#189 Duolingo Welsh,Great Escape 1963,Mesopotamian RPF,Sainsbury "1914" Ad,'Tis Pity She's a Whore
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Yuletide Admin
Dec 18, 2021, 8:51:23 AM12/18/21
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Request 1 by plinge
Duolingo Welsh Course
Likes - characters using fast thinking and fast talking to get themselves out of trouble, MacGyvering, dramatic irony, worldbuilding (including both fictional worldbuilding and real-world history included in the narrative), friendly teasing and humor, vulnerable moments with characters who normally keep a strong front, conflicts of personal wants vs. self-imposed duty and/or societal norms, friends and lovers who would do anything for each other, in-universe documents
DNWs - unrequested non-canonical death of requested characters (canon deaths are fine), non-canon permanent injury or mutilation of requested characters, rape/noncon, underage under 16, setting change AUs (includes both taking characters out of the canon setting such as coffeeshop AUs and significant “in a world where” worldbuilding alterations like A/B/O; canon divergence, on the other hand, is great)
I saw this in the tagset and immediately loved the idea of it. I’ve dabbled with Duolingo in general and this course specifically, and I love all the wacky scenarios that Duolingo gives you to translate. (The site wtfduolingo gives a lot of examples <a href="https://wtfduolingo.tumblr.com/tagged/welsh" rel="nofollow">here</a>, and just searching for images for “welsh phrases Duolingo” can get you things like <a href="https://www.pinterest.com/pin/695102523717767725/" rel="nofollow">“do you like the tiger in the office?”</a>).
Basically, take a wild sentence and run with it! If Owen’s nightclub is selling parsnips, how’s business going? Did they expand the business to Antarctica and that’s why Owen is there eating parsnips? Do they others have to confront the dragon that ate Owen? Why is there a tiger in the office, and do the other characters have to try to get it out? Why is the world of Welsh Duolingo so obsessed with parsnips, anyway?
If you want to write it in Welsh, I would be thrilled to see it, but I’m definitely not fluent and would be fine with including an English translation.
Letter: http://plinge-letters.tumblr.com/post/665855381149499392/yuletide-2021-letter
Request 2 by plinge
The Great Escape (1963)
Colin Blythe, Bob Hendley
Likes - characters using fast thinking and fast talking to get themselves out of trouble, MacGyvering, dramatic irony, worldbuilding (including both fictional worldbuilding and real-world history included in the narrative), friendly teasing and humor, vulnerable moments with characters who normally keep a strong front, conflicts of personal wants vs. self-imposed duty and/or societal norms, friends and lovers who would do anything for each other, in-universe documents
DNWs - unrequested non-canonical death of requested characters (canon deaths are fine), non-canon permanent injury or mutilation of requested characters, rape/noncon, underage under 16, setting change AUs (includes both taking characters out of the canon setting such as coffeeshop AUs and significant “in a world where” worldbuilding alterations like A/B/O; canon divergence, on the other hand, is great)
Blythe and Hendley have one of my favorite relationships in this movie that is full of good relationships. They’re such different people - the quiet and fussy master forger and the charismatic con man - but they genuinely enjoy each other’s company and develop a strong bond. Hendley looks out for Blythe for everything, from scrounging up milk for his tea to being his guide in the escape even at great risk to himself (”Colin’s not a blind man as long as he’s with me. And he’s going with me” - he’s so adamant about it!). Anything for them and their relationship, from friendship to romantic love, would be awesome. I also love all of the details that went into the escape, the clever ways they evaded detection and planned out how they’d blend in and survive in enemy territory until they could get to safety.
