your life.

He will set you free.

So you stand on tiptoes, and you give him your name, finally, and he wraps his arms around your waist to whisper his own, real name into your ear - then, when the dance comes to an end, you run hand in hand to your father’s cart to pick up your bag, laughing like children, before disappearing into the night.

No one sees you leave.

It means you might come back one day.

This is the most beautiful thing i have ever read and i hope everyone it comes across reads it and feels the same intensity that i felt beacause it is truly a work of art

Avatar

Let’s play a game called: Actual Supernatural line or not?

Does this mean we can finally clear up the origin of THIS line?
They’re both real lines

And the infamous:

imageimage

Two more for the bonus round

imageimage

what even is this show

zumoo4u2

It makes me happy that all these lines are from the show

I’m not even in this fandom but fuck it

Best lines in the history of the show

The key and the lock line 😂

I’m joining the party 🎉🎉

Avatar
dark-nimbus

Yes, this is my family.  Yes, I love them

The way all of these are actual lines from the show

Adding some more:

Avatar
teainbuckets

Joining in.

Spn heritage post

Avatar
reblogged

Story Structures for your Next WIP

hello, hello. this post will be mostly for my notes. this is something I need in to be reminded of for my business, but it can also be very useful and beneficial for you guys as well.

everything in life has structure and storytelling is no different, so let’s dive right in :)

First off let’s just review what a story structure is :

  • a story is the backbone of the story, the skeleton if you will. It hold the entire story together.
  • the structure in which you choose your story will effectively determine how you create drama and depending on the structure you choose it should help you align your story and sequence it with the conflict, climax, and resolution.

1. Freytag's Pyramid

  • this first story structure i will be talking about was named after 19th century German novelist and playwright.
  • it is a five point structure that is based off classical Greek tragedies such as Sophocles, Aeschylus and Euripedes.
  • Freytag's Pyramid structure consists of:
  1. Introduction: the status quo has been established and an inciting incident occurs.
  2. Rise or rising action: the protagonist will search and try to achieve their goal, heightening the stakes,
  3. Climax: the protagonist can no longer go back, the point of no return if you will.
  4. Return or fall: after the climax of the story, tension builds and the story inevitably heads towards...
  5. Catastrophe: the main character has reached their lowest point and their greatest fears have come into fruition.
  • this structure is used less and less nowadays in modern storytelling mainly due to readers lack of appetite for tragic narratives.

2. The Hero's Journey

  • the hero's journey is a very well known and popular form of storytelling.
  • it is very popular in modern stories such as Star Wars, and movies in the MCU.
  • although the hero's journey was inspired by Joseph Campbell's concept, a Disney executive Christopher Vogler has created a simplified version:
  1. The Ordinary World: The hero's everyday routine and life is established.
  2. The Call of Adventure: the inciting incident.
  3. Refusal of the Call: the hero / protagonist is hesitant or reluctant to take on the challenges.
  4. Meeting the Mentor: the hero meets someone who will help them and prepare them for the dangers ahead.
  5. Crossing the First Threshold: first steps out of the comfort zone are taken.
  6. Tests, Allie, Enemies: new challenges occur, and maybe new friends or enemies.
  7. Approach to the Inmost Cave: hero approaches goal.
  8. The Ordeal: the hero faces their biggest challenge.
  9. Reward (Seizing the Sword): the hero manages to get ahold of what they were after.
  10. The Road Back: they realize that their goal was not the final hurdle, but may have actually caused a bigger problem than before.
  11. Resurrection: a final challenge, testing them on everything they've learned.
  12. Return with the Elixir: after succeeding they return to their old life.
  • the hero's journey can be applied to any genre of fiction.

