This is Bev from the new movie IT. Ive never read the book...

This is Bev from the new movie IT. Ive never read the book, but I have heard some interesting things bout what shes like in the book.

If the the movie stays faithful to the book, what are we to expect from this character? Anything HOT?

I just got back from seeing the movie. It couldn't be faithful to the book because she has an orgy in the sewers with the other losers club guys.

In the movie she her character is definitely sexualized. Its kinda cringy to me because I'm in my thirties.

Hold on, do they have an orgy in the sewers when they're kids or adults? And in what way is she sexualized in the movie?

In the book as kids they have an orgy in the sewers. They kind of turn on each other, and Beverley screws all of them to bring them close together again.

In movie it shows her in tight clothes, and in her underwear as the boys gawk at her. She's also slut shamed throughout the movie over a rumor that she fucked like 30 dudes.

Also according to IT in the form of her father later when she's an adult

He hit herbecause I wanted to fuck her.

>Unironically using "slut-shamed"
Fuck off cunt

They didn't stay true to the novel at all, down to the level that they changed their childhood time period to the 80's..

The last one didn't come close, and neither did this one.

It's heavily implied in the movie that her father is sexually abusing her.

My god that's HOT! I can't wait to see this movie

In what way in the movie is it implied that her father is sexually abusing her?

Another way it didn't follow the novel, he wasn't sexually abusing her, he was very controlling and physically abusive but that's it.

You wanna hear some real shit, read up about the fridge in the dump. Or the bacon grease

Heavily

Well you should really just see the movie because some people would consider this spoilerish. But at one point she comes home with a box of tampons and he finds them and grabs her. He touches her hair and stares at her and says, tell me you're still my girl. She says she is, then goes to the bathroom and cuts off her long hair.

On second thought, the bacon grease thing might have happened in "The tommyknockers" can't remember..

I've read a lot of SK.

>fridge in the dump
>bacon grease

Wat. Explain.

brb going to see It

I remember the fridge, enlighten me on bacon grease? Read both IT and Tommyknockers. Tim Curry did a good job. New Pennywise looks 12.

Goddamn, the original film butchered the book enough. Why do they have to keep doing this?

>slut-shamed

Jesus, when did Sup Forums become PC?

We really are fucked aren't we

Lame. In the book he says that and tries to undress her to see if she's a virgin and she escapes.

I remember a scene where a bad guy put a neighbors dog in the fridge. Checked on it 2 days later it was blue. Next day it died.

Boys hunting with his dad, finds himself drawing a bead on his father who's walking, can't remember if he shoots him or not, but he couldn't figure out why he was doing it. Stephen King lets you know it was because his father would come into him and his little brothers room when they were small and rape them using bacon grease ass lube..

I'm dead certain it was in one of those books, it wasn't a main character though, it was part of the history of the town

He did this multiple times, and had erections while he did it.

There was a reason Bowers' crew was chosen by IT, and the losers club by the turtle.

It was an apt description. In the book Bev was prudish because daddy being bad and they were innocent. IT is a metaphor for sex, that's why he takes many forms and haunts the children when they are alone. Bev being rumored to be a slut at 12 in the '50s is unthinkable.

Well there's another scene where he says it and he attacks her but she gets away after smashing him in the head with the top lid of a toilet.

Can anyone give more of a detailed description of Bevs sexualize scene? Please

Rigght. Bowers was the bullies name. It's been a while and I gave the book to a friend. The first trailer made the movie look like another demon possession type. Was it as creepy as the first? I thought the creepy parts of the first movie were very King-like.

Fuck off pedo

Sounds like they already did. Just her in her underwear being oogled. I didn't even mind that the Tim Curry movie wasn't sexy. They kept to the points that mattered.

It is not hot. It is not in a sexual manner, it is very tasteful. They have to grow up so pennywise can't kill them, the best and quickest way to grow up is to lose their innocence and have sex.

>Bev being rumored to be a slut at 12 in the '50s is unthinkable
why?

Holy shit! That's why they have the orgy?! Where did the kids get that logic? Was it just her idea?