More canon-typical moments between them in the camp would be great - playing chess with each other, Colin teaching Hendley about birds, Hendley getting Blythe’s help on conning the guards in a similar way to how he conned Werner “The Ferret”. I’d also love to see them actually make it to Switzerland - they were so close! - and figure out what kind of relationship they want to have with each other now that they’re not in the extraordinary circumstances of a POW camp
Letter: http://plinge-letters.tumblr.com/post/665855381149499392/yuletide-2021-letter
Request 3 by plinge
Mesopotamian RPF
Likes - characters using fast thinking and fast talking to get themselves out of trouble, MacGyvering, dramatic irony, worldbuilding (including both fictional worldbuilding and real-world history included in the narrative), friendly teasing and humor, vulnerable moments with characters who normally keep a strong front, conflicts of personal wants vs. self-imposed duty and/or societal norms, friends and lovers who would do anything for each other, in-universe documents
DNWs - unrequested non-canonical death of requested characters (canon deaths are fine), non-canon permanent injury or mutilation of requested characters, rape/noncon, underage under 16, setting change AUs (includes both taking characters out of the canon setting such as coffeeshop AUs and significant “in a world where” worldbuilding alterations like A/B/O; canon divergence, on the other hand, is great)
Because some things never change, and complaints about terrible businessmen are one of them. Based off the famous complaint tablet (translation <a href="https://mostlydeadlanguages.tumblr.com/post/128866376378/complaint-to-ea-na%E1%B9%A3ir-uet-v-81" rel="nofollow">here</a>) and a letter from Ea-Nasir and his colleague/accomplice Illushu-illassu to a man who sent people to intimidate him over how badly he’s running his operations (translation <a href="https://mostlydeadlanguages.tumblr.com/post/656166624810991616/ea-na%E1%B9%A3ir-reassures-two-men-uet-v-72" rel="nofollow">here</a>), it’s a perfect setup for both comedy and suspense, depending on whether Ea-Nasir can get out of the mess he’s made and how angry his customers are at him. I’d also love seeing any historical details you find interesting about ancient Mesopotamian life, although going in a more A Knight’s Tale direction could also be a ton of fun.
Since there’s so little information about all the characters involved, there are a lot of fun blank spaces to fill. How did Ea-Nasir and Ilushu-illassu get into business together? Were they equal partners in terrible copper, or did Ilushu-illassu just follow Ea-Nasir’s lead, or was Ilushu-illassu the voice of reason that never, ever got listened to? Did Nanni ever get his financial capital back, possibly by teaming up with Shumun-libshi and the Zabardabbû, or did Ea-Nasir evade him? I love that the guy who came to intimidate him was literally Mr. Shorty, like somebody out of a gangster movie - what’s his story?
Epistolary fic and other in-universe documents would also be wonderful for this. And honestly, if you want to write it in cuneiform I would be beyond happy to see it, although I’d also like an accompanying translation in English.
Letter: http://plinge-letters.tumblr.com/post/665855381149499392/yuletide-2021-letter
Request 4 by plinge
Sainsbury's "1914" Commercial
Jim (Sainsbury's Commercial), Otto (Sainsbury's Commercial)
Likes - characters using fast thinking and fast talking to get themselves out of trouble, MacGyvering, dramatic irony, worldbuilding (including both fictional worldbuilding and real-world history included in the narrative), friendly teasing and humor, vulnerable moments with characters who normally keep a strong front, conflicts of personal wants vs. self-imposed duty and/or societal norms, friends and lovers who would do anything for each other, in-universe documents
DNWs - unrequested non-canonical death of requested characters (canon deaths are fine), non-canon permanent injury or mutilation of requested characters, rape/noncon, underage under 16, setting change AUs (includes both taking characters out of the canon setting such as coffeeshop AUs and significant “in a world where” worldbuilding alterations like A/B/O; canon divergence, on the other hand, is great)
It's sweet, it's seasonally appropriate, and there's a ton of potential in the relationship between Jim and Otto, two soldiers (British and German respectively) who cross into no-man's-land to spark off a fictionalized version of the historic 1914 Christmas truce in World War I. I love them both taking this enormous chance to connect with each other and give both sides a respite from the fighting. Despite all the odds against them, despite them technically being enemies, they develop a genuine friendship (and maybe fall a bit in love?) over the time of the truce, and the commercial leans hard into the idea of shared humanity in a way that I find lovely.
Any moment between them during the truce would be good - Jim and Otto are shown having spent some time talking, despite the language barrier, and I’d enjoy them sharing stories and maybe teaching each other some of their own languages. I also really liked the part in the beginning where the British and German soldiers heard each other singing carols in their respective trenches, and I’d like it if Jim and Otto found some subtle way to communicate and make sure the other is all right even after the fighting starts again. Finally, I’d love seeing Jim and Otto find each other after the war and building up their relationship from there, with that good moment between them despite all the horrors they saw in combat.
You can find the commercial <a href="https://www.youtube.com/watch?v=NWF2JBb1bvM" rel="nofollow">here</a> on YouTube.
