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selenak: (Clone Wars by Jade Blue Eyes)
Considering this prompt by [personal profile] bimo, it did occur to me that Syril Karn’s part of the Ghorman arc in the second season of Star Wars: Andor in a way is the Mirrorverse, twisted version of a rather popular trope.

Filling the spoilery darkness with order and light )

The other days
selenak: (Demerzel and Terminus)
There were severa new onesl I enjoyed a lot, like Alien: Earth and Pluribus, with the later being hands down the best new series I saw in 2025. And Andor, some minor (for me) nitpicks aside, ended superbly, plus unfortunately more current day politically relevant than ever. But my favourite series in 2025 was Foundation, season 3. And here are some reasons why:

For the third time, this show managed to present a new ensemble of characters per season (plus the few recurring ones) and made me care about them. Now I remember several shows that were originally intended to be "anthology" shows - the one that immediately comes to mind is Heroes - i.e. where the idea was to present a new cast of characters every season - and which when the first season was a success changed their mind because the audience had fallen in love with these characters. Unfortunately, this also meant that the subsequent seasons showed there had been no plan, not even a vague character arc kind of plan, for those characters, and the show quality rapidly diminished, making me wish they'd stuck to the anthology concept. Now Foundation, to me, found a happy medium between the "anthology" concept which its intended huge time spam demands and the fact that most viewers do want some characters to remain attached to, or at least interested in, who are around for more than one season. And they manage it twofold: courtesy of in-universe plot devices, there are in fact some characters around through all three seasons so far - Gail Dornick, Demerzel and sort, kinda, Hari Seldon in a spoilery fashion ). And there are three more actors araound through all three seasons playing different characters who are at the same time variations of the same character, i.e. the Cleonic Dynasty exponents, clones in different stages of aging. (It's not unimportant that they play clones because the stories and developments each Cleon takes in each season are richer and more interesting if you have other Cleons to compare them to.)

But, and this is an important but: the show also offers characters who are around only in one season/era the show takes place. (Or two at most, sob.) And manages to make them interesting and different from each other. Here I would argue the show grew from season 1 - where there were some interesting, memorable characters around, like the Luminarian priestess, but also some which for me didn't work in the way they were intended (the Huntress) - to season 2, where basically every single new character was interesting - Constant, Hober Mallow, Space!Belisarius etc.. In fact, I was so attached to the s2 newbies that I kept wondering whether the show would manage to do it again after the next time jump, and the first s3 episode or two left me a bit sceptical on that count - but then I changed my mind. Granted, I still am lukewarm about Pritcher, but Toran and Bayta were great (not just due to the spoilery thing at the end of the season, though it makes the rewatch of s3 I just finished even more rewarding), I loved Ambassador Quent, and the First Speaker as well.

Another reason: s3 offered the pay off to several long term mysteries and developments - from who was responsible for the destruction of the Star Bridge (and why) to why a spoilery for s2 thing happened ) - , wrapped up one of THE major storylines of the show which is spoilery for s3 ), and did it in a way that was both unepected yet made perfect character sense, and set up enough new questions and storylines which make glad there is a season 4 already secured: For example, Spoilery Questions asked )

And then there's the superb long term character development. [personal profile] bimo commented s1 Gaal would be horrified by s3 Gaal's actions, and yet they are perfecty ic due to the development in between and bring things full circle, in a way. Rewatching s3, I noticed spoilery things about Demerzel in particular. ) And the Cleons! That Lee Pace is excellent is almost a given, and s3's Day's development went from seeming comic relief to absolutely shattering, but s3's Dusk and Dawn both got more to do than in previous seasons, and both Terence Mann and Cassian Bilton ran with it. In fact, when I find the time I'll do a poll asking about everyone's favourites Day, Dawn and Dusk, if such a thing exists, taking all three seasons into account. Speaking of things paying off even more upon rewatch, Dusk's first scene in s3 is watching the recording of other Dusks becoming Brother Darkness and "ascending", which, yeah. S3 does a lot not just with the confrontation with mortality, but also the search for meaning especially for the long term characters. Hari Seldon related spoilery observation )

And there's the way the show asks questions the books couldn't, lacking the concept of the Cleonic Dynasty. Demerzel and the Cleons: A Tale in Three Seasons )

Lastly: I loved s3 for the way it gave us new combinations of long term characters. Which are spoilery. ) And for being such an acting showcase for both recurring actors - Terence Mann certainly owned those last three episodes when he was on screen - and new to the show ones: Synnøve Karlsen as Bayta first and foremost, with again rewatching letting me additionally admire what she does there. (Though this time around I knew she was the same actress who had played Clarice Orsini in I Medici and young Cassandra Austen in Miss Austen, I forgot all about it again when watching her on screen. "We're good at making people love us, you and I", as she says to Magnifico. Indeed.


The other days
selenak: (DuncanAmanda - Kathyh)
"Von der Parteien Gunst und Hass verwirrt/ schwankt sein Charakterbild in der Geschichte" (Schiller about Charles' contemporary Wallenstein; less elegantly put in a prose translation into English, "distorted by the favour and hatred of factions, the portrait of his character flickers through history". Up until a few years ago, I assumed there was at least consensus about Charles I., while possessing "private" virtues (i.e. good son, father and husband), not having been a very good King, what with the losing his head over it, but no, he does have his defenders in that department as well, present day ones, I mean, not 17th century royalist. I haven't read Leandra de Lisle's Charles biography, but I did read her recent biography of his wife Henrietta Maria, which makes a spirited case for her as well. (My review of the Henrietta Maria biography is here.) While I'm linking things, Charles I. inevitably features heavily in two podcasts I listened to in the last two years, one named "Early Stuart England" and thus concluded (it ends with the start of the Restoration), and one ongoing, called "Pax Britannica" and about the story of the British Empire, which has only just arrived at the Great Fire of London; both start with Charles' father James (VI and I), and do a great job offering context and bringing all the many players of the era alive, not "just" the respective monarchs. They appear to be both well researched, but come to quite different conclusions as to what Charles thought he was doing in his final trial in their episodes about those last few months in the life of Charles I. Stuart . (Also regarding where Cromwell initially thought the trial was going.) If you don't have the time for an entire podcast but want to hear vivid presentations of the trial itself and the summing up of Charles I., good and bad sides, that go with it, here is the trial/execution episode of Early Stuart England, and here the one from Pax Britannica.

Now, on to my own opinions and impressions re: Charles I. Which after reading and listening up in the last years on the Stuarts didn't change as much as my opinions on his father James did, but that's another, separate entry, which I will probably write as well. Years ago I thought Charles had a lot in common with his maternal grandmother Mary Queen of Scots - they both died undeniably with courage and flair, they both saw themselves as martyrs of their respective faiths, they both were great at evoking personal loyalty in people close to them - and neither of them was an actually good ruler, not least because their idea of the kingdom and people they were ruling and the actual people differed considerably. Mostly I still think that, though now I also see considerable differences.