>Where did the kids get that logic?
it is implied that a combination of stress, trauma and magic from the turtle and/or The Other (Gan) have turned the kids into more than mere children, it's all in the narrative really.

They are children. Bev really doesn't realize she's diffefent from the boys, building forts and shit. The orgy at the end came out of left field to me. King usually puts a few lines in his books that make your peepee tingle, probably when he was writing at 3am or something, and Bev's dad was that. Just a little bit naughty. Describing the size of their dicks and who came inside her is a little much. But all before that there is no sex in the book. Just allusions to it. Bev only fucked them to get out of the sewers. It was nessessary, and before that was just an innocent little girl.

This is cannon in the book.

It was her idea, to calm them down and stengthen their friendship. It wasn't so much an orgy either, everyone took turns. It was never meant to be sexual, and King made sure to explain that.

I don't remember a turtle or magic in the book. Just that one of the boys believes his inhaler is battery acid and it works against IT.

No shit that would calm them. They're guys. As for strengthening their friendship, I think it's going to do more than that. I guarantee it's going to make a few, if not all of those guys want more sex from her.

valid points, but still.. see
interesting points too.

The Turtle plays an integral part of the book, it is the direct opposite to IT -Gan (in the book called "The Other") who is the creator being/God in King's universe (Dark Tower mythology) is also mentioned (though only twice) in the book.

Why would she have to fuck them to get out of the sewers???

>It was never meant to be sexual
well... eh, King does for some reason equip Ben with a grown man's penis, and Bev has an orgasm and such, so...

I'm not saying you're wrong, I'm just saying it might be a tad more murky than just taking King's later explanations on face value.

rebuild the bond they've lost + grow the fuck up real fast and shit.

That tells me nothing. How does fucking = getting out of the sewers? Why couldn't they just walk out of the sewers?

Forgive. As I said it's been a while, and the paperback is like 450 pages. Pretty long book. And I've never got into the Dark Tower. Still trying to get through his early novels while being bombarded with newer works by my mom. Read The Shining and Doctor Sleep last. I want to read Rita Hayworth and the Shawshank Redemption but I think it's in 12 Past Midnight and I don't own it. LOVED The Green Mile. Read it at least twice.

I've always suspected King of being a Chomo. In almost all his books he alludes to one of the characters being a pedo, or describing a child being molested. Or maybe he got molested, who knows?

They got lost because they were arguing and it was getting worse. They had to fight IT together so they had to find a way out together. It was a total maze down there.

And how is the only way to rebuild the bond and growing up only achieved by fucking? Wouldn't surviving IT do just that?

I highly recommend Insomnia, damn creative book.

That in no way explains how fucking her helped them get out of that maze.

I felt it wasn't that sexual just reading the book. The characters certainly act that way. It's the narrators (Kings') description that makes it weird and it felt weird. But in their actions it was just needed to get out.

Eddie is their path finder, he has an almost super natural sense of place and spatial intelligence, but this attribute (like those of the other kids) starts to vane after they've defeated (though not slain) IT because their powers stem from their bond and the bond, ultimately, stem from opposition to IT -so, in order to remake said bond (which will grant Eddie his sense of direction back) Bev decides to introduce ANOTHER (and maybe opposite, as in love) form of "it"/IT which also lies within HER attribute/power as a female.. to have sex with/make love to them all thus binding them together once more and brigding the devide between child and adult in the process.

yeah, pretty much that.

Dixi.

>they changed their childhood time period to the 80's..

The sequel is about them as adults. Makes sense.

you're on a good path, user.

This is the thinking That ruined this movie.

Leave the shit alone, stop changing it..

Maybe both. It makes sense to me. There are other way to lose innocence. I think he lived with his mom into his 30's too.

I don't think he's anywhere near a pedo.. he describes evil, and that's that.

Also, for the ones who didn't read, you'll be surprised to know that IT has an entire chapter of ITS thoughts.

It is also female, and has laid eggs

see

Oooh yeah. Ralph Roberts is my hero. Great book. Really one of his best.

