The One Where I was Written Into My Favorite Scene...
Courtesy of our own @bethanys-adventure
Recently, our fic-senpai Bethany shared some of her Kassangie archives with me-- and I remembered this one quite well and fondly-- as she wrote me straight into one of my favorite scene from The Fifth Estate! That's right-- The Pirate Bay shirt scene!
Effective Immediately
“Everything’s going out at once in case there’s a gag order”
“I’m struggling to keep it to 14 pages.”
Julian was bombarded with pages that two members of the guardian were giving him. This was all about his upcoming leak, the biggest one yet. This was the first public release of 91,000 Iraq war logs.
Kat was standing outside the office, not wanting to disrupt the meeting. Since she was not technically part of the WikiLeaks staff (she still managed to convince people that she was Julian’s PA) nor a journalist, she saw it best to keep her nose out of those sorts of meetings.
“Kat?”
Kat looked up to see Daniel walking towards her.
“Oh, hello Daniel!”
“Where’s Julian?”
Kat pointed to the office behind her “Why, what’s going on?” she questioned curiously, she noticed that Daniel sounded annoyed. She then wondered if the reason why Daniel was angry was because of Julian.
‘Of course not! They’re best friends!’
‘Well I did overhear something about a major unedited upcoming release of Iraq war logs… maybe it was that…’
Daniel nodded and annoyed, he almost burst through the door of the office “Julian.” Kat saw Julian look up and that was it. She didn’t hear the rest, she could only see. Julian looked a little annoyed and then stood up.
He walked out of the door, Daniel and possibly Ziggy (the new intern) trailing behind. Kat knew that this may not go well. She sighed and looked at Julian, who was wearing her favourite Pirate Bay shirt underneath a white button up (with all the buttons undone).
“What were you thinking?” Daniel growled.
“We make a promise to our sources to publish in full” Julian retaliated.
“You lied to everyone, you lied to me!”
“It’s funny; I don’t remember you objecting us publishing the names and addresses of every BMP member”
“These sources are fighting for the very thing we are supposed to stand for!”
“And remind me what that is exactly? Hm? Transparency for powerful organisations? Exposing corruption wherever it exists?” He turned to face Daniel.
“We’re going to have to push back publication. There’s no way we can publish in 4 days!”
The two entered another room, Kat decided to follow Ziggy, who waited outside. She sighed, knowing this would end badly.
“14 pages in the Guardian. 12 in the New York Times. This is more coverage than all of the leaks we have had combined. We are winning an information war! Which goes beyond the short term alliance we have with the mainstream media and you want to throw it all away because you fear that some US government informant might come to harm?”
“These are human beings Julian, there are lives at stake!”
“What about the lives of the soldiers and the civilians involved in these conflicts. Death squads, unreported civilian casualties, Countless incidents of ‘friendly fire’! This is information the world needs to know! So the next time you find yourself lecturing me about this organisation, please try and remember why I created it and why I hired you to help me.”
“That’s funny; I don’t remember you hiring me. I don’t recall a contract or a salary. But I guess I should have known when I met J Lim, there is no organisation. There’s just you and your ego and the lies you tell to get whatever the fuck you want!” Daniel almost shouted as Julian walked away a few steps.
Julian inhaled deeply, trying not to show any signs of anger “You know it’s incredible.” He mumbled loud enough for Daniel to hear “How much time you can spend with a person and still have no idea who they are.”
Daniel nodded a few times, clearly fuming. Kat had her fist close up to her lips in anxiety, the tip of her index finger poking the bottom of her nose.
A few more people had gathered out to see this argument.
Julian finally broke the silence “You’re suspended.” He turned around “Effective immediately.” He clicked his fingers and pointed at Kat and cocked his head “Love?” Kat knew the signal and followed him. As she was about to walk down the flight of stairs, Daniel grabbed her arm “Kat, you’re not really going to do this? You’re not going to follow him? Are you?”
Kat sighed “I’m sorry Daniel, I really am.” She brushed Daniel’s hand off of her arm and continued to follow Julian. When she had finally caught up with Julian, she could tell that he was fuming- even more than the incident with Sam.
He didn’t speak a word to her until they reached the hotel room they were staying in, obviously trying not to take his anger out on her. Kat stopped in front of Julian, with her left hand she cupped his left cheek and with her right hand, she curled a few strands of his hair in between her fingers and nuzzled his nose.
“Kat. Please.” Julian sighed.
“Hmm?” Kat mused, signaling that she was paying attention.
Julian then paused “What did Daniel say to you?”
“Julian, are we really going to talk about this now…”
“Yes, what did he say?”
“He asked me if I was really going to follow you. Whose side was I on.”
“And whose side are you on?” Julian questioned.