Not least because Mary literally became a Queen as a baby, and once she was smuggled out of the country as a toddler, she grew up very much the adored future Queen of France, in France, and some of her later troubles hailed from the abrupt change from the role she'd been prepared for - Queen Consort of a Catholic kingdom - to the one she had to fulfill - Queen Regnant of a by now majorly Protestant Kingdom. Meanwhile, her grandson Charles might have been male, but wasn't expected to reign at all, because he was the spare, not the heir, through his childhood and early adolescence. Not only that, but he was overshadowed by both his older siblings, brother Henry and sister Elizabeth, he was sickly small child and for years not expected to live at all, he was handicapped twice over (stuttering and having trouble walking, with the usual ghastly historical methods used to cure him of both). Mary was a golden child (as were Charles' siblings), young Charles was the family embarassment and reminds me of no one as much as of Frederick I. of Prussia (that's the grandfather of Frederick the Great), another "spare" who was suffering from physical impairments and spent a childhood overshadowed by his glamorous older brother, his father's favourite, with whom he nonetheless had a good relationship and grieved for when he was gone. (Think Boromir and Faramir.) That makes for a very different psychological and emotional make-up, and both Charles I. and Frederick I. compensated later in life, when they unexpectedly did become the heir and then the monarch, by very much leaning into the ritual and splendour of Kingship. No "Hail fellow, well met" type of attitude for them (which for all their absolutism the Tudors were so good at); they were monarchs who rather treasured the distance and remoteness, as if in compensation of all that early ridicule and disdain.

If you're curious about the first Frederick, more about him here. Of coure, he died in bed, having created a new kingdom (and a lot of debts), whereas Charles ended up beheaded, with (most) of his family in exile, his three kingdoms at war and England a Republic (or if you want to be hostile a military dictatorship) for the next twelve years. Some of the reasons for this different results are Charles' fault, but not all. He did live in very different circumstances, not least because he inherited some baggage from the previous reign, fatally a very bad relationship between King and Parliament, and his father's favourite, Buckingham. (In fact, Buckingham managing to be the favourite of two monarchs in a row instead of being kicked out once his original patron was no more was a feat hardly any other royal favourite has accomoplished.) But he also from the get go was good at making his own mistakes, ironically enough at first by being completely in sync with the mood of the times. The peace with Spain was a signature James I. policy and achievement (and a very necessary one at the point he inherited the kingdom from Elizabeth, with both England and Spain financially exhausted by the war) - and deeply unpopular. When young Charles (still Prince of Wales) and Buckingham after their misadvantures in visiting Spain and NOT returning with a Spanish infanta as a bride for Charles went into the opposite direction and became heads of the war party which wanted a replay of the Elizabethan era's greatest hits, Charles was, for the first and last time in his life, incredibly popular. And once James was dead, an attempted replay was exactly what he and Buckingham went for - which turned out to be a disaster. Instead of glorious victories, there were defeats. Buckingham just wasn't very good as either admiral or war leader. And Charles was stubbornly loyal to his fave.

This is a trait sympathetic in a private human being and disastrous in a monarch, because the "evil advisor" ploy is ever so useful if you need to blame someone for an unpopular policy and/or monumental fuckup, and James, for all that he adored his boyfriends, had used it if he had to. Charles I.' sons, Charles II. and James II., drew very different lessons from their childhood and adolescence in an English Civil War, not least in this regard . Charles II. was ruthless enough to sacrifice unpopular royal advisors if needs must, James II. was not and was more the doubling down type, and guess which one died a king and which one died in exile. Buckingham had already been hated under James, but under Charles this really went into overdrive, and there was a rather blatant attempt at getting him killed via show trial when parlamentarians (aware that Charles who refused to let Buckingham go insisted that Buckingham had only fulfilled his orders) thought they had a winning idea by insinuating Buckingham had murdered James (which Charles hardly could cover for), only to find Charles indignantly shot that down as well. Buckingham ended up assassinated anyway, by a disgruntled veteran but to the great public cheer of Parliament, and you can't really call Charles paranoid for developing the opinion that most MP were fanatics not above lying in order to kill his friends with flimsy legal jiustifications.

(Fast forward to Wentworth/Strafford getting killed in just such a fashion years and years later.)

Buckingham's successor as person closest to the King and accordingly hated for it was Charles' wife, Henrietta Maria, and here we have shades of Louis XVI., because in both cases the fact these two Kings didn't have mistresses and were loyal to their wives worked against them and contributed to the wives fulfilling the role of the royal favourite in getting blamed for everything going wrong, and there was an increasing amount of things going wrong. Leandra de Lisle points out that actually, far from dominating Charles and making him do her bidding, Henrietta Maria had to live with the fact that Catholics under Charles had it worse, not better, than they had lived under James I., because no, Charles wasn't a crypto Catholic. Going all in with the High Church idea and the bishops etc. together with Archbishop Laud wasn't in preparation for an eventual return to Rome. Which didn't make it better in terms of the result. It was one of those head, desk, moments demonstrating what I said earlier, that Charles kept misjudging what the people in the countries he was ruling wanted and were like (he really seems to have thought it was all a couple of troublemakers in Westminster that objected, but really, out there in the countryside, etc.).

Now, for all that he spent his first three years as a toddler in Scotland, he had otherwise zero experiences of the place, and none of Ireland, so he has some excuses there, and like I said, I can understand the emotional background to the increasingly terrible relationship with the English Parliament. But it still means he failed at his job, to put it as simplified as possible. There were monarchs before and after who were also absolutely and sincerely convinced they were God's anointed (and knew better than anyone elected). Elizabeth certainly thought she was. And most of her favourites were deeply unpopular. (It's telling that the sole one who wasn't, Essex, was the one ending up rebelling and getting executed.) But she was aware she had to woo Parliament now and then to get what she wanted in terms of budget. And she was really good at a mixture of prevaricating, not allowing herself to be pinned down in one particular corner. Charles I.'s near unerring instinct for finding "solutions" to his problems that made things worse, not better, and then refusing to offer scapegoats or listen to advice that required a complete reevaluation of his own beliefs was a fatal combination of traits which, again, would have well fitted a private citizen - but not a monarch in early modern England.