Now that's a better way of explaining it. But does being more adult like make IT less of a threat to the kids?

It's a weird scene ngl. That's the rationale given in the book.

>But does being more adult like make IT less of a threat to the kids?
yes, adults are seldom directly targeted by IT, though often used as puppets through either subtle influence or outright possesion.

her act also serves to keep their bond intact over the years, even though they forget each other, until called back by Mike to fight IT again.

.. and after they've succesfully slain IT, their bond dissolves forever and they forget all.

Why does IT seldom target adults?

Spoiler she cuts her hair off after daddy has a nice little fondle of it, everyone says she is a slit but she is all like "I only ever kissed on person"
Then proceeds to fall in love with the truffle shuffle and is all like
"ehh I'm floating and not scared of my dad anymore blah blah" doesn't get her vagina out once.

According to IT, it's because it feeds on fear, and fear in children is the tastiest and most pure.

They already said they're not doing the sex scene. But we'll see her in bikini.

SeeThere's literally and entire chapter of just its thoughts.

they don't have the imagination of kids, and it feeds of their power to imagine horrors -this is also why the kids can defeat it, and (figuratively) has to relocate their lost lost, inner child when confronting IT again as adults.

it's pretty much the core narrative of the book, the magic of being a child with all the wonders and horrors that follow and the subsequent abillity to keep a spark of said magic into adulthood and old age.

and that, is the absolute unbridled beauty of the tale.

I felt more awkward watching the Clark Kent scene in the pharmacy than I was expecting

>doesn't get her vagina out once
bruh.. she's barely 12, it's a movie, the fuck you expect? that might work in a book (written 30+ years ago) but never in a movie and not at all today.

>the Clark Kent scene in the pharmacy
elaborate pls

It might work in an Italian version of this movie lol. The don't have same hangups about sexualizing kids.

in the 70's perhaps, but really.. nah.

Your point? If they can waste time recreating 50shades of shit they can recreate a little lol orgy once in awhile

Bev uses her slutty little redhead eyes to flirt with the creepy old pharmacist by saying he looks like Clark Kent and he responds with a Lois lane line that is kek inducing

Idk, they still play Lolita and shit on TV here in Australia every now and again so I don't think it's beyond the realms of possibility

Why do you say the 70's? Did they really have movies from Italy back in the 70's that sexualized kids?

>If they can waste time recreating 50shades of shit they can recreate a little lol orgy once in awhile
doubt it.. there's a difference between making a softcore porn for cougars and softcore porn for pedos.
the actress in said flick was 16 at the time, and the sex is more implied than really shown. The movie did take a lotta flack though.
yes. Hell, in Northern Europe actual CP was first outlawed and criminalized in the mid 80's.

don't believe me? google it.

Orgy scene from the book:

Her thoughts broke off as she realized that Eddie comes to her first, because he is the most frightened. He comes to her not as her friend of that summer, or as her brief lover now, but the way he would have come to his mother only three or four years ago, to be comforted; he doesn’t draw back from her smooth nakedness and at first she doubts if he even feels it. He is trembling, and although she holds him the darkness is so perfect that even this close she cannot see him; except for the rough cast he might as well be a phantom.
“What do you want?” he asks her.
“You have to put your thing in me,” she says.
He tries to pull back but she holds him and he subsides against her. She has heard someone—Ben, she thinks—draw in his breath.
“Bevvie, I can’t do that. I don’t know how—”
“I think it’s easy. But you’ll have to get undressed.” She thinks about the intricacies of managing cast and shirt, first somehow separating and then rejoining them, and amends, “Your pants, anyway.”
“No, I can’t!” But she thinks part of him can, and wants to, because his trembling has stopped and she feels something small and hard which presses against the right side of her belly.
“You can,” she says, and pulls him down. The surface beneath her bare back and legs is firm, clayey, dry. The distant thunder of the water is drowsy, soothing. She reaches for him. There’s a moment when her father’s face intervenes, harsh and forbidding
(I want to see if you’re intact)
and then she closes her arms around Eddie’s neck, her smooth cheek against his smooth cheek, and as he tentatively touches her small breasts she sighs and thinks for the first time.

