Would anyone be interested if I attempted to write a longer-form fic? Like, one with chapters? I think I have an idea that I might be able to turn into a longer fic if I workshop it a bit. A lot.
Edit: holy mother of pearl, @nipuni liked my post. My favorite artist liked my post. I am blessed. And @jules902 reblogged my post. Folks, it is a great day for me to be alive.
Edit Again: AND @princeloww REBLOGGED MY POST WOO!
My friend @jaykinarts and I were talking about how some characters in TOTA are very underrated - especially compared to Campbell and Fergus - when they really deserve just as much love.
This conversation led to an idea.......
So, Jay and I would like to present:
TAKIN OVER THE ASYLUM APPRECIATION WEEK
(11th - 16th of December)
Monday 11th-> Rosalie Garrity
Tuesday 12th-> Francine Boyle
Wednesday 13th-> Eddie McKenna
Thursday 14th-> Fergus Mackinnon
Friday 15th-> Campbell Bain
Saturday 16th-> Donna Franceschild and TOTA in general (as a show/play).
How to participate?
- Post about the chosen character for each day on that day. You don't have to do it every single day, and it doesn't have to be much - but just try to post anything about that character on that day. It can be screenshots/photos, headcanons, random thoughts, general appreciation, short textposts, fanfiction -- literally anything you want. It is entirely up to you how you participate.
What's the point?
- Filling the Takin' Over the Asylum tag with appreciation for the other characters as well, instead of just Campbell. (I love Campbell, I'm guilty of talking only about him too, but) Let's show everyone a bit of love.
Tag your posts with "#TOTA Takeover" so we can see how it goes.
I LOVE FERGUS SM , genuinely his character arc and everything was so tragic and yet so really well done and the way they depicted the sheer frustration he experienced really made it gut wrenching. Love this man.
Francine is a character I got attached to very quickly on a deeply emotional level. When were first meet her she’s sort of separated from the main group and doesn’t seem to have many friends but she slowly warms up to Eddie and the others and becomes a core part of the show.
I love how when Eddie is told that he shouldn’t get into a relationship with her because she’ll keep ending up in the hospital he decides to accept her for who she is and make it work anyway, and she in turn accepts him for who he is, and chooses to make the relationship work knowing he’s an alcoholic and even if he gets better he will probably relapse from time to time. I love that they accept each other for their flaws and choose to love each other anyway.
I’m late for Day 5 of TOTA Takeover, but I couldn’t let the week end without writing a little something from Campbell’s perspective.
Personally, I really struggle to believe that Campbell’s “fake” manic episode didn’t have some truth behind it, which is the basis for this ficlet.
And since this piece references Campbell’s joke just before he is sedated, I think it deserves to be preserved for posterity as it’s quite hard to hear in the show. The full joke, from the play:
There’s this loony! Walks into a pub with his dog and the barman says; “Hey! Nae dogs in here, pal!” But, the loony tells him it’s a talking dog and says, “Look, if I can make him answer three questions, can he stay?” The barman says, “Right, let’s see then.”
So the loony says to the dog, “What is the texture of sandpaper?” And the dog says “Rough!” And then the guy asks, “Who was Scotland’s goalkeeper in the 1978 World Cup?” and the dog says, “Rough!” And then, “Who was the greatest American baseball player of all time?” and the dog says, “Ruth!”
The barman’s definitely not impressed! He grabs the loony by the collar and throws him into the street! He grabs the dog by the collar and throws him into the street!
And as they’re lying in the gutter the wee dog looks up with tears in his eyes and says, “diMaggio?”
I’m going to try to get one more thing posted for Day 6 (although it may be a day or so late), but in the meantime, I hope you enjoy this!
This is the first time in the last several days that Campbell Bain has felt more or less himself, not trapped under a heavy blanket of medicinal fog. He can tell Fergus, doing vigil by his bedside, has been holding onto the question for a while, waiting for this moment, when he finally asks, “So why did you lie?”
“I didn’t lie!” He yelps indignantly; crossing his arms over his chest. “About what?”
Fergus snorts. “So McKenna came to the idea you were ‘acting’ on his own?”
Oh. That.
“Well, aye, I told him that, but it was no a lie.”
“No?” He can tell by the tone that he’s on the receiving end of his friend’s judgment. And while it’s not unkind, he doesn’t like it.
