jmtorres: (uncertainty)
I want to make another booze vid and complete that trilogy. I'm not sure where I'm going with it yet, though, because the sequence has been "we drink to get through the day" (Industrial Strength Tranquilizer), "my drinking has reached problematic levels" (I Drink Alone), so in terms of progression the third vid in the trilogy should be something like "I was on the wagon but I've fallen off again" or possibly "I'll just have one more but I can quit anytime." So I need a song on that theme and a fandom to attach it to. I'm avoiding thinking about the fandom that suggested itself last night by uh related incident below. Also I'm telling myself not to use "I'll just have one beer then I'll be right home" because it's by the Austin Lounge Lizards and I already used them for Industrial Strength Tranquilizer.

(Tony Stark had a conversation with me about my drinking last night, which was deeply disturbing and I think I hurt his feelings when I announced I wanted Steve instead. I mean, let's start with my Steve is already an independent personality in my head and I hadn't realized Tony was and I sort of hope he goes back to minding his own business because jfc. But also, he has an atypical perspective on drinking so I do not know how I feel about the advice he gave me.)(The two pieces of advice were: drinking had not made me feel better, so that was empirically a bad reason to have been drinking; and drinking was not why I felt bad in the first place, so I shouldn't beat myself up about it.)

The other trilogy I'm playing around with is uh, the one I hadn't realized wanted to be a trilogy. And I only have two parts of it bunnied. It's the dystopian trilogy; the final part would be the light-at-the-end-of-the-tunnel (there is paradise beyond the city walls) vid to "Woodstock." Either the first or second part would be "2000 light years from home," (I'm thinking first, it's the journey from here to the depths intro?) about when space exploration is mind-bending and breaking instead of exciting: like, Solaris, 2001, ha Planet of the Apes would fit on this list, Sunshine *might*, Alien, gosh, even Pitch Black, Event Horizon, Forbidden Planet, maybe Mission to Mars (which, like Solaris, felt very 2001 to me, though it's worth noting Solaris the novel predates 2001, something I didn't realize when watching the 2002 film), possibly parts of Farscape, maybe a smidgeon of the pilots in Dune. I'm still pulling this concept together; it's like, space horror, but a specific corner of space horror that overlaps with some other things? And then I have no idea what the song or theme of the middle vid should be; logically it would be a "when things have gotten as bad as they can possibly get" piece, but I need a specific genre pull that resonates with me a certain way. Even if it looks amorphous to outsiders. I'm sort of considering declaring "Dancer," the Tron/women refusing to be objects vid bunny, to be the middle one, but there's ways it doesn't fit (The Killers are not 60s psychedelic rock; it's not a lowest of low concept, it's a fighting back concept). On the other hand, it's in a angry feminist critique continuum with She Walks, to which the Woodstock vid was originally going to be a the spiritual successor.

Actually, I've just had an idea for the specific genre/trope of the third one (thought process: was contemplating David Bowie's song about 2001, then David Bowie in the Man Who Fell to Earth): the dystopic aspects of society on Earth, paranoia and distrust that when well-meaning aliens end up here, it goes badly for them or people who help them (like, the turn around FLIP from the outgoing journey in 2000 Light Years). Still need a song, but my brain is starting to pile up films: ET, god the whole hazmat suit sequence in ET, Man Who Fell to Earth, District 9, The Day the Earth Stood Still, things like K-Pax and 12 Monkeys and Martian Child might be relevant, Starman (ha, I was trying to figure out why my mother like that one, she's not usually a scifi fan, but Jeff Bridges really), Flight of the Navigator, parts of Close Encounters. I might even start putting in specific interpretations of the Frankenstein mythology, where the "monster" is justified and the villagers have pitchforks (The Island?). No idea what song I would be using for the detained/lab rat/distrust. Well, I know what ~5 years of material I need to be listening to.

ahahahah

Nov. 24th, 2011 07:29 am
jmtorres: AU female Tony Stark (Corky from Bound edition) (Tony Stark)
I just attempted to select "Tony Stark" as a mood rather than an icon. *facepalm*

Okay, I have no idea whether this particular story will ever see the light of day so I just need to complain, COPIOUSLY, that TONY STARK IS FUCKING INSANE. At one point Steve ends up eavesdropping on Tony and Pepper gossiping about him and *flail* them, how things are going between him and Tony (the sex is apparently not as exciting as Tony would like, but on the other hand he does acknowledge that Steve HAS actually put people through walls literally and that would probably be something to avoid, no matter how much he likes the idea of getting fucked through the wall. or floor. or mattress, if you're going to be vanilla. Oh fucking Tony, what is even wrong with you).

When Tony realizes Steve's been listening, he doesn't seem embarrassed or bothered (other than by the fact that Pepper was planning to take Steve out to lunch where Tony couldn't use JARVIS to eavesdrop on them gossiping about him) and in fact he's like "Well, of course you'd be interested" and tells JARVIS to set up a subscription feed basically, to drop surveillance audio in Steve's inbox anytime Tony talks about him. And Steve facepalms, because WHAT DO YOU EVEN, and Tony is like, "What? I mean, I did it for you because you wouldn't know to ask, and that's not fair, I could be pulling all your conversations," but the thing is, he's not actually? Like, yeah, he totally wants to hear what Pepper is going to tell Steve about him, but on a daily basis, no, he's not actually that much of a stalkertastic spy boyfriend. And when he did it he was being halfway sarcastic and halfway serious and Steve can't actually figure out if Tony means for him to listen to all these files or not because what sane person would do that.