3. Three Act Structure:

  • this structure splits the story into the 'beginning, middle and end' but with in-depth components for each act.
Act 1: Setup:
  1. exposition: the status quo or the ordinary life is established.
  2. inciting incident: an event sets the whole story into motion.
  3. plot point one: the main character decided to take on the challenge head on and she crosses the threshold and the story is now progressing forward.
Act 2: Confrontation:
  1. rising action: the stakes are clearer and the hero has started to become familiar with the new world and begins to encounter enemies, allies and tests.
  2. midpoint: an event that derails the protagonists mission.
  3. plot point two: the hero is tested and fails, and begins to doubt themselves.
Act 3: Resolution:
  1. pre-climax: the hero must chose between acting or failing.
  2. climax: they fights against the antagonist or danger one last time, but will they succeed?
  3. Denouement: loose ends are tied up and the reader discovers the consequences of the climax, and return to ordinary life.

4. Dan Harmon's Story Circle

  • it surprised me to know the creator of Rick and Morty had their own variation of Campbell's hero's journey.
  • the benefit of Harmon's approach is that is focuses on the main character's arc.
  • it makes sense that he has such a successful structure, after all the show has multiple seasons, five or six seasons? i don't know not a fan of the show.
  1. the character is in their comfort zone: also known as the status quo or ordinary life.
  2. they want something: this is a longing and it can be brought forth by an inciting incident.
  3. the character enters and unfamiliar situation: they must take action and do something new to pursue what they want.
  4. adapt to it: of course there are challenges, there is struggle and begin to succeed.
  5. they get what they want: often a false victory.
  6. a heavy price is paid: a realization of what they wanted isn't what they needed.
  7. back to the good old ways: they return to their familiar situation yet with a new truth.
  8. having changed: was it for the better or worse?
  • i might actually make a operate post going more in depth about dan harmon's story circle.

5. Fichtean Curve:

  • the fichtean curve places the main character in a series of obstacles in order to achieve their goal.
  • this structure encourages writers to write a story packed with tension and mini-crises to keep the reader engaged.
  1. The Rising Action
  • the story must start with an inciting indecent.
  • then a series of crisis arise.
  • there are often four crises.

2. The Climax:

3. Falling Action

  • this type of story telling structure goes very well with flash-back structured story as well as in theatre.

6. Save the Cat Beat Sheet:

  • this is another variation of a three act structure created by screenwriter Blake Snyder, and is praised widely by champion storytellers.
  • Structure for Save the Cat is as follows: (the numbers in the brackets are for the number of pages required, assuming you're writing a 110 page screenplay)
  1. Opening Image [1]: The first shot of the film. If you’re starting a novel, this would be an opening paragraph or scene that sucks readers into the world of your story.
  2. Set-up [1-10]. Establishing the ‘ordinary world’ of your protagonist. What does he want? What is he missing out on?
  3. Theme Stated [5]. During the setup, hint at what your story is really about — the truth that your protagonist will discover by the end.
  4. Catalyst [12]. The inciting incident!
  5. Debate [12-25]. The hero refuses the call to adventure. He tries to avoid the conflict before they are forced into action.
  6. Break into Two [25]. The protagonist makes an active choice and the journey begins in earnest.
  7. B Story [30]. A subplot kicks in. Often romantic in nature, the protagonist’s subplot should serve to highlight the theme.
  8. The Promise of the Premise [30-55]. Often called the ‘fun and games’ stage, this is usually a highly entertaining section where the writer delivers the goods. If you promised an exciting detective story, we’d see the detective in action. If you promised a goofy story of people falling in love, let’s go on some charmingly awkward dates.
  9. Midpoint [55]. A plot twist occurs that ups the stakes and makes the hero’s goal harder to achieve — or makes them focus on a new, more important goal.
  10. Bad Guys Close In [55-75]. The tension ratchets up. The hero’s obstacles become greater, his plan falls apart, and he is on the back foot.
  11. All is Lost [75]. The hero hits rock bottom. He loses everything he’s gained so far, and things are looking bleak. The hero is overpowered by the villain; a mentor dies; our lovebirds have an argument and break up.
  12. Dark Night of the Soul [75-85-ish]. Having just lost everything, the hero shambles around the city in a minor-key musical montage before discovering some “new information” that reveals exactly what he needs to do if he wants to take another crack at success. (This new information is often delivered through the B-Story)
  13. Break into Three [85]. Armed with this new information, our protagonist decides to try once more!
  14. Finale [85-110]. The hero confronts the antagonist or whatever the source of the primary conflict is. The truth that eluded him at the start of the story (established in step three and accentuated by the B Story) is now clear, allowing him to resolve their story.
  15. Final Image [110]. A final moment or scene that crystallizes how the character has changed. It’s a reflection, in some way, of the opening image.

