So every once in a while I think about Vampire in the Garden. A brief moment is spent on the sad lesbians, and sometimes I think about Sword Uncle who almost got the point but then somebody fucked it up.
Then I go back to thinking about Allegro. This vampire twink has two positive features. The first is his loyalty to Fine, but that's marred by his conflicting perception of her and how things would be better if she just stopped feeling the Big Sad over humans.
The second is his fucking dog.
This dog keeps me up at night. It is my favorite representation of humanity inherent in the monster. At this point in the development of media, the question "what if a monster could love" is the most basic, wheaties-ass take right up next to "what if a robot could be human".
Love is obviously a major theme to Vampire in the Garden. Every major character is motivated by love or what they perceive as love, and more than love it covers grief. It talks about what to do when the love remains, but the object of affection is buried, dead, shot, lost, or abandoned.
And we follow it to the bittersweet end.
Even Allegro, who is mourned not by a lover, or a friend, or the secret third thing but by a fucking dog. A pug. A dog breed so cultivated it could not survive on its own in the harsh wilderness of Vampire Russia.
Look at this creature. His name is Conny and he is the only character without sin. When Allegro has failed his mission, is partially responsible for Fine's death, as he bleeds out in the snow he is mourned by a dog.
Conny does not understand the struggle for survival that dominates the narrative. Conny does not understand what Allegro has done, or the distain he holds for humans.
A monster loving a human is easy. That's a staple of the horror genre. A human loving a monster is easy, it'sa staple of the romance genre. A monster loving a monster is easy (see above).
But a monster being loved by a pet? Rare. Pets tend to die, killed as a motivator for the human to shed their morals and become the monster.
Pets don't live with the monster, don't reciprocate love and loyalty to a bad person. That might make the monster sympathetic in way more tragic than just 'Beauty and the Beast' or 'Bad Men Who Love Their Mommas'.
"Do I Wanna Know?" by Arctic Monkeys vs. "Do I Wanna Know?" covered by Hozier perfectly encapsulates the difference in Viper and Sage's personalities and how they convey love. Note that, though the song itself is technically the same, the difference in the composition and vocals make it feel like an entirely different song, mirroring the dissonance between how Viper and Sage handle relationships on a surface level. In this essay I will
Okay since y'all are actually somewhat interested, here's the essay lol
(Also, this is so much longer than I anticipated, and it's about both Viper and Sage in a general sense, but there's some sagebean stuff at the end.)
I'll get into the differences between the two versions of the song that I mentioned in a second, but first, let's look at the lyrical content of the song, shall we?
"Do I Wanna Know?" is, at its core, a song about love. Not only that, it's specifically about unrequited love (or at least, love that appears unrequited from the singer's POV). As a result, the entire song absolutely reeks of yearning, which I think fits both Viper and Sage quite well.
Sage is the obvious choice, of course—she's an extremely kind and caring person, and she tries her hardest to support/lead the others as best she can. As far as romantic pursuits go, it's easy to imagine that she would be very passionate about whoever she's with, even if she's outwardly more reserved about it. Viper, on the other hand, probably wouldn't be your first thought when you read the lyrics. She isn't on very friendly terms with a lot of agents, and her demeanor is cold. Distant. There are a few exceptions, but for the most part, she seems to be focused on success, making the enemy suffer, and not much else. She isn't exactly what you'd imagine when hearing, "Crawling back to you." But I feel like many people forget that, ruthless though she may be, Viper's sadism is rooted in a desire for revenge. I could go on about how revenge is almost always a sign of deep love, but that's a topic for a different post, so I'll just say this: it's clear that when Viper truly cares about something/someone, she cares a lot. That is grade-A yearner material right there.
Moving onto the differences between the two versions of the song and how they correlate to Sage and Viper's personalities, we'll start with Viper.
Arctic Monkeys' version of the song, AKA the original version, is much more aloof and confrontational sounding, if that makes sense? It has a quicker tempo, electric guitar, bass guitar, drums, and the singer's vocals have more of a devil-may-care vibe to them. Obviously the lyrics don't match that attitude, but the singer's natural voice and rasp in addition to the instrumentation just give that impression. Similarly, even though I genuinely believe Viper is an extremely passionate character who feels things deeply (including and especially love), on a surface level she's standoffish, intimidating, and definitely confident.