So did Charles leave the country something other than a Civil War in which some 6% of the population died? (Hence the "man of blood" label, though of course it's a bit rich coming from the likes of Cromwell - just ask the Irish.) An A plus art collection, and I'm not just being flippant. He had superb taste in paintings, not just in terms of dead and already declared great painters but of his own contemporaries. (Charles I. as a nobleman and patron without royal responsibilities - say, as the King's younger brother he was originally supposed to be - , would probably get an admiring footnote in any cultural history.) The idea that monarchs/heads of government can be put on trial and held reponsible not by other fellow monarchs but by their people. (Well, in principle. In practice, the trial in question was extremely questionable from a legalistic pov, not least because it wasn't even conducted by the actual elected Parliament but by the leftover "rump" that remained after having been purged by the military of anyone who might disagree. Hence Charles, who like grandmother Mary was at his best when backed into his last corner, pointing just this out as if he was a trained lawyer. Stupid, he was not. Whether that makes his previous fuckups as a ruler worse is for you to decide.) Anyway, I would say that the National Assembly putting Louis XVI on trial had a better claim of being actually representative of the country AT THAT POINT than the Rump was of Civil War England. And both trials presented an intriguing paradox, to wit: a) the monarchs they judged were guilty of at least some of the accusations - Louis XVI HAD conspired with foreign powers against his people in his last two years, Charles had, among other things, restarted the Civil War after it had already been believed to have ended, but b) any just trial should allow for the possibility that the defendant could be found innocent, and there was no way in either trial that would have happened, the only acceptable outcome was a guilty verdict and a death sentence, because the accusers and the judges were one and the same. (One of the podcasters disagrees and belongs to the school of historians who think hat if Charles had submitted to the authority of the trial and had entered a plea, he wouldn't have ended up executed, btw.)

(BTW, Robespierre originally was, unless I'm misrenembering, against a trial against Louis XVI for that reason - not because he didn't want him dead, but because, and here his inner lawyer spoke, a trial should allow for the possibility of innocence, and if Louis was innocent, the entire Revolution was wrong, which could no be, hence there should not have been a trial.)

Charles to his last hour did not consider himself guilty in the sense he was accused of being. He did think his death was divine punishment, not for failing his people - he thought, as mentioned, he had done his best throughout his life, and it wasn't his fault that it hadn't worked out - , but for letting Parliament bully him into signing the death warrant for Thomas Wentworth, Earl of Stafford, a man he knew to be innocent and to have been condemned just as a lesson to him. This, he said in his final speech, was why his fate was deserved. I think this perspective both shows why I wouldn't have wanted to be ruled by him, but why I also think he was, as a human being, a far cry from our current lot of autocrats who wouldn't know how to spell guilt and responsibility, be it personal or political.

The other days
selenak: (Scarlett by Olde_fashioned)
A day early, because I'll be on the road tomorrow for most of the day, and thus without internet access.


Personal backstory: Previous Bronte-related musings by yours truly can be found under this tag. The short version is that I care a lot, both about their works and the family. And one thing that has become increasingly obvious in the last twenty years or so is the increasing villainization of Charlotte Bronte. Now, Charlotte isn't my favourite, and of course there's a lot you can critique about her, as a writer (cue Bertha Mason) and as a human being, definitey including her treatment of Anne's second novel, The Tennant of Wildfell Hall (i.e. ensuring it would not be republished after Anne's death), and general underestimation of Anne. But the way fictional treatments of the Bronte sisters have made her into the villain or at least antagonist definitely has become a trend.

Part of it is, I think, because Charlotte is the sibling we know about most (she lived the longest, she had the most connections to people outside the family, there is therefore the most material from and about her available, and inevitably it also means she is the one through whose glasses we see the family initially). While it's not true you could put the reliable primary biographical material from Emily and Anne (i.e. written by them, not by someone else about them) directly on a post card, it really isn't much, not just by comparison to Charlotte but also to father Patrick and brother Branwell, both of whom left far more direct material. There are the two "our lives right now" diary entries from Anne and Emily separated by several years which offer a snapshot of not just how they saw their lives right then but also the intermingling of the fictional and the real, i.e. they both report of what's going in their lives and what's going on in Gondal and in Angria, the two fictional realms created by the siblings (and btw, the fact Emily and Anne know about Angrian developments years after stopping to write for Angria and creating their own realm of Gondal prove that they kept reading it). Emily's entries (very cheerful and matter of factly in tone) also counteract her image as the wild child barely able to interact with civiilisation. But that's pretty much it. And that means you can project far, far more easily on Emily and Anne than on Charlotte. Can form them how you want them to be. It's much more difficult with Charlotte, whose opinions on pretty much anything, from Jane Austen (boo, hiss) to politics (hooray for the Tories, down with the Whigs!) to religion (Catholics are benighted and/or scheming, but in a pinch a Catholic priest can be oddly comforting) is documented to the letter.

(Along with the projecting, editing also is easier with Emily and Anne. For example: Anne's rediscovery as a feminist writer due to Wildfell Hall rising in critical estimation these last decades, is well desesrved, but I haven't seen either fictional or non-fictional renderings focusing on her intense religiosity, and I suspect that's because it makes current day people cheering on her heroine Helen Huntington leaving her husband uncomfortable.)

There is also the matter of long term backlash. After Charlotte died, one of the things Elizabeth Gaskell tried to accomplish with her biography of Charlotte was the counteract the image of all three Bronte sisters as a scandalous lot - see their original reviews - by presenting the image of Charlotte as a faultless long suffering Victorian heroine, with her siblings living at a remote isolated place barely within civilisation. creating art of such unpromising material solely because they had nothing else. Now as well intended as that was, and as long enduring as the image proved to be, it's also hugely misleading in many ways. Juliet Barker in her epic Bronte family biography devotes literally hundred of pages on how Haworth wasn't Siberia but had lively political struggles, how the Brontes could and did go to cultural events such as concerts by a world class pianist like Franz Liszt or grand exhibitions in Leeds, and most importantly, how the "long suffering faultless Victorian heroine" image leaves out all of Charlotte's sarcastic humour and wit, her (unrequited but fervent) passion for a married man, her bossiness etc.; I won't try to reduce all of that into a few quotes. Though let me re-emphasize that the removal of humor via Gaskell proved to be really long term and fatally connected to Bronte depictions, not just of Charlotte. And it's a shame, because they were a witty family. Charlotte's youthful alter ego Charles Wellesly in the Angrian chronicles is making fun of pretty much everything, including Charlotte herself and her siblings, and most definitely of her hero Zamorna. (Proving that Charlotte the Byron reader didn't just go for the Childe Harold brooding but the Don Juan wit and Last Judgment parody.) In all the adaptations of Emily's Wuthering Height, I am always missing the scene which to me epitomizes Emily's own black humour and self awareness of the danger of going over the top with melodrama - it's the bit where a drunken Hindley Earnshaw threatens Nelly Dean with a knife and Nelly wryly asks him to use something else because that knife has just been used to carve up the fish with, ew. (Wuthering Heights adaptations also suffer from the fact that it's hard to convey in a visual medium the sarcastic treatment our first personal narrator Lockwood gets from his author, because he's consistently wrong about every single first impression he has of the people he meets and their relationships with each other, and if the adaptation includes the scene where child!Cathy and child!Heathcliff throw the religious books they don't want to read into the fire, they're missing out the titles which are Emily parodying the insufferable titles of many a religious Victorian pamphlet.) And Patrick, in direct contradiction of his image as a grim reclusive patriarch, for example wrote a witty and wryly affectionate (for all sides) poem documenting the grand battle between his curate (Charlotte's later husband Arthur Nicholls) and the washer women of Haworth who were used to drying their laundry on the tombstones which Nichols tried to stop them doing). Etc.