(all information regarding the save the cat beat sheet was copy and pasted directly from reedsy!)

7. Seven Point Story Structure:

  • this structure encourages writers to start with the at the end, with the resolution, and work their way back to the starting point.
  • this structure is about dramatic changes from beginning to end
  1. The Hook. Draw readers in by explaining the protagonist’s current situation. Their state of being at the beginning of the novel should be in direct contrast to what it will be at the end of the novel.
  2. Plot Point 1. Whether it’s a person, an idea, an inciting incident, or something else — there should be a "Call to Adventure" of sorts that sets the narrative and character development in motion.
  3. Pinch Point 1. Things can’t be all sunshine and roses for your protagonist. Something should go wrong here that applies pressure to the main character, forcing them to step up and solve the problem.
  4. Midpoint. A “Turning Point” wherein the main character changes from a passive force to an active force in the story. Whatever the narrative’s main conflict is, the protagonist decides to start meeting it head-on.
  5. Pinch Point 2. The second pinch point involves another blow to the protagonist — things go even more awry than they did during the first pinch point. This might involve the passing of a mentor, the failure of a plan, the reveal of a traitor, etc.
  6. Plot Point 2. After the calamity of Pinch Point 2, the protagonist learns that they’ve actually had the key to solving the conflict the whole time.
  7. Resolution. The story’s primary conflict is resolved — and the character goes through the final bit of development necessary to transform them from who they were at the start of the novel.

(all information regarding the seven point story structure was copy and pasted directly from reedsy!)

i decided to fit all of them in one post instead of making it a two part post.

i hope you all enjoy this post and feel free to comment or reblog which structure you use the most, or if you have your own you prefer to use! please share with me!

if you find this useful feel free to reblog on instagram and tag me at perpetualstories

Follow my tumblr and instagram for more writing and grammar tips and more!

Avatar

I collected a bunch of "haha I don't have 2020 vision" "oh God not like that" posts

Avatar
bouncyirwin

I wouldn’t mind a sequel to this post 🤣

I have kept coming back to this post to see the reblogs, so I can give you the ones other people collected all in one place:

This one I actually found myself!

And I don’t think that this counts, but it still has the beautiful “Ah, fuck” vibes the rest of the post does:

And let’s not forget the cursed “Supernatural GIF Perfectly Describes 2020″ one:

@ferrousferrule:  You said you were looking for more and going through the reblogs, right? In which case this isn’t going to be of much use to you, but still. Just in case it is. :)

Avatar
apelcini

I just knew having a tag for these would come in handy

Avatar
harperhug

Oh my god I’m fuckng crying and I’m not sure it’s from laughter or despair.

Avatar

painful Missy thoughts

@you-have-to-use-your-imagination​ and anyone else who’s interested feel free to jump in because I am upset about this

I’m talking about this clip from World Enough and Time, from 1:00 to 1:20 and that’s all

TW: quick and vague references to mental illness and suicidal ideation

disclaimer: I can’t GIF so there are a lot of screenshots here

We step in at this point:

Missy discovers that the colony ship is from Mondas and she jumps up to go and tell the Doctor; Razor pulls a gun, which just seems to annoy her. Until now she’s basically been ignoring everything he said. She turns back to him and starts to threaten him, and he says this:

and while he says it Missy circles him and her face goes from THIS:

to THIS:

look at the strain!!!!