This is Eddie and she remembers a day in July—could it only have been last month?—when no one else turned up in the Barrens but Eddie, and he had a whole bunch of Little Lulu comic books and they read together for most of the afternoon, Little Lulu looking for beebleberries and getting in all sorts of crazy situations, Witch Hazel, all of those guys. It had been fun.
She thinks of birds; in particular of the grackles and starlings and crows that come back in the spring, and her hands go to his belt and loosen it, and he says again that he can’t do that; she tells him that he can, she knows he can, and what she feels is not shame or fear now but a kind of triumph.
“Where?” he says, and that hard thing pushes urgently against her inner thigh.
“Here,” she says.
“Bevvie, I’ll fall on you!” he says, and she hears his breath start to whistle painfully.
“I think that’s sort of the idea,” she tells him and holds him gently and guides him. He pushes forward too fast and there is pain.
Ssssss!—she draws her breath in, her teeth biting at her lower lip and thinks of the birds again, the spring birds, lining the roofpeaks of houses, taking wing all at once under low March clouds.

“Beverly?” he says uncertainly. “Are you okay?”
“Go slower,” she says. “It’ll be easier for you to breathe.” He does move more slowly, and after awhile his breathing speeds up but she understands this is not because there is anything wrong with him.
The pain fades. Suddenly he moves more quickly, then stops, stiffens, and makes a sound—some sound. She senses that this is something for him, something extraordinarily special, something like . . . like flying. She feels powerful: she feels a sense of triumph rise up strongly within her. Is this what her father was afraid of? Well he might be! There was power in this act, all right, a chain-breaking power that was blood-deep. She feels no physical pleasure, but there is a kind of mental ecstasy in it for her. She senses the closeness. He puts his face against her neck and she holds him. He’s crying. She holds him. And feels the part of him that made a connection between them begin to fade. It is not leaving her, exactly; it is simply fading, becoming less.
When his weight shifts away she sits up and touches his face in the darkness.
“Did you?”
“Did I what?”
“Whatever it is. I don’t know, exactly.”
He shakes his head—she feels it with her hand against his cheek.
“I don’t think it was exactly like . . . you know, like the big boys say. But it was . . . it was really something.” He speaks low so the others can’t hear. “I love you, Bevvie.”
Her consciousness breaks down a little there. She’s quite sure there’s more talk, some whispered, some loud, and can’t remember what is said. It doesn’t matter. Does she have to talk each of them into it all over again? Yes, probably. But it doesn’t matter. They have to be talked into it, this essential human link between the world and the infinite, the only place where the bloodstream touches eternity. It doesn’t matter.

What matters is love and desire. Here in this dark is as good a place as any. Better than some, maybe.
Mike comes to her, then Richie, and the act is repeated. Now she feels some pleasure, dim heat in her childish unmatured sex, and she closes her eyes as Stan comes to her and she thinks of the birds, spring and the birds, and she sees them, again and again, all lighting at once, filling up the winter-naked trees, shockwave riders on the moving edge of nature’s most violent season, she sees them take wing again and again, the flutter of their wings like the snap of many sheets on the line, and she thinks: A month from now every kid in Derry Park will have a kite, they’ll run to keep the strings from getting tangled with each other. She thinks again: This is what flying is like.

With Stan as with the others, there is that rueful sense of fading, of leaving, with whatever they truly need from this act—some ultimate—close but as yet unfound.
“Did you?” she asks again, and although she doesn’t know exactly what “it” is, she knows that he hasn’t.
There is a long wait, and then Ben comes to her.
He is trembling all over, but it is not the fearful trembling she felt in Stan.
“Beverly, I can’t,” he says in a tone which purports to be reasonable and is anything but.
“You can too. I can feel it.”
She sure can. There’s more of this hardness; more of him. She can feel it below the gentle push of his belly. Its size raises a certain curiosity and she touches the bulge lightly. He groans against her neck, and the blow of his breath causes her bare body to dimple with goosebumps. She feels the first twist of real heat race through her—suddenly the feeling in her is very large; she recognizes that it is too big
(and is he too big, can she take that into herself?)
and too old for her, something, some feeling that walks in boots. This is like Henry’s M-80s, something not meant for kids, something that could explode and blow you up. But this was not the place or time for worry; here there was love, desire, and the dark. If they didn’t try for the first two they would surely be left with the last.