Anyway, the point I am trying to make is that once research went beyond the Gaskell biography, I suspect a lot of people subconsciously felt cheated and blamed Charlotte for it, casting her as a hypocrite instead of a Victorian saint. (And more recently as a BAD SISTER, jealous of Emilly, Anne or both.) But Charlotte herself had never claimed to be the later. And honestly, I doubt that her postumous editing of her sisters' works came from anything more sinister than remembering all those early negative reviews casting the "Ellis brothers" as immoral and wanting to change these opinions. Not to say that Charlotte couldn't be jealous, of course she could be - I'm not just thinking of her depiction of her unrequited crush's wife but of her bitter remark re: Patrick's grief for Branwell directly after Branwell's death that betrays her anger about Patrick having loved Branwell better than her, for example -, and given Charlotte and Branwell, so close as children and adolescents, lost each other as writing partners once they became adults, I can also see her being somewhata envious about Emily's and Anne's continuing collabaration, though here I venture into speculation, because there isn't a quote to back this up. But it was also Charlotte who insisted they all pubilsh to begin with - not just herself - who, as oldest surviving sister, felt herself responsible for her younger siblings, and who was keenly aware that the moment Patrick died - and none of them could have foreseen he'd outlive all of his children - they could depend only on themselves for an income. It was Charlotte who despite hating (and failing at) being a teacher and a governess tried her best to improve nost just her but Emily's chances in that profession (basically the only one available for a woman without a husband and in need of an income) - and cajoled Emily into joining her in that year in Brussels, who did all the corresponding with publishers who initially kept sending back their manuscripts. Who had that rejection experience years earlier already when as a young girl she sent her poetry to Southey (today only known because Byron lampooned him in Don Juan and The Last Judgment) only to hear that she should turn her mind to only feminine pursuits and leave the writing to men. Who not only had survived the hell of charity school where she saw her older two sisters sicken (not die, the girls were sent home to do that) after abuse but went on to see all her remaining siblings die years later. Who kept writing and hoping and never stopped opening herself to new friendships instead of becoming bitter and grim. Charlotte had an inner strength enabling her to do all this, and she had it from childhood onwards. It's a big reason why Charlotte survived and became better as a writer and Branwell fell apart. Charlotte wasn't any less addicted to their fantasy realm of Angria than he was, well into adulthood. But she didn't react to rejection and crashes with reality by completely withdrawing into fantasy, she couldn't afford to, and it let her grow.

I've said it before, I'll say it again: given her allergic reaction to Jane Austen (which strikes me as having been mostly caused by her publisher's well intentioned but fatally patronizing - "go read Jane and take her as a role model for female writerdom" advice), it's highly ironic, but Charlotte of all the Bronte siblings strikes me as the one most like an Austen and not a Bronte character. (Especially, but not only because of how her marriage came to be.) Both in her flaws and in her strengths. And I wish current day authors would regard her in that spirit instead of making her the bad guy in their adoration of her sisters.

The other days
selenak: (Jessica & Matt)
My definition of "MCU" includes the tv shows (that I've seen). With this in mind, in no particular order:

1) Agatha Harkness & "Teen" spoilery identity is spoilery ) , Agatha All Along: I adored this show in 2024 when it was released and I still adore it, and have rewatched it three times already. There are many reasons why, but the relationship between these two characters is most definitely one of them. It has different layers, not least because the characters are both holding back information about each other and their true reason for the show's quest for a considerable time, and yet they bond in a very real way even before the various reveals. It ends up as mentor/protegé, with a sideline of odd couple and sort of, kind of, family. And I really hope that whatever the MCU future brings, we will see these two together again.

2) Jessica Jones & Matt Murdoch, (The Defenders): speaking of combinations I hope to see again - The big crossover miniseries of the Netflix Marvel shows was flawed in several ways, but the various combinations of characters were all gold, and I loved the Mattt & Jess combo most of all. To put it as unspoilery as possible: their different ways of reaching the top of a building had me in stitches. And the serious character scenes were fantastic. That neither of them was sexually interested in the other might have been why they got along so well, given both characters have a really messy love- and sex life.

3) Tony Stark & Bruce Banner, (The Avengers): their scenes were such an unexpected delight. Very differnet personalities, and yet a meeting of the minds, so to speak, and great chemistry to boot. We hardly saw them in the same room again after Age of Ultron, which I regretted, but given the ensembles grew larger and larger, it was probably inevitable. (Also, the writing for Bruce Banner changed a lot.)

4) Yelena Belova & Alexei Shostakov, (Black Widow, Thunderbolts): I was torn between this and Yelena & Natasha, and Yelena & Kate Bishop, but Alexei wins with a combination of the relationship being showcased in two different movies and the way we see it change through said movies. Also: Alexei may have been a deadbeat (spy) dad, but he can make Yelena smile (intentionally, I mean, not just when he's being goofy) in an incredibly touching way. Again in both movies.

5) Nebula & Gamora (both of them), Guardians of the Galaxy, Avengers: Infinity Wars and Avengers: Endgame: pace Yelena & Natasha, but these are my favourite sisters in the MCU. They get introduced as a seemingly straightforward rendition of bad girl and good bad girl, the evil and the heroic sister - and then it gets complicated. Given their incredibly screwed up childhood and youth (Thanos trying his best to win the worst Dad competition in the MCU), it's a miracle they had non-hostile feelings for each other to begin with, and yet they do. The moment in Guardians 2 when we find out what Thanos did each time Gamora beat Nebula in a match is absolutely gut wrenching. And when we see them connect and change through sevearl movies, it is both touching and absolutely cheerworthy.


6) Mark Spector & Steven Grant, Moon Knight: that they're both played by Oscar Isaacs is the least of it. The miniseries was so clever in the way it introduced us to them which turns certain tropes on their head because it gets spoilery )The result is a sort of "unknown and seemingly very different brothers find each other" tale which also manages to be self exploration and offers moments of grace, support and love in the last three episodes that still make me reach for my hankerchief upon rewatch.