I can’t capture this in screenshots but she shakes her head, and her mouth twitches

she doesn’t know this is her past self yet but this one line gets to her so much and she’s biting so much back to keep from reacting

and because Michelle Gomez is *chefs kiss* she gets it all across in this single shot

because she knows!!! she knows she’ll never be free!!!!!! or at least she thinks it very strongly

and here is this random man giving voice to her biggest fear because he knows it because he’s her and imagine!!!! if someone stood in front of you and said your worst insecurity, the cruellest thing you’ve ever told yourself in your own mind, out loud to you like it’s just the truth????????

so she grimaces and she shakes her head but it’s not for him - it’s that thing you do when you’re pushing down the bad thought. we know that she’s battling with herself, literally, on the outside, but she doesn’t; for her the fight is on the inside and she’s trying so hard not to let the bad thought win

and idk, as a person with OCD it just looks so familiar like, shake your head like an etch-a-sketch to wipe away the intrusive thought

but the intrusive thought is standing there in front of you and he just keeps talking

but she keeps trying

the teeth!!!! when I’m writing Missy and I talk about her baring her teeth this is what I mean because look at her!! look at the pain in that almost-smile! look how close she is to the edge!!!! she looks like she could scream or kill something or break down in tears any second now and it hurts me

but he just keeps going

that face???? that’s not confusion. she isn’t trying to figure out what he means.

that’s realisation, and resignation

but she still doesn’t know about Simm or Bill so why???? what is she realising?? why is she resigned???

because Missy doesn’t know what’s real!!! Missy doesn’t know what’s right!!! I know it sounds weird but she’s so trusting in a begrudging sort of way because she doesn’t trust herself

someone stands in front of her and says “you hurt somebody and you’ll never be forgiven” and she doesn’t ask who?? she doesn’t ask how?? she just… knows

she just accepts it and for 0.5 seconds every ounce of fight drains out of her

and yes, she gathers herself and keeps threatening, keeps snapping at him, but it’s obvious that she’s shaken to the core and then when he says

and she closes the distance and gets in his face

don’t get me wrong because this is a beautiful shot but I feel like it really misses something that I didn’t even notice on first viewing, which we only see for a split second when Razor throws the gun aside which is

she jams herself up against the gun!!!!!!

Missy doesn’t know that he’s her. Missy doesn’t know what he means yet, not really, but he says “you would never be so self-destructive” and she dares him to shoot her

when she doesn’t know that Razor is Simm!Master, he stands in front of her and points a gun at her and says all of her most painful thoughts out loud

and she shows her teeth and dares him to shoot her

and I just think that that matters

aaaahh im gonna explode i love this scene so much but ive never been able to say anything coherent about it but i did gif this part a while ago:

because youre right the teeth!! she does this when shes threatened!

(here in 8x12 it looks like the doctor is actually about to kill her and she’s really taken aback by it)

but also i feel like theres almost something like pride in that when she says “i havent done anything to his silly little friend”, something like ‘look at my streak of days not murdering people’ because like you said, she’s fighting herself. shes fighting herself this entire finale.

i mean, this is just one interpretation and also ive said it like a hundred times before but i like to read missy as addicted to murder (in the bekdel test theres this exchange after missy shoots someone with an improvised weapon and threatens some other people: RIVER: Missy, this isnt going to work. MISSY: No, no, probably not, but it is fun. I was feeling a bit… zappy. and i love it because it’s so blatantly not about achieving any goal except satisfying the urge to kill someone. anyway:)

world enough is a test. it’s explicitly a test. it’s maybe interesting how missy at first calls it “a ridiculous exercise”  and only when the doctor corrects her saying it’s a test, she says “dont test me eating crisps!”. she tries for exercise first maybe because it takes a bit of the pressure off?