Letter: http://plinge-letters.tumblr.com/post/665855381149499392/yuletide-2021-letter
Request 5 by plinge
'Tis Pity She's a Whore - Ford
Annabella (Tis Pity She's a Whore), Giovanni (Tis Pity She's a Whore)
Likes - characters using fast thinking and fast talking to get themselves out of trouble, MacGyvering, dramatic irony, worldbuilding (including both fictional worldbuilding and real-world history included in the narrative), friendly teasing and humor, vulnerable moments with characters who normally keep a strong front, conflicts of personal wants vs. self-imposed duty and/or societal norms, friends and lovers who would do anything for each other, in-universe documents
DNWs - unrequested non-canonical death of requested characters (canon deaths are fine), non-canon permanent injury or mutilation of requested characters, rape/noncon, underage under 16, setting change AUs (includes both taking characters out of the canon setting such as coffeeshop AUs and significant “in a world where” worldbuilding alterations like A/B/O; canon divergence, on the other hand, is great)
Note: my non-canonical requested character death DNW does not apply here specifically for Giovanni. Feel free to kill him off if it makes sense for the story. For Annabella, I prefer either her canonical death or letting her survive.
Throughout the play Annabella and Giovanni’s love is portrayed as a force beyond either of their control - they might regret specific actions taken, but their passion for each other is itself something that never abates. I also find it fascinating seeing both their similarities and their differences in the way they react to that love - they’re both quick-witted, both agree to “love me or kill me” and they both enter a relationship in mutual overwhelming desire, but Annabella as a woman has to navigate different social standards with far fewer options than Giovanni does, and it is she who is condemned in-universe as the titular “whore”. It’s a good set-up for both conflict within the relationship and conflict between the united couple and the outside world.
Pre-canon moments would be great here - by the time the play starts they already know that they desire each other, but was there a specific moment of revelation that happened pre-canon or was it a slow buildup that felt so natural to them that they didn’t even know when their love went beyond familial? And despite the play being built on the tragedy of inevitably doomed passion, I’d also welcome canon divergences where they’re a little less doomed, or at least doomed in a different way. What could have happened if Soranzo had not discovered the affair during the canon timeline? Annabella and Giovanni might have been able to keep it a secret, but social pressures + Giovanni’s possessiveness would have made it difficult, especially if and when Giovanni learns that Annabella’s child is his.
A full text of the play is available <a href="https://emed.folger.edu/sites/default/files/folger_encodings/pdf/EMED-TPSW-reg-3.pdf" rel="nofollow">here.</a>
Letter: http://plinge-letters.tumblr.com/post/665855381149499392/yuletide-2021-letter
Duolingo Welsh Course
Likes - characters using fast thinking and fast talking to get themselves out of trouble, MacGyvering, dramatic irony, worldbuilding (including both fictional worldbuilding and real-world history included in the narrative), friendly teasing and humor, vulnerable moments with characters who normally keep a strong front, conflicts of personal wants vs. self-imposed duty and/or societal norms, friends and lovers who would do anything for each other, in-universe documents
DNWs - unrequested non-canonical death of requested characters (canon deaths are fine), non-canon permanent injury or mutilation of requested characters, rape/noncon, underage under 16, setting change AUs (includes both taking characters out of the canon setting such as coffeeshop AUs and significant “in a world where” worldbuilding alterations like A/B/O; canon divergence, on the other hand, is great)
I saw this in the tagset and immediately loved the idea of it. I’ve dabbled with Duolingo in general and this course specifically, and I love all the wacky scenarios that Duolingo gives you to translate. (The site wtfduolingo gives a lot of examples <a href="https://wtfduolingo.tumblr.com/tagged/welsh" rel="nofollow">here</a>, and just searching for images for “welsh phrases Duolingo” can get you things like <a href="https://www.pinterest.com/pin/695102523717767725/" rel="nofollow">“do you like the tiger in the office?”</a>).
Basically, take a wild sentence and run with it! If Owen’s nightclub is selling parsnips, how’s business going? Did they expand the business to Antarctica and that’s why Owen is there eating parsnips? Do they others have to confront the dragon that ate Owen? Why is there a tiger in the office, and do the other characters have to try to get it out? Why is the world of Welsh Duolingo so obsessed with parsnips, anyway?
If you want to write it in Welsh, I would be thrilled to see it, but I’m definitely not fluent and would be fine with including an English translation.
