Title: Like Everybody Else (7/11)
Fandom: Phantom of the Opera (Leroux)
Rating: Mature (sexual content)
Summary: A sequel to the events of the novel, Christine returns to Erik to live as his wife. But the promises Erik made are difficult to keep, and a kiss is not enough.
Warnings: The sex in this chapter contains elements of force and dubious/non-consent.
Notes: Thanks to stefanie_bean for her editing help and lettered for her support and inspiration. Also available at the AO3 and The Fifth Cellar.

( Chapter Seven )

Title: Like Everybody Else (6/11)
Fandom: Phantom of the Opera (Leroux)
Rating: Mature (sexual content)
Summary: A sequel to the events of the novel, Christine returns to Erik to live as his wife. But the promises Erik made are difficult to keep, and a kiss is not enough.
Warnings: The sex in this chapter contains elements of force and dubious/non-consent.
Notes: Thanks to stefanie_bean for her editing help and lettered for her support and inspiration. Also available at the AO3 and The Fifth Cellar.

( Chapter Six )

Title: Fingers Crossed
Fandom: Star Trek: TOS (at least, that's how I imagined it; there is no canon specific element here)
Rating: NC-17 for explicit sex
Pairing: Kirk/Spock (established relationship)
Word count: 2,600
Genre: PWP
Summary: Spock knows Jim believes Vulcan hands to be unusually sensitive. He doesn't disabuse him of that notion, but he has his reasons.
Notes: Written for Dreamwidth's Kink Bingo's amnesty period for the "hand fetish" square on my card. I wanted to play with the common trope in Trek fic about Vulcan hands. It went from there.
Warning/content notes: (skip) Fisting.


( It was a common misconception... )

Have this video you've probably seen before, because it's hilarious. [NSFW in concept, though it's all images from the 2009 Star Trek film.]

As well as some photos I won at the KiScon raffle! Some of which are candids I did a little bit of color fiddling with.

( +6 )

Title: Like Everybody Else (5/11)
Fandom: Phantom of the Opera (Leroux)
Rating: Mature (sexual content)
Summary: A sequel to the events of the novel, Christine returns to Erik to live as his wife. But the promises Erik made are difficult to keep, and a kiss is not enough.
Notes: Thanks to stefanie_bean for her editing help and lettered for her support and inspiration. Also available at the AO3 and The Fifth Cellar.

( Chapter Five )

My last gig with Landlord's Daughter was on the 5th of November. I actually thought I'd posted about it, but I guess I didn't. I have really mixed feelings about it: it was probably the best gig we've ever had, and I had the most fun, and that made leaving really bittersweet. I still think it was the right decision, but it was a lesser of two evils thing, not a clear-cut winner.

But! I have photos, taken by the bass player's girlfriend, and I wanted to commemorate the event.




( plus studio recording, and cats! )

On December 17, 2005, Mr. Daroga and I picked up our first dog from the pound. Eventually named Mr. Darcy for his combined vulnerability and attitude, he's been a fantastic companion ever since. I just wanted to commemorate that, because I love this dog, and I think a lot of people who've met him have, too. He's the model for the picture of Sirius from Diana Wynne Jones' Dogsbody in the icon. He's the one who I couldn't take outside for months and months because he became dog aggressive after the three month period during which he was too terrified to un-tuck his tail.

When we got him, the pound said he was a year old. The vet said he was three or four. Which means he must have been somewhere in between, because he didn't grow, and he's probably not nine. But I guess we'll never know, and judging from some of his behavior, maybe it's best that way.

Thank you, Mr. Darcy, for five years of love and counting.


Then, and blurry, I'm sorry.


Now-ish. Hey, greybeard.

So, five years late, I've finally watched the first two episodes of Supernatural. I guess the tipping point was nearly everyone I know wanting to talk about it? And I wanted to give it a chance, I really did, but I don't think it's for me. ( Not trying to pick a fight, just my curmudgeonly observations. )

On a completely unrelated note, I found this photo on tumblr and I just can't get over it. I think it's because we don't see older stars in photos like this: they're either in a film, or it's posed. And while there are plenty of candids of Chaplin, he at least usually has his hair combed and doesn't look like he rolled out of bed. So maybe I do have a little of that People magazine thing in me, because I can't stop looking at it. Sort of like that photo of Welles, Hayworth and a birthday cake.



I mean, honestly. How is that even the same person? And how much do I want to play with his hair?

For still another unusual view of Chaplin, this 1915 film has him in drag, and tricking the two men after him into kissing. He's sort of adorable. The drag part starts around 14:50.

Title: Like Everybody Else (4/11)
Fandom: Phantom of the Opera (Leroux)
Rating: Mature (sexual content)
Summary: A sequel to the events of the novel, Christine returns to Erik to live as his wife. But the promises Erik made are difficult to keep, and a kiss is not enough.
Notes: Thanks to stefanie_bean for her editing help and lettered for her support and inspiration. Also available at the AO3 and The Fifth Cellar.

( Chapter Four )

Meme stolen from viorica8957.