“I had to do something, didn’t I? I couldnae go to Perth.” He had been to Perth on holiday throughout his childhood and hated every second of each trip. His aunt thought good children were quiet and cheerful, and he had never managed to be more than one of those things at a time. “You know I couldnae go to Perth.”
“And I know you’re not a good enough actor for all of that,” Fergus says with a trace of a smile on his face.
“That’s no very nice,” he says crossly. It’s true, maybe, but not very nice. Then, because he can’t help himself, “When did you realize?”
Fergus considers. “I knew something was coming when your da left,” he says after a moment. Wouldn’t have let you do the show, if it was up to me.”
“Traitor,” Campbell says, although it’s primarily in jest.
“But mostly, you don’t like heights. Always telling me I’ll fall, when I’m escaping. Didn’t think you’d have opened that window if you didn’t think, just for a minute, that you might fly.”
He feels suddenly exposed, far too visible. Shifting under his blanket, he pulls his knees to his chest. “Aye.”
“So then why try to cover it up to McKenna?”
Because he needs it to be an act. Not Eddie, him. Because he had thought the drugs were finally working. Because he doesn’t know how to admit that he’s afraid of who he would have become in Perth, that he’s safe within these walls. Because he thought he was better. Because he needs to be better. Because he needs someone, anyone, to believe that he isn’t forever balancing on a knife’s edge, hanging on for dear life to anything that makes him feel a bit more in control.
But he can’t find words for any of that. So he says the closest thing he can think of.
“Because sometimes you just have to look someone in the eye and tell them the truth that should be, instead of the truth that is.”
That’s not bad, he thinks. Maybe he’ll use that again some day.
Fergus seems less impressed, but he doesn’t push. He sits in Fergus-typical silence for a bit, then says, “You know, the joke about the dog is terrible.”
Eddie was one of the main reasons I decided to join my college’s radio station and work to get cleared to be a DJ.
The love for the craft, getting to share something you love to anyone willing to listen. Helping others through music. Forming connections through music. Finding what builds you up through it.
And by following that example, I’ve made new friends and a new home I can go to and relax and just. Be comfortable.
Thinking about Rosalie calling Campbell Robbie (again).
It seems like such an intimate thing???
People call others the wrong name all the time. Like when kids call their teachers "mum", or I accidentally call my friends my brother's name -- it's almost like a sort of automatic habit.
But when do we, typically, do that? Kids when their teacher is talking like their mother? Me when my friends are being particularly annoying?
We call people the wrong name (typically) when they are doing something we associate with that other person.
Rosalie calls Campbell her dead son's name. The obvious implication is that Campbell reminds her of Robbie - in what way, we don't know. Perhaps they act or talk similarly, or perhaps it's just because she is acting in a maternal role to Campbell. She is helping him. She is being what we would consider -- well -- a mother. She is making lists and sorting out all the things he needs. She is sorting out all the materials for his school project he forgot to mention until Sunday night.
Rosalie acts as a maternal figure to Campbell, and in the scene where she is the most maternal, where it is the most intimate (whispering, bonding - she is asking him for help in return, and opening up about her husband), she calls him her son.
IT'S JUST SO SWEET??? WHY DON'T WE TALK ABOUT THIS MORE??? SHE IS LITERALLY HIS MOTHER IDC??? Half the fics on AO3 are Eddie parenting Campbell---FORGET EDDIE (until Wednesday), ROSALIE IS THE BEST PARENTAL FIGURE IN THIS SHOW???
AND THEN SHE OPENS UP TO HIM FURTHER, ABOUT ROBBIE - it's CAMPBELL she tells. She is closer to Campbell than anybody else. They clearly knew eachother already before the show started, too --- Campbell got Rosalie to help him clean the station. He talked to her and asked her to do that. THEY KNEW EACHOTHER ALREADY. WHY R THERE NOT MORE FANFICS OF THESE 2????? (I'd write them if I wasn't so insanely busy this month)
Eddie is the sad uncle. Rosalie is the tired mother who has to figure out how tf to make a 4 week long homework project in 20 mins.
Campbell is the kid asking for ingredients for his home economics practical at 00:02 the night before. Rosalie is the mother calling around her friends' houses to see if anyone has the correct ingredients for lasagne.
I will NOT be corrected.
Campbell and Rosalie have the STRONGEST bond on this show.
APPRECIATE ROSALIE. SHE DESERVES IT
(Also I'm pretty sure she calls him Robbie TWICE in the play)