“Beverly, don’t—”
“Yes.”
“I . . .”
“Show me how to fly,” she says with a calmness she doesn’t feel, aware by the fresh wet warmth on her cheek and neck that he has begun to cry. “Show me, Ben.”
“No . . .”
“If you wrote the poem, show me. Feel my hair if you want to, Ben. It’s all right.”
“Beverly . . . I . . . I . . .”
He’s not just trembling now; he’s shaking all over. But she senses again that this ague is not all fear—part of it is the precursor of the throe this act is all about. She thinks of
(the birds)
his face, his dear sweet earnest face, and knows it is not fear; it is wanting he feels, a deep passionate wanting now barely held in check, and she feels that sense of power again, something like flying, something like looking down from above and seeing all the birds on the roofpeaks, on the TV antenna atop Wally’s, seeing streets spread out maplike, oh desire, right, this was something, it was love and desire that taught you to fly.

“Ben! Yes!” she cries suddenly, and the leash breaks.
She feels pain again, and for a moment there is the frightening sensation of being crushed. Then he props himself up on the palms of his hands and that feeling is gone.
He’s big, oh yes—the pain is back, and it’s much deeper than when Eddie first entered her. She has to bite her lip again and think of the birds until the burning is gone. But it does go, and she is able to reach up and touch his lips with one finger, and he moans.
The heat is back, and she feels her power suddenly shift to him; she gives it gladly and goes with it. There is a sensation first of being rocked, of a delicious spiralling sweetness which makes her begin to turn her head helplessly from side to side, and a tuneless humming comes from between her closed lips, this is flying, this, oh love, oh desire, oh this is something impossible to deny, binding, giving, making a strong circle: binding, giving . . . flying.
“Oh Ben, oh my dear, yes,” she whispers, feeling the sweat stand out on her face, feeling their connection, something firmly in place, something like eternity, the number 8 rocked over on its side. “I love you so much, dear.”

“Ben! Yes!” she cries suddenly, and the leash breaks.
She feels pain again, and for a moment there is the frightening sensation of being crushed. Then he props himself up on the palms of his hands and that feeling is gone.
He’s big, oh yes—the pain is back, and it’s much deeper than when Eddie first entered her. She has to bite her lip again and think of the birds until the burning is gone. But it does go, and she is able to reach up and touch his lips with one finger, and he moans.
The heat is back, and she feels her power suddenly shift to him; she gives it gladly and goes with it. There is a sensation first of being rocked, of a delicious spiralling sweetness which makes her begin to turn her head helplessly from side to side, and a tuneless humming comes from between her closed lips, this is flying, this, oh love, oh desire, oh this is something impossible to deny, binding, giving, making a strong circle: binding, giving . . . flying.
“Oh Ben, oh my dear, yes,” she whispers, feeling the sweat stand out on her face, feeling their connection, something firmly in place, something like eternity, the number 8 rocked over on its side. “I love you so much, dear.”

And she feels the thing begin to happen—something of which the girls who whisper and giggle about sex in the girls’ room have no idea, at least as far as she knows; they only marvel at how gooshy sex must be, and now she realizes that for many of them sex must be some unrealized undefined monster; they refer to the act as It. Would you do It, do your sister and her boyfriend do It, do your mom and dad still do It, and how they never intend to do It; oh yes, you would think that the whole girls’ side of the fifth-grade class was made up of spinsters-to-be, and it is obvious to Beverly that none of them can suspect this . . . this conclusion, and she is only kept from screaming by her knowledge that the others will hear and think her badly hurt. She puts the side of her hand in her mouth and bites down hard. She understands the screamy laughter of Greta Bowie and Sally Mueller and all the others better now: hadn’t they, the seven of them, spent most of this, the longest, scariest summer of their lives, laughing like loons? You laugh because what’s fearful and unknown is also what’s funny, you laugh the way a small child will sometimes laugh and cry at the same time when a capering circus clown approaches, knowing it is supposed to be funny . . . but it is also unknown, full of the unknown’s eternal power.