Letter: http://plinge-letters.tumblr.com/post/665855381149499392/yuletide-2021-letter
Request 2 by plinge
The Great Escape (1963)
Colin Blythe, Bob Hendley
Likes - characters using fast thinking and fast talking to get themselves out of trouble, MacGyvering, dramatic irony, worldbuilding (including both fictional worldbuilding and real-world history included in the narrative), friendly teasing and humor, vulnerable moments with characters who normally keep a strong front, conflicts of personal wants vs. self-imposed duty and/or societal norms, friends and lovers who would do anything for each other, in-universe documents
DNWs - unrequested non-canonical death of requested characters (canon deaths are fine), non-canon permanent injury or mutilation of requested characters, rape/noncon, underage under 16, setting change AUs (includes both taking characters out of the canon setting such as coffeeshop AUs and significant “in a world where” worldbuilding alterations like A/B/O; canon divergence, on the other hand, is great)
Blythe and Hendley have one of my favorite relationships in this movie that is full of good relationships. They’re such different people - the quiet and fussy master forger and the charismatic con man - but they genuinely enjoy each other’s company and develop a strong bond. Hendley looks out for Blythe for everything, from scrounging up milk for his tea to being his guide in the escape even at great risk to himself (”Colin’s not a blind man as long as he’s with me. And he’s going with me” - he’s so adamant about it!). Anything for them and their relationship, from friendship to romantic love, would be awesome. I also love all of the details that went into the escape, the clever ways they evaded detection and planned out how they’d blend in and survive in enemy territory until they could get to safety.
More canon-typical moments between them in the camp would be great - playing chess with each other, Colin teaching Hendley about birds, Hendley getting Blythe’s help on conning the guards in a similar way to how he conned Werner “The Ferret”. I’d also love to see them actually make it to Switzerland - they were so close! - and figure out what kind of relationship they want to have with each other now that they’re not in the extraordinary circumstances of a POW camp
Letter: http://plinge-letters.tumblr.com/post/665855381149499392/yuletide-2021-letter
Request 3 by plinge
Mesopotamian RPF
Likes - characters using fast thinking and fast talking to get themselves out of trouble, MacGyvering, dramatic irony, worldbuilding (including both fictional worldbuilding and real-world history included in the narrative), friendly teasing and humor, vulnerable moments with characters who normally keep a strong front, conflicts of personal wants vs. self-imposed duty and/or societal norms, friends and lovers who would do anything for each other, in-universe documents
DNWs - unrequested non-canonical death of requested characters (canon deaths are fine), non-canon permanent injury or mutilation of requested characters, rape/noncon, underage under 16, setting change AUs (includes both taking characters out of the canon setting such as coffeeshop AUs and significant “in a world where” worldbuilding alterations like A/B/O; canon divergence, on the other hand, is great)
Because some things never change, and complaints about terrible businessmen are one of them. Based off the famous complaint tablet (translation <a href="https://mostlydeadlanguages.tumblr.com/post/128866376378/complaint-to-ea-na%E1%B9%A3ir-uet-v-81" rel="nofollow">here</a>) and a letter from Ea-Nasir and his colleague/accomplice Illushu-illassu to a man who sent people to intimidate him over how badly he’s running his operations (translation <a href="https://mostlydeadlanguages.tumblr.com/post/656166624810991616/ea-na%E1%B9%A3ir-reassures-two-men-uet-v-72" rel="nofollow">here</a>), it’s a perfect setup for both comedy and suspense, depending on whether Ea-Nasir can get out of the mess he’s made and how angry his customers are at him. I’d also love seeing any historical details you find interesting about ancient Mesopotamian life, although going in a more A Knight’s Tale direction could also be a ton of fun.
Since there’s so little information about all the characters involved, there are a lot of fun blank spaces to fill. How did Ea-Nasir and Ilushu-illassu get into business together? Were they equal partners in terrible copper, or did Ilushu-illassu just follow Ea-Nasir’s lead, or was Ilushu-illassu the voice of reason that never, ever got listened to? Did Nanni ever get his financial capital back, possibly by teaming up with Shumun-libshi and the Zabardabbû, or did Ea-Nasir evade him? I love that the guy who came to intimidate him was literally Mr. Shorty, like somebody out of a gangster movie - what’s his story?
Epistolary fic and other in-universe documents would also be wonderful for this. And honestly, if you want to write it in cuneiform I would be beyond happy to see it, although I’d also like an accompanying translation in English.