Even when speaking to Brimstone, who we know for a fact Viper has known for a long time and is friends with, she acts exasperated and even somewhat condescending at times. She just doesn't do displays of affection, and she probably has a hard time accepting them as well. Beneath that, though, she gets very attached to the things and people she loves, and she's willing to do something about it. You don't just strip away 90% of your life and personality for the sake of vengeance like Viper has because you're normal about the things you care about. Much like how the AM version of the song sounds more uncaring on first listen despite its emotional lyrics, Viper cares, but it's buried under layers of annoyance and practicality. There's also a verse of the song that's present in this version, but not the Hozier cover:
"So have you got the guts?
Been wonderin' if your heart's still open,
And if so, I wanna know what time it shuts
Simmer down and pucker up
I'm sorry to interrupt, it's just I'm constantly on the cusp
Of tryin' to kiss you
I don't know if you feel the same as I do
But we could be together
If you wanted to"
In comparison to the first verse, which is more romantic and uncertain, this verse is much more direct and, like I mentioned before, confrontational. The delivery of the first line in particular is very taunting, as if it's a challenge to the person who's being sung to. I feel like that's very fitting for Viper—she would not make it easy for someone to love her, and I don't mean that in a "playing hard to get" way or a "intentionally making things difficult in an effort to dissuade you" way. I mean that she has purposely cut away the softer parts of herself, she's honestly slightly insane by this point, and she knows that. She wouldn't try to change any of that, which would make a relationship with her unconventional at the very least. As a result, she would definitely approach anyone trying to pursue her romantically with an attitude of, can you really handle this? Are you prepared to love me the way I am? As a person, she's also very much a realist, and more direct than Sage, so I don't think she'd shy away from discussing the nature of her relationship with someone if necessary. (Or she'd avoid it like the plague. There's no in-between.)
Viper's love in general is just...more extreme. That's not to say that the way Sage shows her love for others is somehow less deep or anything, but unlike her, I feel as though Viper's true emotions are more prone to coming out in dramatic bursts. Just like how AM's version of the song is more upbeat and in-your-face, almost aggressive, Viper's love shines most in similarly "loud" ways; self-sacrifice, being protective, threatening others on someone's behalf, and of course, revenge. Her affection is subtle and buried under the emotional armor she's built for herself—until it's not.
Anyway, finally, let's talk about Sage :D
The Hozier cover of this song is much gentler, not only in terms of vocals but also the instrumentation. First of all, the original song is written in G minor (which is commonly used to evoke a feeling of unease, sorrow, or even resentment...very fitting for Viper. Anyway, back to Sage). Hozier's version, however, is written in G major, which gives it a much different feel right off the bat. G major is essentially the opposite of its minor counterpart, usually conveying feelings of calm, warmth, quiet contentment, etc. Yet, when it comes to this particular song, Hozier's version actually sounds sadder and more tender than the original. And the electric guitar, bass, and drums I mentioned earlier? Basically, he made all of them softer. Guitar riff? GONE. Clapping? GONE. Instead, he adds in a cello and elegant background vocals, and he slows the song's tempo down.
All of that essentially sucks the swagger right out of the song. The previous ruggedness and aloofness of AM's version is entirely absent, and all you're left with is the confidence and pure yearning of the original song at its most bare. I cannot stress enough how perfectly that fits Sage. She's perhaps a bit reserved, but for the most part, she wears her heart on her sleeve. There's no need for all the bravado that AM's version (and Viper) employs, because Sage has no desire or real need to hide how much she cares about others. She isn't guarded, and her emotions, affection included, are on full display.
This version of the song also sounds more gentle and melancholic. Sage is known for her kindness, sure, but she's also more hesitant. She's more stable than Viper, and much more calm, but she still questions herself on occasion, and she worries a lot more than Viper as well. All of that is reflected in Hozier's version. In this version, the lyrics really get a chance to shine, and the way Hozier sings it makes the singer seem more resigned and sad. It's like saying, "I know you probably don't feel the same way, but I'll still be here waiting anyway," which definitely seems like the attitude Sage would have.