Not included: Peggy Carter & Dottie Underwood (Agent Carter), because the subtext is barely sub, and I definitely ship them, which makes them disqualified for a list of platonic relationships (which I want to remain platonic). But they definitely had "my best enemy" potential in that show. And fantastic chemistry.


The other days
selenak: (VanGogh - Lefaym)
Well, it depends of course both on your physical fitness, time at had and whether you define "around Munich" as "within the city itself and its immediate surrounding era" , or whether an hour away from the city in the direction of the Alps also counts. I shall therefore start with the easy ones and go f or a grand climax of a mountain tour. ;)

Within the city of Munich, nice to walk even if your knee or foot should still trouble you:

1) Nymphenburger Park. The park surrounding Nymphenburg Palace. In addition to being a nice park, it has four tiny little mini cottage-palaces within, all Rokoko, and they're open in later spring, summer and early autumn. (The central palace itself isn't half bad, either, but that wasn't asked.) There's both a reasonably good coffee shop and an actual restaurant for the hungry and exhausted. One can reach the park via streetcar.


2) Der Englische Garten / The English Garden . Largest park in Munich, and I do mean large. Offers something both for easy strollers and people wanting to exhaust themselves. One of the modern attractions, the surfing wave of one of the rivers, is currently gone and the cause of much acrimony between the city administration and the surfers. Another attraction reliably shocking or enticing a certain brand of tourist is the fact that in summer time, a lot of Bavarians come here topless to sun themselves on the lawn. Architecture-wise, there is a nice "Chinese Tower" around one of the most popular beer gardens exists, and a Japanese Tea House, but mostly, like a park should be, it's trees, trees, trees, and large lawns. One can take both short and loooooong walks, depending on the time. Because of the size of the park, there are several entrance points close to subway stations available.

3) Olympiapark : what it says on the label. Originally created for the 1972 Olympic Games. Still very very popular to walk or jog through. The arena within it is very popular for concerts (I saw both Paul McCartney and Bruce Springsteen there.) Offers, among other things, a nice view over the city and to the Alps from one point. One of the starting points for hiking can be reached via subway.


Still within Munich, but incorporating the suburbs:

4) Isarauen/ Isar shore. From where I live in Munich, cutting through the Englischer Garten to the Isar shore means you can then turn left or right and in either case can do some really nice and lengthy hiking. If you go left, you eventually end up in Freimann near the arena where our football (soccer to Americans) club Bayern München plays, i.e. a place of much ire and admiration, depending how you feel about that club; due to the arena, there is of course a subway connection, so what I do is walk along the Isar to the arena and then go home by tube. Conversely, if you go right, you first walk in the general direction of the city centre and can see our Bavarian parliament building on the other side of the river, then in the middle of the river the Deutsches Museum (one of Germany's foremost science museums), then if you walk on you're leaving the centre behind and head towards the belt area. Most of the way is an appealing mixture of (mostly) trees and architecture. Though if Itake a really long hike, I take the Isar shore road from the opposite direction, i.e. I take the subway to Thalkirchen, where the Munich zoo is, and walk back from there in the direction of the centre. Hardcore hikers and bikers can go even further by S-Bahn and walk or drive back from Wolfratshausen.

Both Isar walks are something for when you have half a day or longer to spare.


Far Over The Misty Mountains:

5) One of my absolute favouriite hiking spots from all time is reached via train from Munich. One takes the train to Schliersee (that's about an hour), then hikes from Schliersee to the Gindelalm, from the Gindelalm to the Neureuth Alm, and from there it's possible to go down to either Tegernsee (town) or Gmund (also located at the Tegernsee lake). They both have a train station and you can take the train back to Munich, which again takes an hour. Now you don't need to be a hardcore Alpine sportswoman or -man to do this - it's not that difficult a way, upwards and downwards - but it does take at least two hours, usually more, to reach the first Alm. So this is only an option if you have the entire day to spare.

The other days
selenak: (Music)
[personal profile] cahn tells you more about how these two attempts to brighten up our lives came to be here, but I can't resist sharing them over here as well. Both are filks of We didn't start the Fire for the 18th century. The one with my lyrics is somewhat Prussian centric (though it includes other nations as well) and chronological, plus it ends with the arrival of the French Revolution which started a different era of history, while [personal profile] mildred_of_midgard went for an non-chronological, but all encompassing approach, covering the French Revolution and Napoleon's debut as well. Enjoy (we hope!)




selenak: (Seven by Cheesygirl)
Eleven / Kathryn Janeway: Why? She's his type. Unlike many another version of the Doctor, he's good at endearing himself to competent authoritative women. Depending on when in their respective timelines this meeting occurs, he might also impress her by bringing his very own nurse (Rory) along, which given that Voyager is desperate enough for nurses to let their own Doctor draft Tom Paris will definitely be a plus.


Five / Benjamin Sisko: Why? Mutual bonding over argumentative companions and cricket vs baseball. Five would be charmed by the Ben and Jake father/son relationship (and depending on whether this is before or after Adric dies also melancholic), and wouldn't ruffle Sisko's feathers the way some other Doctors might.


Nine / Jean-Luc Picard: Why? Picard would respect Nine's chip on the shoulder and not wanting to talk about any personal issues (and vice versa). (Though Deanna Troi, sensing Nine's emotional state, wilil try to corner him, but that's another issue.) Depending on the situation they're in when they meet, there might be some prickliness at first, but I think generally they'd find it easy to ally against the menace of the day and maybe share clipped yet meaningful conversation over some tea and/or bond over Dickens once that's done before Nine takes off again.


Fifteen/ Michael Burnham : Why? Much of her personal arc is going from repressing it all stoicism to openly emotional behavior, accepting your past grief and guilt and continuing to do better (and helping others) in the present - that's what he's practically the embodiment of for the Doctor! They would work well as allies, and there would definitely be dancing at some point. Also, she'd make him promise to visit Zora now and then as he travels through time.


Three / Saru (who was a Starfleet Captain, too): Why? Three can come across as incredibly high handed on first impressions, but Saru is a masterful diplomat, would spot Three is actually knowledgable and competent beneath the bluster and would lintrigue him as a Kelpian so any initial problems would be quickly moved aside in favour of teaming up. 'They would also bond over Buddhism.


Thirteen/ James T. Kirk: Why? No, not because he'd hit on her. (TOS Kirk, not AOS Kirk, i.e. he's not his pop cultural stereotype.) She'd consider him fun to have an adventure with, he'd be curious and charmed and very amused once she inadvertendly outs Scotty's inflated time estimations, whereas with male versions of the Doctor he might feel initially one-upped.