Letter: http://plinge-letters.tumblr.com/post/665855381149499392/yuletide-2021-letter
Request 4 by plinge
Sainsbury's "1914" Commercial
Jim (Sainsbury's Commercial), Otto (Sainsbury's Commercial)
Likes - characters using fast thinking and fast talking to get themselves out of trouble, MacGyvering, dramatic irony, worldbuilding (including both fictional worldbuilding and real-world history included in the narrative), friendly teasing and humor, vulnerable moments with characters who normally keep a strong front, conflicts of personal wants vs. self-imposed duty and/or societal norms, friends and lovers who would do anything for each other, in-universe documents
DNWs - unrequested non-canonical death of requested characters (canon deaths are fine), non-canon permanent injury or mutilation of requested characters, rape/noncon, underage under 16, setting change AUs (includes both taking characters out of the canon setting such as coffeeshop AUs and significant “in a world where” worldbuilding alterations like A/B/O; canon divergence, on the other hand, is great)
It's sweet, it's seasonally appropriate, and there's a ton of potential in the relationship between Jim and Otto, two soldiers (British and German respectively) who cross into no-man's-land to spark off a fictionalized version of the historic 1914 Christmas truce in World War I. I love them both taking this enormous chance to connect with each other and give both sides a respite from the fighting. Despite all the odds against them, despite them technically being enemies, they develop a genuine friendship (and maybe fall a bit in love?) over the time of the truce, and the commercial leans hard into the idea of shared humanity in a way that I find lovely.
Any moment between them during the truce would be good - Jim and Otto are shown having spent some time talking, despite the language barrier, and I’d enjoy them sharing stories and maybe teaching each other some of their own languages. I also really liked the part in the beginning where the British and German soldiers heard each other singing carols in their respective trenches, and I’d like it if Jim and Otto found some subtle way to communicate and make sure the other is all right even after the fighting starts again. Finally, I’d love seeing Jim and Otto find each other after the war and building up their relationship from there, with that good moment between them despite all the horrors they saw in combat.
You can find the commercial <a href="https://www.youtube.com/watch?v=NWF2JBb1bvM" rel="nofollow">here</a> on YouTube.
Letter: http://plinge-letters.tumblr.com/post/665855381149499392/yuletide-2021-letter
Request 5 by plinge
'Tis Pity She's a Whore - Ford
Annabella (Tis Pity She's a Whore), Giovanni (Tis Pity She's a Whore)
Likes - characters using fast thinking and fast talking to get themselves out of trouble, MacGyvering, dramatic irony, worldbuilding (including both fictional worldbuilding and real-world history included in the narrative), friendly teasing and humor, vulnerable moments with characters who normally keep a strong front, conflicts of personal wants vs. self-imposed duty and/or societal norms, friends and lovers who would do anything for each other, in-universe documents
DNWs - unrequested non-canonical death of requested characters (canon deaths are fine), non-canon permanent injury or mutilation of requested characters, rape/noncon, underage under 16, setting change AUs (includes both taking characters out of the canon setting such as coffeeshop AUs and significant “in a world where” worldbuilding alterations like A/B/O; canon divergence, on the other hand, is great)
Note: my non-canonical requested character death DNW does not apply here specifically for Giovanni. Feel free to kill him off if it makes sense for the story. For Annabella, I prefer either her canonical death or letting her survive.
Throughout the play Annabella and Giovanni’s love is portrayed as a force beyond either of their control - they might regret specific actions taken, but their passion for each other is itself something that never abates. I also find it fascinating seeing both their similarities and their differences in the way they react to that love - they’re both quick-witted, both agree to “love me or kill me” and they both enter a relationship in mutual overwhelming desire, but Annabella as a woman has to navigate different social standards with far fewer options than Giovanni does, and it is she who is condemned in-universe as the titular “whore”. It’s a good set-up for both conflict within the relationship and conflict between the united couple and the outside world.
Pre-canon moments would be great here - by the time the play starts they already know that they desire each other, but was there a specific moment of revelation that happened pre-canon or was it a slow buildup that felt so natural to them that they didn’t even know when their love went beyond familial? And despite the play being built on the tragedy of inevitably doomed passion, I’d also welcome canon divergences where they’re a little less doomed, or at least doomed in a different way. What could have happened if Soranzo had not discovered the affair during the canon timeline? Annabella and Giovanni might have been able to keep it a secret, but social pressures + Giovanni’s possessiveness would have made it difficult, especially if and when Giovanni learns that Annabella’s child is his.
A full text of the play is available <a href="https://emed.folger.edu/sites/default/files/folger_encodings/pdf/EMED-TPSW-reg-3.pdf" rel="nofollow">here.</a>
Letter: http://plinge-letters.tumblr.com/post/665855381149499392/yuletide-2021-letter
Due date
This pinch hit is due at: 9pm UTC on 22 December 2021.
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-Yuletide mods
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