In that sense, Hozier's version is much more open. The verse that's present in AM's version but absent from Hozier's also adds to that effect. Without it, Hozier's version seems less pushy, and slightly more content with the situation. The focus isn't on frustration, but rather on reluctant acceptance, which is pretty much exactly how I think Viper and Sage would handle unrequited love respectively. Don't get me wrong, Viper would accept the situation as well, but she'd definitely hold more frustration towards herself about it than Sage would. I also believe the taunting tone of that verse doesn't match Sage's personality, so its absence fits her much better.
The absence of that verse also means that the chorus is repeated more often. This makes this version seem more desperate and really emphasizes the yearning aspect, which aligns with Sage's affinity for open attachment and care.
Sage's love, unlike Viper's, shines in the smaller ways. Rather than dramatic but rare shows of affection, her love manifests itself in small but constant behaviors; being supportive, making sure someone is alright both physically and mentally, casual physical affection, and acts of service. Like Hozier's version of the song, Sage's love is gentle and steady.
My favorite part about all this, though, is at the end of the day, it's still the same song. Viper and Sage both feel love to the same intense degree, they just show it in different ways. I wouldn't even say they're opposing so much as they are complementary—instead of clashing, they balance each other out. Viper is best complemented by someone who would curb her more volatile tendencies and bring out the softness in her that she's so determined to exterminate (hence why her most popular ships are with openly kind and capable people), and Sage is best complemented by someone who's more passionate and would break her out of the mold of perfection she's painstakingly put herself in (hence why her most popular ship is with someone as intense as Reyna).
Anyway, if you've gotten this far thanks for coming to my TEDtalk, and listen to both versions of the song if you haven't already because they're great :D
help i noticed again that when quynh took the necklace from andy, she held it up because she wanted to see how andy would react.
so that she'd know her place in this modern andy's heart.
and maybe quynh thought it would be easier if andy didnt care. and it had been far worse for her when andy grasped around her neck looking for the necklace that wasnt there.
in the scene, quynh's lips had tightened, her eyes had narrowed ever more slightly because she'd found her answer, but she didnt like it: that andy still cared so much.
i just noticed that andy had been following a trail quynh left behind when she was in the dessert, and the last item andy found right before she saw quynh was a red scarf.
whatever you do, dont think about how they started w andy looking for quynh in the dessert, and ended with andy looking for quynh under the sea. dont think about how andy is the verb and quynh is the subject. dont think about how quynh, resurfaced, even after a decade w joe nicky and the rest, would feel incomplete because couldnt find her. dont think about how quynh, resurfaced, would want andy to look for her again.
inspired by @unwastelandunbaby, where i first saw the concept of andromaquynh to drag path. its so heartbreakingly perfect.
if there's one thing i want this edit to do, it's to inspire more andromaquynh fanfic in ao3 plsplsplspslpspls ( coughs @fleetlingfics coughs thisonesforyoutoo coughs )
charlize theron channeled every goddamn lesbian atom in her soul past present and ancestral every single time andromache breathed in quynh’s direction or when even just her name or memory was at play god it wasn’t acting it was invocation and for that she has earned my eternal undying sapphic reverence
James Gunn please Im begging get that Wonder Woman script fast tracked to start production so that we can have Man of Tomorrow, The Batman Pt 2, AND a Wonder Woman movie in the same year. You have the power to make 2027 the year of the DC Trinity. Imagine how incredible it would be to have a Superman movie in the summer, a Batman movie in the fall and capping off the year with Wonder Woman
I got bored at work and James Gunn is slowly but surely turning me into more of a DC fan than a Marvel fan. So...
Here's what I'd do if I made a TV show about DC's Trinity:
Superman, Batman, and Wonder Woman have publicly been superheroes for three years.
They're also, currently, the ONLY superheroes. Others like the Flash, Green Lantern(s), Aquaman, or others either haven't had their origins yet or aren't publicly well-known.
There is no Justice League, there is no Super Friends, there is only The Trinity
And their first scene together...is the three of them being in a diner together so Superman can watch Wonder Woman eat the world's best burger.
Superman is absolutely giddy at her being amazed with every bite, and has Batman film every second of it. Which he does, but he's more focused on writing a chemical equation to cure Scarecrow's fear toxin.