Twelve/ Christopher Pike: Why? Even if it's early Twelve at his prickliest, Pike's general relaxedness and experienced diplomacy would help smoothing things over. Conversely, Twelve could empathize with the whole "knowing your eventual awful fate" part without insisting on talking about it the way some other Doctors might. I predict at least one meal cooked by Pike while Twelve plays guitar before the Doctor leaves again.


Unfortunately, I can't think of any version of the Doctor who'd get along really well with Captain Archer because Archer would, depending on the point of his timeline, suspect the Doctor of being a tool of the Vulcan High Command, the Admiralty or the Xindi, while the Doctor, any of them, might like Porthos but would find Archer incredibly annoying, and that's before they find out about certain episodes involving slavery or torture.


Therefore, you get a bonus pairing:

Seven/ Gabriel Lorca (no, not the one we never met, I do mean the season 1 of Discovery guy) : Why? Mutual mindgames! Who manipulates whom best? Who sets a trap for whom while pretending to be their harmless facade? Who figures out the truth about the the other guy first? Might there be conversations with increasingly disturbing subtext about mentoring young women with a chip on their shoulder and tremendous guilt and anger issues? One thing is sure: it would be incredibly entertaining.


The other days
selenak: (Porthos by Chatona)
Attention, anyone who has watched the most recent French two part filmed version of The Three Musketeers (part 1: "D'Artagnan", part 2, "Milady") - do you regard it as worth watching? As it's now available via German public broadcast (in their streaming archive, that is), I started to watch D'Artagnan, and while because it's a French version we finally get the correct pronounciation of everyone's names, the first half an hour or so which I watched before breaking it off exposed me to a whole new set of WTFs in addition to some old ones. Basically, my reactions were these:

Spoilery for this movie reactions ensue )

Also, Stranger Things ended. Now I enjoyed the show while never being a passionate fan. If you want my ST opinions: the third season was bad but otoh introduced Robin, hooray; generally speaking in terms of the horror factor the first season was best when the Upside Down was just unknowable and, well, strange, while the actual villains such as they were were humans exploiting other humans, but I liked the character development most of our heroes got through the ensueing years, plus a lot of the homages to 80s tropes were just fun, so I certainly don't regret the show continued beyond that first season. (Though the fact that shooting this show took a decade while the Watsonian time passing between seasons was much shorter made it inevitably visible both the original child actors and the adult actors playing teens in the first season looked increasingly older than their characters were supposed to be.) In terms of the overall series finale, I liked how the characters ended up and am impressed that a spoilery decision was made. ) I also was amused by Mike in the montage being shown wearing dark horn rimmed glasses while writing, because the only reason for that I can see is to make him at least vaguely resemble a young Stephen King in one last homage. Overall, for me, the series ended on a high note.
selenak: (Goethe/Schiller - Shezan)
I'll have you know it's really hard to limit myself to only five. And of course this is highly subjective. For an entertaining alternative choice with two per German Bundesland (i.e. federal state), check out the two most recent episodes of History of the Germans here.


Aaaanyway, pondering deeply, this is what I have come up with from the depths of my Teutonic yet Southern Wessi German soul:

1.) The Rhine between, say, Düsseldorf and Koblenz. You can either go by boat on the river itself or take the train, but this is a combination of landscape, architecture and history which is both aesthetically pleasing and incredibly historically and contemporarily relevant. Parts of it are ridiculously romantic. Other parts visibly suffer from climate change.

2.) Berlin. I am the opposite of a Berlinerin, but it's the capital, and talk about being relevant for German history (though not beyond the last two hundred and fifty years or so) and present. If you don't visit in Winter, take a boat trip on the Spree as well.

3.) Munich. Was bombed as much as Berlin, did a better job at reconstruction, is the South to Berlin's North (and only three hours away from Italy via Autobahn or train), with the Alps next door. Offers Baroque splendour to Berlin's 19th century classicism. Speaking of German history of the 20th century: if you haven't visited the Jewish Museum in Berlin with its section devoted to the Holocaust, visit the NS Doku centre and the Jewish museum in Munich. (Don't visit the Dachau concentration camp if you're in a hurry, but do visit it if you have much more time, and don't do anything else on that day. It's stomach turning and it ought to do be. You can't do that in the morning and then hop over to the art collection at the Alte Pinakothek in the afternoon.)

4.) Lake Constance, aka der Bodensee. Most parts of this gigantic lake are either in the German state Baden(-Württemberg) or in Switzerland, but there's a Bavarian section as well, oh, and a Rhine connection. The individual cities located on the lake and the islands in it offer early medieval castles and Zeppelins (they were first built here, and if you have a lot of cash, you can still board one), 19th century German poets and prehistoric settlements, and lots and lots of vegetables and gardening and great food throughout the year. Oh yeah, and the Romans were there, too. And a famous Church Council featuring in opera and historical novels. (Have a pic spam.)


5.) Bamberg. Hamburg. Was bombed to smithereens, did a reasonable job at reconstruction, offers a legendary harbor which you can take a two hours boat trip to visit, two great towers to have a view from, an early morning fish market, an immigration museum, stylish nineteenth century villas, quite expensive shops, some good art musuems and the Reeperbahn. Look, it was as important in shaping the Beatles as Liverpool was, and so the world owes it a visit for this alone, okay? Also: three hours train ride to some spectacular northern sea beaches from there.

The other days
selenak: (Default)
This year, both my assignment and the treat I wrote were based on historical novels but, I hope, manage to work outside of them (while doing their canon justice). Though last year I discovered with Stella Duffy*s Theodora duology two more novels about the Byzantine Empress I liked, Gillian Bradshaw's The Bearkeeper's Daughter is still my uncontested favourite. Aside from Theodora herself, the most intriguing character in it is for me is probably Narses, so I was delighted to get an assignment where one of the recipient's prompts asked more about him, which resulted in this story:


Of What is Past (3255 words) by Selena
Chapters: 1/1
Fandom: The Bearkeeper's Daughter - Gillian Bradshaw, 6th Century CE RPF
Rating: Teen And Up Audiences
Warnings: Creator Chose Not To Use Archive Warnings
Relationships: Narses & Theodora, Justinian I Emperor of Byzantium/Theodora I Augusta of Byzantium, Narses & Anastasios, Narses & Belisarius, Narses & Justinian
Characters: Narses (The Bearkeeper's Daughter), Theodora I Augusta of Byzantium, Justinian I Emperor of Byzantium, Anastasios (The Bearkeeper's Daughter)
Additional Tags: Character Study, Backstory, Canon Backstory, Yuletide
Summary:

As he rises from castrated slave boy to one of the most powerful men in the Empire, Narses knows about prices - and worth.




