I think so many people are so deeply alienated from themselves that they have no clue how to exercise their free will and autonomy. For some, this alienation runs so deep that they are afraid of their own autonomy and humanity. It is completely understandable why one would have those feelings, but it can be worrisome.
I want to help others who feel this way, so here are small things I have done to exercise my free will:
Add "guilty pleasure" songs to playlists and actually listen to them (I have a ton of late 1990s-early 2000s music I listen to now proudly that I never listened to in the past out of shame)
Getting the décor item, bath set, bed spread, ect. in the patterns you like, even if it's "childish" (I got a dinosaur-themed wastebasket from the kids' décor section and I adore it)
Taking a new route to get to a place you go to often
Eat dessert first
Celebrate well, and often
Collect things that are "odd" or don't seem like an "acceptable" thing to collect (somebody on my "for you" page collects dandelion crayola crayons and it was so cool!!!!!!)
Incorporate one new piece in an outfit you wear frequently (e.g., a new chain, a necklace, ribbons, bracelets, ect.). Challenge yourself to add onto the outfits if you feel up for it.
Sing along to songs without worrying that you sound "good" or your intonation is completely accurate
Read a book from a genre you weren't allowed to read as a kid (comics, thrillers, mysteries, anything!)
Walk without having a specific destination or goal
Pick up a new craft without expecting yourself to master it or to ever be "good" enough. Get your hands messy.
I don't want to shame anybody for not feeling as though they have free will or that they are exempt from exercising it. However, I wanted to give ideas so that you might read this list and find your own ways to express your intrinsic autonomy and will. You deserve to be a person, to feel alive, not just living. That is what our lives are for.
There was a post about how Tom is the only crew member who isn't really affected by the Borg, and there's a theory that he has so much luck because he saw the past and the future when he crossed the transwarp threshold. He saw the past and the future, all of time and space. There's some subconscious part of him that remembers that experience. In fact, Tom refused to play a part in Chakotay indulging Annorax's temporal incursions, probably because a part of him knew nothing good could come of it.
If we extend that same theory to Janeway, some of her wild luck with time travel and other crack plans starts to make sense. She doesn't verbally hate time travel until after the events of Threshold, since it happens in Time and Again without complaint. Janeway has an uncanny knack for time travel, as evidenced every time she deals with it. She hates time travel, but it might be because part of her knows exactly how to manipulate the timeline. She manages to avoid the "inevitable" temporal explosion in Future's End, saving both Voyager and Braxton. She resets the entire timeline in Year of Hell, and no one else followed her reasoning. She pulled it off flawlessly. In Relativity, she senses the incidents are all related, despite it being just one reading that connects them. By the time she's involved, she has a temporal incursion factor of .0036 and a time travel protocol named after her, even if that may just be Braxton's personal grudge. Then there's Endgame, where she intentionally changes the timeline. Up until this point, she has been dragged into time travel, but for the first time, she jumps in on purpose. How does Admiral Janeway know how to get them home sooner in a way that completely avoids the Temporal Integrity Commission? It's because she has seen all of time, and part of her knows exactly what needs to happen so she can get Voyager home and do it in a way that becomes baked into the prime timeline. Maybe she doesn't consciously remember what happened during her transformation, but the experience lives in her mind somewhere, guiding her decisions.
one problem with a theatrical adaption of tlt is htn, where the reveal that Gideon lives on works because of the change of second person to first.
the only way i can think of it working is that the actor playing gideon works backstage, like the lights system (but is hidden from the audience aside from subtle hints)
the biggest hint is when when wake breaches pal's river bubble she 'breaks' the lighting system and the stage goes dark. harrow is ushered into the wings by pal so she doesn't see anything, but the lights flick back on just before the curtains drop for a scene change, and pal looks directly up at the light box in surprise and smiles. if the audience is quick to turn around they can see a flash of a black robe.
Oh boy my friend, have you come to the right place!!
So, fun fact about ninja. Bear with me, I am going somewhere with this. The image of a ninja covered head to toe in black, with a hood and mask, comes from Kabuki theatre. It was originally a stagehand uniform. Like stagehands in modern theatre, stagehands in Kabuki would wear all black to signify that they were not really there, and whatever effect they were causing (carrying a prop, creating a breeze, ect.) was to be taken as happening on its own. Basic stagehand stuff, a lot of productions in many styles around the world do it, especially if they don't have fancy rigging systems.
Someone (I don't remember who now, or in what play) had the idea to dress the ninja in a production up as a stagehand. In the convention of the theatre, this made them invisible. The audience was already so used to ignoring stagehands, they didn't know any more than the characters that the ninja was present, despite the actor being clearly visible on stage. Which meant when the ninja struck, it was as if out of nowhere. I can only imagine the uproar in the theatre the first time it happened. It worked so well as to become commonplace, and the rest is history. The popular image of a ninja is still a kabuki stagehand.