Bold the ones you've seen stage productions of, italicize the ones you've seen movies of, underline the ones you've read or listened to, and add a star to any you've performed in, done readings of, or in which you've otherwise theatrically participated.

( the plays )

I also saw a play that was several of the history plays stuck together, but I don't remember which and that probably doesn't count.

Also, I don't use it much, but if anyone wants my tumblr of people I find hot and stuff I'm watching/thinking about, it's under the same name. Feel free to give me yours!

The other day, lettered and I watched The Gold Rush. There was no little consternation on our part, discovering the 1942 reissue (and, I believe, the primary DVD source) contained Chaplin's narration and music, which I find interesting from a historical/personal perspective but really rather horrible to actually watch/listen to. While it is ably performed--the synchronization and the sound effects, especially, were well-done--the whole thing really takes away one of the joys of silent pictures. And that is the interaction with the viewer when it comes to interpreting the text. With silent films, there is a constant conversation being held between the film and the spectator, because while the pantomime should be obvious, it is not put into words. And it's the audience's job to determine how many words they need, or whether they are watching on a more elemental level. Sometimes I can read their lips, but most of the time I'm participating on the level of gesture, suggestion. I don't want to know the Tramp's thought processes--it takes away part of the magic, for me. (It also highlights Chaplin's weaknesses as a scriptwriter, because his added dialogue is far less charming than what I might have put into his mouth.) That said, the thought of Chaplin revisiting this some 17 years later and commenting on "the Little Fellow" as he called the character is intriguing.

( Read more... )

I've also been reading some about him. There's an excellent volume of reaction and criticism entitled The Essential Chaplin, edited by critic Richard Schickel. What's great about it is that it collects contemporary reactions to him, and thereby records not only his career but part of the trajectory of film writing. It's fascinating to get a glimpse of how people wrote about film when there wasn't yet a canon to write about. And the figuring of film in popular culture and art. I will say that the book is one of the WORST proofed professional volumes I've ever read, with glaring typos throughout. Also, Schickel's introductions to the essays and reviews are helpful context, but he's extremely dismissive of some of the contributors for my taste, outright derisive at times. But it's an interesting book.

I've yet to find an actual biography that doesn't fall directly into either the "godlike genius" or "perverse hack" categories most bios of creative people seem to be unable to avoid.

And, because... I don't even know:

The cartoon, I mean. I was going to say The Last Airbender but now that's confusing, too. Anyway. Not exciting and new, I know, old meme, but I thought you should know.

Because everyone's awesome, especially... *drumroll*...

IROH.

That's right. I adore him. I don't know what it is, though I do know that I often really enjoy characters who like food and/or are sort of philosophical about their comforts. Even though I do not. Like food.

I'm not done with Book 3 yet, I think we're on the second disc, but the scene with Zuko and the shell was probably the best thing ever, and I also love Katara and Aang and Sokka and less so Toph. But Iroh. I need more Iroh.

I hear people don't like Katara. What's that about? Unless it's about something that hasn't happened yet, in which case, don't tell me. But anyway, I love that it's a kid's show that moves, plotwise, and it's got definite goals, and the humor is actually humorous to me, and there are lots of girls kicking ass. It's just great.

These are my profound thoughts.

I know I've spammed a few of you already, but this just in:

I will be playing messenger/Conrade/Ursula in Much Ado About Nothing! I've had about ten or so auditions without results, so I was getting really discouraged--I know that's how it goes, but it's hard to keep perspective when you're feeling so judged--so I'm really really happy.

I'm also happy because the one show I've seen at the theater had some great acting, and I think it's a good step forward for me, career-wise. Don't get me wrong, I love the people I've worked with so far, and I've had a great time. But being in a cast where I'm not the lead and have to keep up will be good for me.

So, I'll be gone for pretty much the entire month of January, as we go up in early February. I want to start right away!

I used to re-watch movies all the time. I'd come home from school, probably in the middle-school era, and watch one of the Star Wars saga. Or later, as a teen, my best friend and I would have to see Pride and Prejudice or Anne of Green Gables every six months or so. I think, at that time, it was about recapturing a feeling or wanting to live in that "world" a little longer or just the comfort of familiar narratives.

Now, I still re-watch movies all the time. But the experience has changed somewhat. Sometimes I revisit old favorites for comfort's sake, and sometimes to share with someone the joys of something they hadn't seen before. But most often, I'm re-watching because I am a different person from the one who saw that film last time.

This might mean that, yes, I saw Casablanca when I was twelve or something and obviously my reactions are going to be different now. But it might also mean that I saw it in college (I just saw Grand Illusion again which made NO IMPRESSION on me ten years ago but killed me this time) or even that I saw it last week but Mr. Daroga or lettered needs to see it and I don't mind watching again at all. Sometimes I'm a different person because I don't remember. Sometimes it's because I was in a different mood, or inattentive, at the time. Sometimes it's because I've read and seen a lot since then so my critical viewing is different. And sometimes I think it's as simple as viewing something again because I couldn't catch everything the first time, and I'm no longer looking for comforting familiarity but to see more.

