So, I saw Pacific Rim for the first time last night …
… and I’m trying very hard to convince myself that nothing is going to happen, that I’m going to be happy just reading when I finally break down tonight and go looking for fic, because I have so much shit to do, but, good grief, I sit here re-watching scenes and stare intently and see detailed pasts and already and hear voices and know maybe I’m in trouble as deep as I fell heart-first into back in July. In short, FML.
(I know why I stayed away. When I avoid something, I always find out fast and hard, when I finally do give in, why I couldn’t afford to get close, at least not at the time.)
goodshipophelia said: WHO CARES ABOUT THE ‘MOMENT’ YOU WROTE PACIFIC RIM FIC I’M SO EXCITED
If by wrote you mean got an idea in my head that is surprisingly detailed for all that it’s a proto-outline but is not on laptop screen or on paper yet, then maybe. But I just watched it last night, and I’m still at that stage of rewinding and staring and asking myself if I actually have the emotional bandwidth do it. So: nothing written yet, and no fic read, either. I don’t read until I have my own headcanon firmly set, to be sure I won’t accidentally steal anything from others.
I drop this on your doorstep because I need tosay it somewhere, and you are still to me this fandom's voice of reason. I am so tired of seeing 'Your white Crowley headcanon is wrong' and 'Your white Aziraphale headcanon is wrong' (or whatever form these sentiments take on a given day) in the GO tag. I AM A POC AND I HAPPEN TO PICTURE THESE CHARACTERS AS WHITE. So what? We do not know their skin colors in the book. We are all free to see what we see, so why tell people they are wrong? Sigh.
I agree with you, anon: in cases where a novel or other written work does not give explicit textual clues as to a character’s skin color, we are all free to see what we see. I don’t like it when I see people telling others they’re wrong to picture Aziraphale and Crowley as white, and I also don’t like it when I see people telling others they’re wrong to picture them as POC. Now, of course there’s the issue of whitewashing, when characters in canon are explicitly described (or depicted through other textual cues) as non-white; that is when a headcanon is blatantly wrong (I’m thinking of that whole debacle where people seemed shocked to “find out” that Rue in The Hunger Games is a POC; my jaw hit the floor).
However, you also have to take into consideration that we’re all free to express whatever opinions we wish on our blogs, as annoying as those opinions may be to others. For example, I know full well that I’m pretty opinionated; I tend to focus on matters of characterization and plot, and spend a lot of time insisting that characterization in fanfiction and / or interpretation of certain canon plot points are only convincing [to me] if you can use the source text to defend your choices. It’s irritating to see content in the tag with which you disagree, but nobody can stop it from appearing there.
I’m sorry that you’re so frustrated, and rest assured you’re not alone in that! Your GO headcanon is not wrong: it’s whatever you want it to be.
Random Hamlet question because of comments seen elsewhere: in your hypothetical production, what color would you like Hamlet's hair to be? (I have no idea why I have such strong feelings about this.)
There are two very different considerations here. I, too, have strong feelings with regard to how I picture Hamlet’s physical appearance, but I would never force an actor to dye their hair or wear a wig if their natural hair color didn’t conform to what I see in my head (that just doesn’t seem right, especially not for a role that doesn’t require character make-up or any other odd bells and whistles appearance-wise). As long as my actor was giving me the performance that I wanted from them, appearance would take the back seat. I would probably be aiming for at least a modicum of general expressiveness match-up to what I see in my head, and things like eye color, hair color, and skin color don’t influence that.