They all agreed to this partnership for the convenience of it all, saying three heads are better than one. Batman is the one to make the distinction that they don't need each other for everything, and they should still be able to handle villains/threats on their own unless it's absolutely necessary for others to assist.
They all have different ways of ragging each other.
Superman and Wonder Woman both team up against Batman and his broodiness, Superman being as friendly as possible while Wonder Woman is mocking him with the smuggest of grins.
Wonder Woman and Batman often share an eye-roll when Superman gets too much like a boy scout.
Batman and Superman are often the ones to tell Wonder Woman to chill out when her warrior instincts make her say or do things that are too intense. Superman's gentle with it while Batman dryly says, "Stop it."
The Public refers to them as "The Trinity." Superman likes calling them the "Super Friends."
Batman and Wonder Woman are annoyed by that name, but they don't stop Clark from saying it.
Each of their love interests are still there and approachable.
Batman and Catwoman have the energy of an on-again/off-again couple, Catwoman doing all the flirting while Batman tries to keep a composure.
Superman encourages Batman to make things official, saying Batman always "smiles" when he thinks of her (It's a slight raising of his lips)
Wonder Woman playfully mocks the reason that Batman doesn't ask Catwoman out is because he's fear of a fear of feeling love again...She tones it down when she realizes that's REALLY the case.
Lois Lane sees Clark Kent as a friendly rival to compete with for the next big story. She sees Superman as a celebrity crush at best.
She calls Clark Kent "Baby Blue" because of his bright blue eyes under the glasses and Superman is "Big Blue" because of the BIG muscles that are emphasized by his blue outfit.
Both Bruce and Diana tell Clark to man up and ask her out already...They've also BOTH flirted with Lois with the intent being, "Get her before I do."
Diana is the personal secretary to one, office official Steve Trevor. He sees through Diana Prince, hardly noticing her, but he ALWAYS notices Wonder Woman. This frustrates her to no end.
Kara Danvers, Dick Grayson, and Donna Troy all exist, but they're not Supergirl, Robin, or Wonder Girl yet. They're still learning and still being trained by Superman, Batman, and Wonder Woman respectfully, each of them having different styles to help their wards become full-fledged heroes.
Supergirl is consistently annoyed by being considered a ward since she's technically older than Clark.
There will be a villain-of-the-week type of format, each one being different villains from each hero's rogues gallery.
There will be no crossover team ups. Two Batman villains can work together and two Wonder Woman villains can team up, but a Superman villain and a Batman villain will not team up together.
The only exception will be The Triad, a team consisting of Lex Luthor, The Joker, and Cheetah. They're the prime, reoccurring antagonists throughout the show, most of what happens being a plan that comes through THEM.
Lex Luthor finances the others and always has his big, mech armor ready for fighting Superman.
The Joker has wacky gadgets to combat Batman's. Where Batman has his utility belt, Joker has his clown pockets filled with toys and gags that can do anything to kill the caped crusader.
Cheetah relies mostly on her raw power alone, wanting to always prove that she's better than Wonder Woman without needing anything to enhance her own fighting spirit.
Lex and Joker has a side bet going on whether or not Cheetah's doing this because of a secret crush she has for Wonder Woman.
Joker and Cheetah openly joke about Lex's obsession with Superman bordering along the lines of romantic.
Lex and Cheetah are fully convinced that Joker wants to just make out with Batman.
There will ONLY be villains that are closely tied to The Trinity.
The only exceptions are villains who are consistently on loan or are often fought by everyone anyway. Like Grundy, Deathstroke, and Firefly.
But no Professor Zoom or Sinestro. It's solely a Trinity focused show, nothing more.
And I'll know that I've done my job right...if there's dozens of poly fics written about this group alone.
Any marginalized person on tumblr: yeah so that’s been my experience as a marginalized person
Five hundred people who can’t read: ummm OP don’t you know that there are OTHER people who are MORE oppressed and marginalized than you? Suspicious that you didn’t even mention that — I will now consider you one of their oppressors.
Spiritually, 3 am is the darkest hour of the night. The people who stay up late but not insanely late have gone to bed, people who wake up early but not insanely early are yet to wake up. The only people who are awake are the night shift, and the insane.