(In a related incident, Pepper tries to give Steve her privacy override with JARVIS so he can have time not under Tony-accessible surveillance; Tony is like, "No, that won't work, that's keyed to your voice signature. JARVIS, generate a full set of overrides for Steve and send it to his inbox." This whole time is really weird for Steve and his burgeoning affair with email.)

But so for ages Steve gets just random snippets in his email of like, Tony asking JARVIS where Steve is in the house or if he's already had lunch or whatever, that he doesn't feel any guilt about listening to because it's not like eavesdropping on gossip but it does kind of make him smile, how often Tony thinks about him and checks on him when he's in the middle of other shit down in his workshop or whatever. It's like when you save that one voicemail that's just something dopey like "I'll see you there at 8, love ya babe" because you want to have it in your phone to listen to whenever, except that Tony is inadvertently leaving Steve about fourteen dopey voicemails a day, and I say inadvertently because Tony doesn't think about it at all, pretty much totally forgot he did that.

So then later in the story they undergo kind of a sea change in their relationship and there's a phone call to Pepper where Tony flails about everything--commitment, identity, the sex, the fucking sex, Steve continues to be a little bemused at how frank Tony is about his sex life, with his ex. And this whole phone call lands in Steve's inbox and this is the first time since that time he was sitting on the stairs eavesdropping that he feels like maybe he's listening to something he's not supposed to be listening to. Except--Tony did this, right? Tony means him to hear this. Is Steve supposed to respond? He really feels like he should respond to Tony's freak-out, even though it wasn't at him directly.

Steve ends up trying to talk to Tony, to apologize for some of the stuff that Tony was freaking out about, but to Pepper and not to him, and Tony realizes pretty much immediately why Steve knows all this shit and is like, "Huh, I didn't think you were listening to those files," and Steve's like "Do you want me to stop, I'll stop," and Tony's like, "No, whatever, I know how to use the privacy override," and pretty much he means it, he means he'll adjust to if he really doesn't want Steve to hear something he's saying he'll block him and the rest of the time, well, he'll be expecting Steve to hear.

Only Steve pretty much figured that was weird, he shouldn't have been listening, Tony didn't expect him to be listening because who does that, and he should really stop. So he does. I think possibly he can't quite bring himself to tell JARVIS to stop the feed, because, you know, even if he's not listening to them it's sort of nice to see the stack of 15-second files from Tony checking on him all day, but yeah, he's not opening any of the files.

So naturally this is when Tony expects Steve to be listening to everything and doesn't understand why Steve is IGNORING all the important EMOTIONAL STUFF he figured out talking to Pepper (because Pepper is totally the sane one). And, just. His wibble. And getting more pissed off at Steve and not saying it to his face and expecting Steve to find out why he's annoyed from him venting to other people and Steve is still not listening to the fucking surveillance audio because he doesn't think he's supposed to because who even does that, and he never should have been in the first place.

I am not sure at what point Tony figures out WHY communication has broken down, or if Steve gets it first once Tony gets pissed enough to say something to his face, but jesus fucking christ on a balloon. I just. TONY, WHAT IS EVEN WRONG WITH YOU. I cannot say this enough. WHAT IS EVEN WRONG WITH YOU, TONY. WHAT.

So. Yeah. I just needed to get that off my chest. TONY. WHAT.
jmtorres: Text is "It's death for me to be caught with marbles in my possession" quote from Vorkosigan. Image of marble. (vorkosigan)
So I've been dealing with an ongoing sense of TONY STARK HOW SO DAMAGED from both other people's fic and how he behaves in my head in fic I might be writing (note to tony: no steve is not pissed off about you maybe banging lady gaga because he is jealous; I promise you that is not it, tony). Both [personal profile] niqaeli and I keep retreating to the Losers for sanity because THOSE guys are so much less damaged. I am not kidding and wow what.

I have been poking around in the back of my head for Ivan, who went to ground months ago and keeps jumping fandoms to avoid me. After the time I found him in New York, I decided not to ask at all when I tagged him in Chicago. Ivan Vorpatril is the most active, independent character in my head, and pretty much the only one who recognizes my presence as a writer and to be slunk away from.

Anyway, I hunted him up and begged him to come back because omg less damaged than Tony fucking Stark and he looked around at my crop of plotbunnies and got pissed off at me because we have a plotbunny called the goddamn lunar base whose sole purpose is a Tony without damage for me to use to block regular Tony out. All the things I've done to Ivan but Tony gets a happyverse? And I said we'd sort of done that for, well, not for Ivan specifically, but for Vorkosiganverse, we have a massive AU where we fixed the Escobar war and stuff and Padma is alive and Ivan had both parents growing up (and no need to mention That Time He Was Emperor for 5 minutes) and is a diplomat and engaged to René Vorbretten!

And Ivan looked right at me and said, "You're not nice."

Muses.

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jmtorres: From Lady Gaga's Bad Romance music video; the peach-haired, wide-eyed iteration (Default)
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