Now, as for when I picture Hamlet, i.e. what I see when I’m writing about him, when I’m reading the play, etc., that’s very specific. I do not picture a fair-haired Hamlet; to me, he’s dark-haired with striking, pale blue-grey eyes (hair not so dark as to be black, but definitely dark for brown). When I picture Horatio, he’s blue-eyed, too, but not as pale a shade as Hamlet’s, and not as piercing. His eyes are probably more the color of mine; you, at least, have seen photos of me and know what I mean by that, as my eyes, I feel, are a rather standard color of blue as eyes go. His hair tends to be a dark blondish/light brownish/slightly reddish when the light hits it (not necessarily a proper ginger). I don’t think you ever told me your feelings on the matter, actually; what are they?
greencarnations said: ehehehehehe it might just be me but I think you described Benedict Cumberbatch as Hamlet
That would be a no: I was describing Ed Stoppard as Hamlet, because, when I saw him give one of the two finest performances of the role I’ve ever seen (this was in October/November 2005, English Touring Theatre’s production), he also looked the part, and when I say that I mean he looked closer to the Hamlet in my head than any other Hamlet I’ve ever seen. It was simply uncanny. The other fine Hamlet I’d seen was just slightly earlier in 2005: Boston’s Shakespeare On the Common production that starred Jeffrey Donovan. That one and the ETS were also the two slashiest I’d ever seen, too.
here is my heart to place under yours.
you are slow breaths
all that strength you made fom your blood.
a whole nation of black pain.
you carried in your spine.
a jail cell. made from your mother’s island.
i return some to you.
ninety four years
is many bones to go through.
many walks through the sun.
many hearts to shed.
many stars of joy to comb through your hair.
a lot of time
let us hold you now.
let us warm the water for your skin.
let our youth be your comfort.
we have seen how your feet danced.
that we have commited
you. to memory.
all hope and fresh mourning.
we know what the ancestors sound like
when they come.
they are ready for you.
if you have done
you came to do.
are finished transcribing your soul into humanity.
have our cloth ready.
our flowers ready.
our songs in our mouths ready.
our feet and all the drums ready.
our fresh water.
watching over madiba (june. 23, 2013. 6:07 p.m. est, usa), nayyirah waheed (via nayyirahwaheed)
today, dec 5th, 2013 madiba has gone from this world. i thank him for the wideness and largeness of his spirit, the lion of his waters, the strength that fed us all. he taught me the truth about africa, taught me that she can and never will be defeated. i shed tears because i am happy you were here, amongst us, with us, filling us all with your light, love, and quiet honey. you magnificent child of Africa, let us sing and dance you home to the ancestors :)))
Well how does Shakespeares literary devices in this particular soliloquy help develop the theme of guilt and forgiveness? I am trying to word it in the form of a thesis?. Like Shakespeare develops focus's on Claudius's guilt and retent by focusing on ___- by using ____ and ___? idkk really. please help :)
Don’t take this the wrong way, but: if you’ve been assigned an essay on this scene/soliloquy (and now, between your last ask and this one, it sounds as if you have), I will not write it for you. This particular section of text is fairly straightforward. Sit down, read it, and parse it out; if you are as keenly interested in this play as you seem, then I think your assignment will turn out better than you believe it will :)
ahh I see! Talk to you in the morning :) Do you mind me starting a discussion with you regarding a soliloquy from act 3 scene 3. -"O my offence is rank.." What literary devices like perhaps, syntax, diction, imagery, etc does Shakespeare incorporate ” and what does this say about Claudius’ character, and further development of the theme?
Of course all of the linguistic and literary features you list are present in this soliloquy, just as they are throughout the entire play ;) Can you clarify for me what theme you’re singling out? This soliloquy is as densely packed and complex as any of Hamlet’s. From a broad-strokes perspective, in this speech, Biblical imagery and guilt are inextricably tied. Claudius evokes the sin of fratricide in terms of Cain and Abel, and he evokes incest in even more plainly spoken terms than that. Although some may argue that we don’t find out till after Hamlet has passed by that he’s not really sincere (“Words without thoughts never to Heaven go”), and although I’ve seen great performances of Polonius suggest that maybe it’s a moment of sincere guilt, what I have always perceived most in it is fear and shame at having been found out by somebody who is, when it comes down to it, much cleverer than he is, and via dramatic ruse, no less.