I've been thinking about this because lately I've been revisiting a lot of classics I either missed before or haven't seen since I was very young, and more often than not if I like it I end up making someone else watch it with me the next day or next week. And I wonder, should I really need to see Stagecoach again already? But it is different, on second viewing, because the person who watched it yesterday has already changed enough to make it so, whether it's my mood, my opinions, or what I happen to pick up the second time. I still re-watch for pleasure, but when I do City Lights again it will also be because in the past two weeks I've read Chaplin's autobiography/seen Limelight/watched old Mutual two-reel comedies. My experience of the film will be different enough already that in a sense it will be like watching something new.

It's curious, because while I've become more selective in my opinions, I also feel that I can "get something" from nearly anything. It all tells me something, and it's part of that paradox of increased expertise: the better informed you are, the more you'll see the flaws and the less you might be able to recapture the simple pleasures. But you're also opening up another world through knowing more. I don't know if I'd be able to escape into repeating viewings of The Empire Strikes Back anymore. But I'd be getting something else out of it.

Title: Like Everybody Else (3/11)
Fandom: Phantom of the Opera (Leroux, Kay)
Rating: Mature (sexual content)
Summary: A sequel to the events of the novel, Christine returns to Erik to live as his wife. But the promises Erik made are difficult to keep, and a kiss is not enough.
Notes: Thanks to stefanie_bean for her editing help and lettered for her support and inspiration. Also available at the AO3 and The Fifth Cellar.

( Chapter Three )

Title: Like Everybody Else (2/11)
Fandom: Phantom of the Opera (Leroux, Kay)
Rating: Mature (sexual content)
Summary: A sequel to the events of the novel, Christine returns to Erik to live as his wife. But the promises Erik made are difficult to keep, and a kiss is not enough.
Notes: Thanks to stefanie_bean for her editing help and lettered for her support and inspiration. Also available at the AO3 and The Fifth Cellar.

( Chapter Two )

Movies in bold are ones I hadn't seen before. Ones with asterisks, I saw in a theater.

Monsieur Verdoux (1947)
Limelight (1952)
Scott Pilgrim vs. the World* (2010)
Dancer in the Dark (2000)
The Scarlet Empress (1934)
Valley Girl* (1983)
Get Crazy* (1983)
Harold and Maude (1971)
Evening Primrose (1966)
A Matter of Life and Death (1946)
In Cold Blood (1967)
Nicholas Nickleby (2002)
Shakespeare in Love (1998) (don't ask)
Hearts of Darkness (1991)
Queen Kelly (1932)
Ziggy Stardust and the Spiders from Mars (1973)

My comment for the month? Seriously, why had I never seen In Cold Blood? I'm totally blown away.

Has anyone else encountered the phrase "GlamRPF" in their fandom travels and been really disappointed that it's not David Bowie/Iggy Pop/Marc Bolan/Lou Reed?

I think the reason I'm so confused is they cornered "glam" long before Adam Lambert and on top of that, there's a whole group of them, whereas as far as I can tell, GlamRPF is... Adam Lambert RPF. The problem, probably, is not enough people writing about David Bowie having sex, which is a CRIME.


Bowie's waiting...

In other news...

...I've been recognized several times as "Captain Kirk" and once, last night, as Puck. Usually while at other theatrical productions unaffiliated with the ones I was part of. Which feels awesome, actually, and despite the fact there's no value or review in "hey, I saw you," it reminds me to keep trying and that eight (or more? I've lost count) rejections in a row doesn't mean no one wants me.

Also I think I know my Halloween costume for next year. It's highly unoriginal, and quite early, but if I get started now I may indeed have procured a topcoat, baggy pants, large shoes, suspenders, a cane, and a bowler by next October.

Title: Like Everybody Else (1/11)
Fandom: Phantom of the Opera (Leroux, Kay)
Rating: Mature
Words: ~46,000
Summary: A sequel to the events of the novel, Christine returns to Erik to live as his wife. But the promises Erik made are difficult to keep, and a kiss is not enough.
Notes: Thanks to stefanie_bean for her editing help and lettered for her support and inspiration. Also available at the AO3 and The Fifth Cellar.

( Author's note )


I’m not really a bad man. Love me and you’ll see! To be good, all I ever needed was to be loved. If you loved me, I’d be as gentle as a lamb and you could do whatever you pleased with me.


( Chapter 1 )

I angst a lot about writing. I angst about not doing it, and doing it, and what I'm doing wrong and (as is more to the point, lately) how I don't do it at all. It's to the point where I'm not sure I want to write, because writers write, and I don't.

But I think that, apart from just Not Writing or Wasting Time Roleplaying Instead of Writing, part of my "problem" is that so much of what I might want to write seems "wrong." Watching a lot of silent film lately has brought this home to me. There's so much going on in there that is "wrong" on at least two levels, as far as the modern, conscientious viewer is concerned:

1) It is often "melodramatic" or unrealistic, with lots of pathetic orphans and grand schemes and dramatic forced marriages/kidnappings/rescues/circuses/rags to riches and vice versa/ridiculousness.

and

2) It often contains really really bad sexism, racism, ableism, classism, pretty much any-ism-you-can-think-of.

( id-fic and super-anxiety )