Biting her hand will not stay the cry, and she can only reassure them—and Ben—by crying out her affirmative in the darkness.
“Yes! Yes! Yes!” Glorious images of flight fill her head, mixing with the harsh calling of the grackles and starlings; these sounds become the world’s sweetest music.
So she flies, she flies up, and now the power is not with her or with him but somewhere between them, and he cries out, and she can feel his arms trembling, and she arches up and into him, feeling his spasm, his touch, his total fleeting intimacy with her in the dark. They break through into the lifelight together.
Then it is over and they are in each other’s arms and when he tries to say something—perhaps some stupid apology that would hurt what she remembers, some stupid apology like a handcuff, she stops his words with a kiss and sends him away.
Bill comes to her.

He tries to say something, but his stutter is almost total now.
“You be quiet,” she says, secure in her new knowledge, but aware that she is tired now. Tired and damned sore. The insides and backs of her thighs feel sticky, and she thinks it’s maybe because Ben actually finished, or maybe because she is bleeding. “Everything is going to be totally okay.”
“A-A-Are you shuh-shuh-shuh-hure?”
“Yes,” she says, and links her hands behind his neck, feeling the sweaty mat of his hair. “You just bet.”
“Duh-duh-does ih-ih . . . does ih-ih-ih—”
“Shhh . . .”
It is not as it was with Ben; there is passion, but not the same kind. Being with Bill now is the best conclusion to this that there could be. He is kind; tender; just short of calm. She senses his eagerness, but it is tempered and held back by his anxiety for her, perhaps because only Bill and she herself realize what an enormous act this is, and how it must never be spoken of, not to anyone else, not even to each other.
At the end, she is surprised by that sudden upsurge and she has time to think: Oh! It’s going to happen again, I don’t know if I can stand it—
But her thoughts are swept away by the utter sweetness of it, and she barely hears him whispering, “I love you, Bev, I love you, I’ll always love you” saying it over and over and not stuttering at all.

> Its kinda cringy to me because I'm in my thirties
> I'm in my thirties
you're kinda cringy for being here. good luck with your continuing life of failure

She hugs him to her and for a moment they stay that way, his smooth cheek against hers.
He withdraws from her without saying anything and for a little while she’s alone, pulling her clothes back together, slowly putting them on, aware of a dull throbbing pain of which they, being male, will never know, aware also of a certain exhausted pleasure and the relief of having it over. There is an emptiness down there now, and although she is glad that her sex is her own again, the emptiness imparts a strange melancholy which she could never express . . . except to think of bare trees under a white winter sky, empty trees, trees waiting for blackbirds to come like ministers at the end of March to preside over the death of snow.

Then blah blah blah they find their way out.

I remember reading this. God that was HOT! King is pretty good at pedo erotica

>you're kinda cringy for being here
you're kinda newfaggy for thinking old asshats doesn't come here all the time.

I'm 41, and I know people older than me who frequent this fine little tunisian nitting forum.

>reddit spacing is new meme

gtfo lol

.. and the thread fell silent, as a bunch of Sup Forumstards suddenly discovered the wonders of litterature.

kæk

LOL it's like a book club. I think in the next thread we should discuss one of the two book Lolita or Hick.

how do you get your vagina out? its not like whipping your cock out

>hurppity durp durp

lol true.. quick rundown on Hick? I know it's also a movie with Cloe whatshername, but I've not seen it nor read the book.

I've never seen nor read the book either. Hot shit that's going to be the next thread!

The scene in Delores Clairborne where the girl is forced to give her dad a handjob on the ferry... Makes you realize you're passing by people everyday who are being raped and molested.