Remind me never to challenge you to a discussion duel on GO (or on Hamlet, for that matter). You can probably quote entire sections and zero in on specific textual citations in your sleep ;)
If you’re referring to my responses to the previous couple of reblogs, a duel isn’t at all what I intended ;) I just love discussing the text. You can probably add Sir Gawain and the Green Knight and La Chanson de Roland to that list of yours. Those alongside Good Omens and Hamlet…well, all right, and Gatsby…are, indeed, the written works of which I’ve made the fiercest study in my three otherwise useless decades on this planet *thumbs up*
(Well, okay: the complete works of E. A. Poe, and those of Connie Willis, too.)
why does the Good Omens fandom never talk about how Crowley was a nanny for six years
*blinks, is fairly sure this doesn’t happen*
…ah, wait, are you referring to the Nanny-Ashtoreth-and-Brother-Francis episode of Warlock’s life? Ashtoreth isn’t Crowley,…
Can you tell me exactly how it was confirmed it wasn’t them? Because I’m pretty sure it was them. But I still have trouble comprehending some of the complicated stuff in the book so I might be wrong…but I don’t remember it ever being confirmed whether or not it was them?
I can’t seem to find whether the authors are on record as confirming this one way or another, but many readers (myself included) have used a number of textual clues to determine that Ashtoreth and Francis are entities separate from Crowley and Aziraphale, most notably that both Crowley and Aziraphale are lazy as fuck when it comes to their duties and only intervene personally when they’re finally at wits’ end with the boy’s failure to develop in the way they expect (i.e. Warlock’s eleventh birthday party being the final straw). It’s also notable that, while Ashtoreth and Francis are busy being live-ins at the diplomatic residence, Aziraphale and Crowley are happily running around London together (going out to eat, to the theater, meeting on top of buses, etc.) That’s primarily where the confirmation I’m aware of is coming from, anyway!
why does the Good Omens fandom never talk about how Crowley was a nanny for six years
*blinks, is fairly sure this doesn’t happen*
…ah, wait, are you referring to the Nanny-Ashtoreth-and-Brother-Francis episode of Warlock’s life? Ashtoreth isn’t Crowley, and Francis isn’t Aziraphale: they are a demoness (or demon, or demon-like creature, in female shape) and St. Francis respectively, sent expressly for the job(s) at hand :) Kind of makes you wonder who else they’ve called in over time.
Two days of GO Exchange gifts already live!
I can’t be the only one who headcanons Jasper and Horace as Hastur and Ligur.
I AM SO GLAD I’M NOT ALONE IN PICTURING THESE GUYS.
Crossover: Actions We Might Play (Hamlet & Multi-Fandom)
Title: Actions We Might Play
Fandoms: Hamlet crossed with a chronological spread of other fandoms in my backlog (The Great Gatsby [TP&TP ‘Verse], The Shawshank Redemption [ZINH ‘Verse], Toy Soldiers [BoH ‘Verse], Hot Fuzz, Sherlock, Community [SfD ‘Verse], and Good Omens [CoT ‘Verse])
Pairings: Hamlet/Horatio (the roles, as a thematic through-line); Nick/Jay; Andy/Red; Billy/Joey; Nicholas/Danny; John/Sherlock; Abed/Troy; Aziraphale/Crowley
Rating: Scenes range from PG-13 to lower-end Explicit (R/NC-17)
Word Count: 7,000
Notes: Thanks to a Tumblr anon’s ask, this sprawling thing now exists.
Summary: One scene, seven interpretations, and a lot of self-discovery.
(Read it @ AO3)
(Read it @ LJ)
Upcoming, now that I’ve cleared my deadlines:
- I had better write this quickly. Hamlet is never patient with me.
- I had also better write the Christmas Troy/Abed piece that I intend to post on Christmas Eve as an add-on to this series I recently wrote.
- The next major CoT installment keeps getting deferred by other projects, but the longer it’s deferred, the more previously unknown, essential plot-points I uncover, so I’ll let it be until it’s ready. Someone else from novel-canon past has turned up.