So, back to the stage play of Harrow the Ninth. I think you've hit almost exactly on how to incorporate the Gideon twist into a theatrical production. But not as a lighting tech. Gideon is a stage hand. Maybe there would be more than one stagehand, maybe she would be the only one, but she would operate in full view of the audience, literally setting the scenes. I think it works best if she's the only one, but if the production needs more, she should subtly stand out in some way.
As the play went on, we would notice that this one stage hand... increasingly interacts with Harrow, though Harrow never acknowledges it. At first it might look like she's playing Harrow's necromancy, because that would be the main special effect she would need to help with. When Harrow is unconscious at the end of a scene, it's always the same stagehand carrying her out. But we all know she's not really there. Until Palamedes acknowledges her. Turns to look right at her, and speaks to her.
I can see the scene clearly. He would look at her, stunned, until Gideon finally took off her mask. The line "Kill us twice, shame on God," would be addressed to Gideon, and then he would turn back to Harrow, kiss her on the forehead, and tell her to go. Gideon, always out of Harrow's line of sight, would guide Harrow away while Harrow looked back at Palamedes.
God bless to Vax's one beautiful year in Zephrah as the Voice of the Tempest's trophy husband, full respect to him for going the opposite direction to Vex with regards to being married to the leader of a town, he went full pretty boy arm candy and as far as I'm aware was not involved in running Zephrah at all. It seems like Vax committed himself to the royal consort sugar baby life and let his powerful wife do the actual leading a society stuff, I wonder what the rumours in Zephrah about that pretty goth twink who walks around on the Tempest's arm were like. You're a guard in Zephrah stationed near the home of the Tempest, a very trusted position, it takes all of your strength not to gossip about the god damn NOISES you hear at all hours of the day, you had to knock on the door one day to deliver something and the Tempest's "friend" answered in nothing but a short black robe. You're pretty sure the leader of your people has a trophy husband. He's nice though.
After discovering Dustin doesn't have a dad and that Steve's jerk of a father is never around, Wayne decides he wants to take the pair on a camping/fishing trip. Nothing too exhausting or arduous. And certainly not in any kind of men-needing-to-be-out-in-the-wilderness-asserting-their-masculine-dominance way. At all. He'd had enough of that from his own father.
Besides, he knows Dustin likes exploring the outdoors with all his scientific endeavours. Observing the weather, looking up at the stars and studying wildlife. Mapping out their surroundings by hand with only a compass. Looking up plants and trees in his Midwest Wildlife textbook he lugs around a lot of the time. Wayne makes sure to encourage Dustin to bring any of his sciencey stuff he might want and discourages the others from teasing him about it. He even makes room in the back of the van, right next to his fishing basket.
Eddie similarly just wants to explore. Though Wayne would argue his nephew more forages like it's his natural habitat than Dustin's more focused studious approach. Wayne's brother Al had always taken issue with Eddie's desire to explore their surroundings when he'd tagged along on their camping trips. A tradition when Eddie was much younger that grew scanter as years went on and Al got himself into more trouble.
Al had always chided the boy, saying he was the troublemaker. 'Unfocused' he meant, along with all those other cruel things Wayne defended when Al said them just loud enough for Eddie to hear. But now Wayne lets him roam - under the strict stipulation he comes back before sundown and doesn't do anything too stupid like jump in a running river, of course!
Steve, on the other hand, simply wants to go fishing and cook up what they catch. Just sit by the campfire and look into the flames as they exist out in nature for a weekend, mostly in silence. He seems calmer - happier, even - as he sips quietly on a beer or two. And of course, Steve is an apt fisherman too.
When they arrive home to an overly-worried Claudia Henderson waiting on bated breath for her son as she stands between her two-door car and Steve's shiny maroon Beemer, Dustin practically tumbles out of the car, babbling a mile a minute as he flaps about his notebook filled with his 'findings'. Whatever they are, Wayne still doesn't quite understand.
And Steve gives him a tight hug that lingers for a long while, making Wayne realises the young man might be the loneliest boy in the world.
"Thanks, Wayne," he mumbles, stepping back and propping a hand on his hip like he is trying to remain casual.
"Any time, kid," he smiles and reaches out to pat Steve on the shoulder, "We'll go next time I have a few days off."
Steve gives the faintest sign of an agreeable nod, unaware that Wayne fully means it as a promise.
Y’all remember the days when Belos was just the funky mysterious masked villain with the sans eye. Remember when Little Miss Perfect dominated both the fandom and Amity Blight as a character. Remember when some of us were genuinely worried Eda would die in the S1 finale. Remember when we all hated Lilith with a seething passion. Remember when Luz’s biggest issue was just trying to figure out day-to-day Boiling Isles life. Remember when, save for the finale, Understanding Willow and Enchanting Grom Fright were the episodes we all lost our minds over.