over series 10 shes been steadily getting more freedom, which means more expectations. and this, letting her play doctor who with bill and nardole, could be just another step up of a little more freedom after eaters of light. it could be, you know, practice. but it’s not. it’s a test. it’s pass or fail. if she messes up, if she murders someone, she probably loses the doctor forever, like this is the most the doctor has maybe ever been trying with her and he’s still barely doing anything. if she messes up now, thats it. she has to do this right.

but i dont know if she feels entirely ready? because 1) the exercise/test thing, she kinda tries for ‘hey maybe this isnt sink or swim, maybe this is just one more instance in which i can try to make sense of your confusing Goodness rules in practice and if i do it wrong, well you can tell me off about it later in the vault’ and the doctor’s like ‘no, it’s sink or swim’, and 2) because like you said, she doesnt trust herself. she doesnt know whats right and i dont think she knows what shes going to do.

she gets thrown in the deep end like ‘show me how you manage your addiction with the stressors of the outside world and access to people to kill. because bill and nardole, theyre off-limits, she cant do anything to them because thats game over. shes probably thought about it, she COULD have done it, but she HASNT! she hasnt done anything to his silly little friend!

i think shes a little proud and i think shes REMINDING herself. ‘i havent done anything and i dont have to do anything now! i havent murdered before and i can not murder again’ because the master is super tempting her. he’s really trying to push all her buttons, get her to snap (because she’s him and to see his future self be the way missy is would probably be a threat to him. it’s a direct threat, something he fears (”you mean youre just going to keep me?” he says in last of the time lords) and it would be a real threat to his identity. (if she snaps and tries to kill him and basically goes against the doctor’s orders, that would reassure the master that she’s still him, that he wont change that much, that in the end he’ll still be himself and not just the doctor’s pet. but thats a different topic for a different post)

so anyway i think part of what that “i havent done anything” is, is a last ditch attempt at trying to convince herself Not To Do This. because i mean, look:

shes literally split in two by the light. the master mocks her for her… idk, subjection? to the doctor and that finally makes her stop ignoring him and turn to him with that little smile like ‘someone is about to horribly die now’ (it’s the first time she actually looks at him too)

but then in the next shot we see her from the other side, in the shadow, and shes not smiling on that side

i mean, im projecting a lot more thoughts and feelings into this shot than one could reasonably assume to be actually there, but do you know that feeling when part of you has already decided to do the thing you know youre not supposed to do and is like, already mentally picking weapon and method? and theres another part of you that knows it’s useless to argue with the murder part but is trying to anyway? *points at this gif*

but shes still trying! she warns him! (she actually warns him, or herself, 3 times during this scene. shes really trying really hard) but he interrupts with that “he’ll never forgive you”

and then theres everything you said of course which is perfect and i hate it because it hurts

im just gonna put this gif in here because i already made it anyway so why not

d r e a d

i love what you said about how she’s so strangely trusting. how she just accepts what this apparent stranger tells her. because theres such a feeling of… hmm inevitability to it?

theres this moment also in the bekdel test where river and her are speculating about who’s behind this entire prison scheme and:

RIVER: So what do you think the real reason is? MISSY: I’m as much in the dark as you are dear. Although I might not be telling the truth. There’s no way of knowing…. RIVER: Yes, the thought had crossed my mind. You kidnap me, pretend to be a fellow prisoner… MISSY: Yes. Oh. OH! Ohhh maaaybe I’m secretly in charge of the whole thing! Maybe it’s my future self. Maybe she kidnapped me, wiped my memory and threw me in prison. RIVER: But why go to all that trouble? MISSY: No idea. Does sound like the sort of wackydoodle thing I would do, though, doesnt it?

missys relationship with herself is so interesting to me. interesting in whatever the opposite is of ‘scientific curiosity’, like, ‘emotional overinvestment’ maybe. when it comes to the whole vault and goodness and the doctor thing, she seems so unsure of herself.