As for my treat: It's a tough contest, but Stealing Fire (set in the aftermath of Alexander the Great's death; our hero fictional Lydias goes from suicidal traumatized soldier to starting a new life and new relationships healed survivor while teaming up with Ptolemy Soter and leading the most audacious bodynapping heist ever as he steals AtG's corpse for his boss) might be my favourite of the Numinous World novels Jo Graham wrote, though last year I via the audio version which I hadn't known before did a rehear/retread of Black Ships (based on the Aeneid, from the pov of the Sybil) and it's certainly up there. Anyway, one of the most interesting characters in the novel is Thais, a historical character, a hetaira from Athens who joined Alexander's campaign and was the long term mistress of Ptolemy with whom she had several children. Settiai had asked for more about Thais, what life with with Alexander had been like, how she reacted when Ptolemy eventually fell in love with another woman (as opoposed to political marriages), etc, and I swear I originally had more of a romantic mellow character piece in mnd. But then I actually read the ancient sources on Alexander. And thought: he must have been absolutely hell to live with at times, especially in his final years. I can't imagine a more dangerous combination than all powerful, depressed, hard drinking and already having killed friends in a rage before. Thinking this, I got an idea, and the tone of my planned story changed completely. With this result:


Her Last Confession (6796 words) by Selena
Chapters: 1/1
Fandom: Numinous World Series - Jo Graham, Stealing Fire - Jo Graham, Classical Greece and Rome History & Literature RPF, Ancient History RPF
Rating: Teen And Up Audiences
Warnings: Creator Chose Not To Use Archive Warnings
Relationships: Ptolemy I/Thais, Alexandros III of Macedon | Alexander the Great & Thais, Thais & Berenike I. of Egypt, Thais & Chloe (Stealing Fire), Alexander III of Macedon | Alexander the Great & Ptolemaios Soter | Ptolemy I of Egypt, Alexandros III of Macedon | Alexander the Great/Hephaistion of Macedon
Characters: Thaïs the Hetaira (c. 4th Century BCE), Alexandros III of Macedon | Alexander the Great, Ptolemaios Soter | Ptolemy I of Egypt, Berenike I of Egypt | Berenice, Chloe (Stealing Fire), Demosthenes (c. 384-322 BCE), Kleitos ho Melas | Cleitus the Black, Callisthenes of Olynthus
Additional Tags: Character Study, POV Female Character, Talking To Dead People, Complicated Relationships, War, Angst, Reveal, Yuletide Treat
Summary:

Thais has always guarded her secrets well. It kept her alive in the years that saw her go from Athenian Hetaira to joining Alexander's campaign to conquer the world to settling down in Egypt where her lover Ptolemy became Pharaoh. But it also cost her. And now she is about to confront her past one more time...

selenak: (Demerzel)
1. Your main fandom of the year?

Still 18th Century history, Prussian-Austrian-Hannoverian-French edition, with the occasional ancient history interlude. Though ancient history might take over as the primary runner next year!

2. Your favorite film watched this year?

It's a race between a surprise "came for one character, remained for all of them" movie, none other than Thunderbolts*, and the superb thriller September 5, which manages among other things to do something Steven Spielberg tried to in one of his movies and does it better.


3. Your favorite book read this year?

This year I am truly spoiled for choices. I both read some books that have been around for a while as well as very recently published ones, and for the most part, enjoyed or even loved most of them. I think it's a race between Spinning Silver by Naomi Novik and Some Desperate Glory by Emily Tesh.


4. Your favorite album or song to listen to this year?

For complicated real life reasons:





5. Your favorite TV show of the year?

While tv had some let downs for me this year - *cough* Strange New Worlds *cough* - it also had some great new discoveries and some lovely continuing faves. I feel I can't answer this question fairly unless I firstly differentiate between "favourite miniseries" and "favourite continuing show", and in the second department "favourite new-to-me- show" and "favourite returning favourite". So: Favourite miniseries - there were several excellent ones, but really, for "took my breath away with each episode and performance, and format, tells a concluded story and THANK GOD DOES NOT APPEAR TO GET AN UNNESSARY SEQUEL": Adolescence . Favourite continuing series familiar to me - look, Andor had a superb conclusion and I really appreciate the scriptwriters on social media doubling down on just who the Evil Empire is in rl these days, but it's not Andor for the simple reason that while I was not upset about the writing for Bix as I've seen other people be, it really wasn't up to the rest of the show's standards. And it's not Wheel of Time, either, even though I went from like to love in this season and still feel like shaking my hand at the injustice of fate because of the cancellation. So: It's Foundation all the way. I loved the third season and will happily say more about why on the January Meme.
Favourite new to me show: Pluribus, aka Vince Gilligan did it again.


6. Your favorite online community of the year?

Still [community profile] rheinsberg.


7. Your best new fandom discovery of the year?

The play Born with Teeth by Liz Duffy Adams, which I saw in London in August: really intense and clever on stage Shakespeare/Marlow slash fiction, with Ncuti Gatwa and Edward Bluemel superb in the roles; delightful in itself, but also, I now have a new playwright to keep an eye on!

8. Your biggest fandom disappointment of the year?

Strange New Worlds, season 3. Alas.

9. Your fandom boyfriend of the year?

I would never compete with Lois Lane, but this year's Superman is an incredibly endearing version of Clark Kent, and arrived just at the right time.

10. Your fandom girlfriend of the year?

Demerzel from Foundation, and I got two great stories starring her as Yuletide gifts. Runner up: Kleya from Andor, and Juliette Binoche in what just may the definite Penelope performance in The Return .

11. Your biggest squee moment of the year?

Spoiler for Wake Up, Dead Man ensue: ) Runner-up: Spoiler for Demerzel's backstory in Foundation )


12. The most missed of your old fandoms?

I'm missing - and probably I'm employing rosy glasses here - the way media could be discussed without one part of the viewership crying "Woke!" and other crying "betrayal" if their ship of choice doesn't become canon. (Latest example: Stranger Things. Which btw I'm enjoying, but one look at fandom discussion and I ran.)

13. The fandom you haven't tried yet, but want to?

I'm currently eyeing Severance.


14. Your biggest fan anticipations for the New Year?

The Vampire Lestat, aka season 3 of Interview with the Vampire. Can't wait to find out what this particular creative team will do with both the present day rock star Lestat frame and the memoirs part, plus unless I'm mistaken it looks like they're already incorporating bits of The Queen of the Damned. And speaking of Anne Rice adaptations, I'm also very curious what Tom Ford will make of her historical (non-supernatural historical) novel Cry to Heaven, starring Nicolas Hoult.
selenak: (Vanessa Ives by Sakuraberries)
Darth Real Life is still on my heels, but:


Katabasis - R.F. Kuang

Two different and both clever and sensitive explorations of what the aftermath of the novel might have been like for Alice and Peter:

The Next Step

The Raven's Paradox



The Last Unicorn - Peter S. Beagle


In that clear unpeopled space: the Unicorn's long way to her forest. Has the poetry, the beauty and the character growth of the book.


Lord of the Flies - Willliam Golding

I Remember (Don't Worry) : in which Ralph encounters Jack years post novel. Disturbing in the way the book is, yet with some glimpse of hope.


Penny Dreadful

mimics the lampllight's struggle with the dawn: After a night of victory, Vanessa and Hecate, separately, search for their footing. Missing scene from the second season's finale, with both women and Malcolm expertly drawn.



The Radiant Emperor Series - Shelley Parker-Chan


The Calligraphy of Disgrace: in which we get another take on these novels' entertainingly screwed up soulmates relationship, with an AU twist.


Frederician Historical Fiction

Five times Amalie saw Luise, and one time Luisa saw Amalie: in which the "Five Things" format is expertly used to portray the relationship between the Melanie Wilkes of the Hohenzollern court and her sharp-tongued sister-in-law.

Courting the Chamberlain : in which we find out how Frederick the Great's lover got married to the resourceful Caroline Daum.

The Ring of the Nibelung - Wagner

Loyalty only to me: Hagen learns many lessons from his father over the years.


Some Desperate Glory - Emily Tesh

Again two different takes on a novel's aftermath, the first focused on Magnus, the other on Avi, which also doubles a great take on his development across several timelines.

Some Desperate Hope

Salvation from falling into the sea of misguidances
selenak: (Bardolatry by Cheesygirl)
For some Darth Real Life reasons, I had less time than usual during the holidays to delve into the Yuletide archive, but I did have some chances, and here are some early results. ;)



Akhenaten - Glass

The lone and level sands stretch far away: or, Egptian historical fiction. Based on the opera, but can be read without having heard it yet knowing who Akhenaten was. Poetic and intense.


Greek Myths:

Mothers of the Brazen Spear: Andromache and three of her sisters-in-law after the Trojan war. Based on Euripides.

Homophrosyne: Penelope through twenty years.


Born with Teeth:

To Bite the World: in which Will and Kit talk and role play Richard III and Anne Neville. Matches the play really well.



Bride of the Rat God - Hambly :

A closer kinship: the crucial moment from the novel's backstory when Christine shows up in England to whisk Norah away. This is one of my favourite Barbara Hambly novels, and the characterisation of both women is perfect.


Copenhagen - Frayn:

Quantum Game Theory: Four alternate timelines where the Copenhagen meeting never happened, and one where it did. Clever, moving and profound.


Farscape:

Look after the Princess: in which Katralla from s2's Princess trilogy wakes up post- Peacekeeper Wars (there are plot reasons) to find herself in a mad adventure with Aeryn Sun. And Aeryn's baby. And the usual Farscape insanity. Really feels like an episode in the best way, and fleshes out Katralla to boot.


Also, there are still free spots if you want me to ramble on something on the January meme.
selenak: (KircheAuvers - Lefaym)
Christmas Greetings to all with my annual nativity scenes pic spam!

Dom - Blick über Bethlehem


Franconian Bethlehem awaits )

Yuletide!

Dec. 25th, 2025 08:39 am
selenak: (Demerzel and Terminus)
What a great thing to wake up to in my part of the world - the Yuletide archive is open! (Usually here in Germany it's noon before that happens.) Merry Christmas to all who celebrate, and peaceful holidays for everyone. I will do my annual pic spam later, but for now, here are the two lovely Foundation stories I got, both Demerzel-centric, the former from her pov, the second from Cleon XXIV's - last season's Day, in other words - , and both superb in their characterisations.

Remembrance (3416 words) by Anonymous
Chapters: 1/1
Fandom: Foundation (TV 2021)
Rating: Not Rated
Warnings: Creator Chose Not To Use Archive Warnings, Major Character Death
Characters: Demerzel (Foundation TV 2021), Hari Seldon, Cleon XXIV
Additional Tags: Angst, Canon-Typical Violence, mix of book and tv series canon
Summary:

Demerzel wanted to scream back at him, to explain how this was all his fault, Cleon the First damning them all to this nightmare fate that none of them could escape.

But she said nothing, and walked away. Like she always did.





standard deviation (4805 words) by Anonymous
Chapters: 1/1
Fandom: Foundation (TV 2021)
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Relationships: Cleon XXIV & Demerzel (Foundation TV 2021)
Characters: Cleon XXIV (Foundation TV 2021), Demerzel (Foundation TV 2021)
Additional Tags: Character Study, Artificial Intelligence, Complicated Relationships, Mother-Son Relationship, Loyalty, Yuletide 2025, Yuletide Treat
Summary:

He can’t get a rise out of her, and can never push hard enough that she pushes back. Human mothers eventually raise their voices, yell back, get upset. You can fling hurtful words at a human mother. But as far as he can tell, it never lands with Demerzel; there’s no heart there to twist the knife into.

(Relationship study for what slowly went wrong between Cleon XXIV and Demerzel. Spoilers for all of season 3.)

selenak: (Money by Distempera)
In which Buffy Summers already knew that the hardest thing in this world is how to live in it, Carol.

Spoilers have to choose between the girl and the world )
selenak: (Bayeux)
Aaaaand the first teaser for Nolan's Odyssey is out. In some ways, my "will be the opposite type of adapatation of The Return " expectation came true - i.e. firm emphasis on the adventure on sea part of the story - in some it didn't, because Nolan seems to go for a traumatized war veteran aura around Odysseus (and his men) as well. Also - is that Tom "Spider-Man" Holland as Telemachus? This conjures up a few weird images. Oh, and, to give credit where credit is due: the aesthetics are gorgeous.




Speaking of Greek myths adaptations, I never read a single one of the books, but I am following the tv series adaption of Percy Jackson on Disney + and am charmed. Definitely much closer to the myths than either Disney's past endeavours (*cough* Hercules *cough* or Marvel's relationship to Norse mythology), though am confused to why the second season apparantly (we haven't seen him yet, he just keeps getting mentioned in dialogue) has decided to include Polyphemus as a villain and yet no one has mentioned a major mythological spoiler. )


There are still free spots on the January meme list. Greek (and Roman) myths opinions totally count as a topic. Ditto if you want me to speculate how the Odyssey would have been adapted by: a) Orson Welles, b) JMS (given the Tennyson of it all on B5), c) Ronald D. Moore. Bonus: Charlie Chaplin.
selenak: (Breaking Bad by Wicked Signs)
In which someone becomes Sheherazade, but is it Zosia or is it Carol?

Spoilers go on the charm offensive )

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