she doesnt know how to interpret all these new emotions and i think she feels very unpredictable to herself. i think she cant predict of herself how shes going to react to things or what shes going to do. which makes 10x11 and 10x12 really precarious! this is her do or die chance to win the doctor’s friendship

(and not even the only one! like if this had been a successful mission she’d have to keep proving herself over and over on every subsequent mission, it’s exhausting and unfair. though then at least maybe she’d gain a little more confidence with every new mission that she could do it)

and she doesnt know that she will succeed. i really dont think she knows. it’s as much of a leap of faith for her as for the doctor (in fact i think in 10x12 once theyve met the master, the doctor is more sure of missy than missy is of herself. the contrast with the master makes the doctor more sure of missy i think. while for missy being confronted with who she was makes her less sure)

that line “i might not be telling the truth” is reminiscent to me of how in eaters of light when the doctor suggests she might be crying to trick him, she’s like ‘oh. yeah maybe’

MISSY: I don’t even know why I’m crying. Why? Why do I keep doing that now? DOCTOR: I don’t know. Maybe you’re trying to impress me. MISSY: Yes. Probably some devious plan. That sounds about right.

“sounds about right”, “does sound like the sort of thing i would do”. it’s like she knows one thing for certain about herself and that is that in the end, no matter how hard she tries, no matter whether she can understand it now or not, she will be who she is. she cant escape herself. and thats probably why she dares razor to shoot her right?

Avatar
reblogged

Because of the Fifth Amendment, no one in the U.S. may legally be forced to testify against himself, and because of the Fourth Amendment, no one’s records or belongings may legally be searched or seized without just cause. However, American police are trained to use methods of deception, intimidation and manipulation to circumvent these restrictions. In other words, cops routinely break the law—in letter and in spirit—in the name of enforcing the law. Several examples of this are widely known, if not widely understood.

1) “Do you know why I stopped you?” Cops ask this, not because they want to have a friendly chat, but because they want you to incriminate yourself. They are hoping you will “voluntarily” confess to having broken the law, whether it was something they had already noticed or not. You may think you are apologizing, or explaining, or even making excuses, but from the cop’s perspective, you are confessing. He is not there to serve you; he is there fishing for an excuse to fine or arrest you. In asking you the familiar question, he is essentially asking you what crime you just committed. And he will do this without giving you any “Miranda” warning, in an effort to trick you into testifying against yourself.

2) “Do you have something to hide?” Police often talk as if you need a good reason for not answering whatever questions they ask, or for not consenting to a warrantless search of your person, your car, or even your home. The ridiculous implication is that if you haven’t committed a crime, you should be happy to be subjected to random interrogations and searches. This turns the concept of due process on its head, as the cop tries to put the burden on you to prove your innocence, while implying that your failure to “cooperate” with random harassment must be evidence of guilt.

3) “Cooperating will make things easier on you.” The logical converse of this statement implies that refusing to answer questions and refusing to consent to a search will make things more difficult for you. In other words, you will be punished if you exercise your rights. Of course, if they coerce you into giving them a reason to fine or arrest you, they will claim that you “voluntarily” answered questions and “consented” to a search, and will pretend there was no veiled threat of what they might do to you if you did not willingly “cooperate.” (Such tactics are also used by prosecutors and judges via the procedure of “plea-bargaining,” whereby someone accused of a crime is essentially told that if he confesses guilt—thus relieving the government of having to present evidence or prove anything—then his suffering will be reduced. In fact, “plea bargaining” is illegal in many countries precisely because it basically constitutes coerced confessions.)

4) “We’ll just get a warrant.” Cops may try to persuade you to “consent” to a search by claiming that they could easily just go get a warrant if you don’t consent. This is just another ploy to intimidate people into surrendering their rights, with the implication again being that whoever inconveniences the police by requiring them to go through the process of getting a warrant will receive worse treatment than one who “cooperates.” But by definition, one who is threatened or intimidated into “consenting” has not truly consented to anything.

5.) We have someone who will testify against you Police “informants” are often individuals whose own legal troubles have put them in a position where they can be used by the police to circumvent and undermine the constitutional rights of others. For example, once the police have something to hold over one individual, they can then bully that individual into giving false, anonymous testimony which can be used to obtain search warrants to use against others. Even if the informant gets caught lying, the police can say they didn’t know, making this tactic cowardly and illegal, but also very effective at getting around constitutional restrictions.

6) “We can hold you for 72 hours without charging you.” Based only on claimed suspicion, even without enough evidence or other probable cause to charge you with a crime, the police can kidnap you—or threaten to kidnap you—and use that to persuade you to confess to some relatively minor offense. Using this tactic, which borders on being torture, police can obtain confessions they know to be false, from people whose only concern, then and there, is to be released.

7) “I’m going to search you for my own safety.” Using so-called “Terry frisks” (named after the Supreme Court case of Terry v. Ohio, 392 U.S. 1), police can carry out certain limited searches, without any warrant or probable cause to believe that a crime has been committed, under the guise of checking for weapons. By simply asserting that someone might have a weapon, police can disregard and circumvent the Fourth Amendment prohibition on unreasonable searches.

U.S. courts have gone back and forth in deciding how often, and in what circumstances, tactics like those mentioned above are acceptable. And of course, police continually go far beyond anything the courts have declared to be “legal” anyway. But aside from nitpicking legal technicalities, both coerced confessions and unreasonable searches are still unconstitutional, and therefore “illegal,” regardless of the rationale or excuses used to try to justify them. Yet, all too often, cops show that to them, the Fourth and Fifth Amendments—and any other restrictions on their power—are simply technical inconveniences for them to try to get around. In other words, they will break the law whenever they can get away with it if it serves their own agenda and power, and they will ironically insist that they need to do that in order to catch “law-breakers” (the kind who don’t wear badges).

Of course, if the above tactics fail, police can simply bully people into confessing—falsely or truthfully—and/or carry out unconstitutional searches, knowing that the likelihood of cops having to face any punishment for doing so is extremely low. Usually all that happens, even when a search was unquestionably and obviously illegal, or when a confession was clearly coerced, is that any evidence obtained from the illegal search or forced confession is excluded from being allowed at trial. Of course, if there is no trial—either because the person plea-bargains or because there was no evidence and no crime—the “exclusionary rule” creates no deterrent at all. The police can, and do, routinely break the law and violate individual rights, knowing that there will be no adverse repercussions for them having done so.

Likewise, the police can lie under oath, plant evidence, falsely charge people with “resisting arrest” or “assaulting an officer,” and commit other blatantly illegal acts, knowing full well that their fellow gang members—officers, prosecutors and judges—will almost never hold them accountable for their crimes. Even much of the general public still presumes innocence when it comes to cops accused of wrong-doing, while presuming guilt when the cops accuse someone else of wrong-doing. But this is gradually changing, as the amount of video evidence showing the true nature of the “Street Gang in Blue” becomes too much even for many police-apologists to ignore.

One of the biggest realizations with dealing with cops for me was the fact that they CAN lie, they are 100% legally entitled to lie, and they WILL whether you’re a victim of crime, accused of committing a crime or anything else

Everyone needs to reblog this, it could save a life.

Important

Seriously if you ever find yourself in custody don’t say shit until you’ve got some counsel with you. No cop is your friend in that situation.

Heeeyyyyy if anyone is thinking “a lawyer!?! But I thought lawyers were bad and greedy.”

Remember where you heard that and consider why.

Avatar
ground-zoro

Don’t Talk to the Police

You are using an unsupported browser and things might not work as intended. Please make sure you're using the latest version of Chrome, Firefox, Safari, or Edge.
mouthporn.net