“You asked me a while ago if you had me. I will always be on your side Julian, always and forever. Not even Daniel can convince me otherwise.” Kat pulled Julian into a hug, pulling her head into his chest.
Julian nuzzled the top of her head and kissed her forehead. He smiled and said “Is it because you love me or you love the Pirate Bay shirt?”
Kat giggled “You know I can’t say no to that shirt and the maroon hoodie… and the cargo pants. But you know that I love you more than your clothes.”
Julian grinned “Thank you Kat. Thanks for everything.”
***
Later that night.... 😏🔥
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Very interesting to me that a certain subset of the BES fandom's favourite iterations of Mizu and Akemi are seemingly rooted in the facades they have projected towards the world, and are not accurate representations of their true selves.
And I see this is especially the case with Mizu, where fanon likes to paint her as this dominant, hyper-masculine, smirking Cool GuyTM who's going to give you her strap. And this idea of Mizu is often based on the image of her wearing her glasses, and optionally, with her cloak and big, wide-brimmed kasa.
And what's interesting about this, to me, is that fanon is seemingly falling for her deliberate disguise. Because the glasses (with the optional combination of cloak and hat) represent Mizu's suppression of her true self. She is playing a role.
Take this scene of Mizu in the brothel in Episode 4 for example. Here, not only is Mizu wearing her glasses to symbolise the mask she is wearing, but she is purposely acting like some suave and cocky gentleman, intimidating, calm, in control. Her voice is even deeper than usual, like what we hear in her first scene while facing off with Hachiman the Flesh-Trader in Episode 1.
This act that Mizu puts on is an embodiment of masculine showboating, which is highly effective against weak and insecure men like Hachi, but also against women like those who tried to seduce her at the Shindo House.
And that brings me to how Mizu's mask is actually a direct parallel to Akemi's mask in this very same scene.
Here, Akemi is also putting up an act, playing up her naivety and demure girlishness, using her high-pitched lilted voice, complimenting Mizu and trying to make small talk, all so she can seduce and lure Mizu in to drink the drugged cup of sake.
So what I find so interesting and funny about this scene, characters within it, and the subsequent fandom interpretations of both, is that everyone seems to literally be falling for the mask that Mizu and Akemi are putting up to conceal their identities, guard themselves from the world, and get what they want.
It's also a little frustrating because the fanon seems to twist what actually makes Mizu and Akemi's dynamic so interesting by flattening it completely. Because both here and throughout the story, Mizu and Akemi's entire relationship and treatment of each other is solely built off of masks, assumptions, and misconceptions.
Akemi believes Mizu is a selfish, cocky male samurai who destroyed her ex-fiance's career and life, and who abandoned her to let her get dragged away by her father's guards and forcibly married off to a man she didn't know. on the other hand, Mizu believes Akemi is bratty, naive princess who constantly needs saving and who can't make her own decisions.
These misconceptions are even evident in the framing of their first impressions of each other, both of which unfold in these slow-motion POV shots.
Mizu's first impression of Akemi is that of a beautiful, untouchable princess in a cage. Swirling string music in the background.
Akemi's first impression of Mizu is of a mysterious, stoic "demon" samurai who stole her fiance's scarf. Tense music and the sound of ocean waves in the background.
And then, going back to that scene of them together in Episode 4, both Mizu and Akemi continue to fool each other and hold these assumptions of each other, and they both feed into it, as both are purposely acting within the suppressive roles society binds them to in order to achieve their goals within the means they are allowed (Akemi playing the part of a subservient woman; Mizu playing the part of a dominant man).
But then, for once in both their lives, neither of their usual tactics work.
Akemi is trying to use flattery and seduction on Mizu, but Mizu sees right through it, knowing that Akemi is just trying to manipulate and harm her. Rather than give in to Akemi's tactics, Mizu plays with Akemi's emotions by alluding to Taigen's death, before pinning her down, and then when she starts crying, Mizu just rolls her eyes and tells her to shut up.
On the opposite end, when Mizu tries to use brute force and intimidation, Akemi also sees right through it, not falling for it, and instead says this:
"Under your mask, you're not the killer you pretend to be."
Nonetheless, despite the fact that they see a little bit through each other's masks, they both still hold their presumptions of each other until the very end of the season, with Akemi seeing Mizu as an obnoxious samurai swooping in to save the day, and Mizu seeing Akemi as a damsel in distress.
And what I find a bit irksome is that the fandom also resorts to flattening them to these tropes as well.
Because Mizu is not some cool, smooth-talking samurai with a big dick sword as Akemi (and the fandom) might believe. All of that is the facade she puts up and nothing more. In reality, Mizu is an angry, confused and lonely child, and a masterful artist, who is struggling against her own self-hatred. Master Eiji, her father figure who knows her best, knows this.
And Akemi, on the other hand, is not some girly, sweet, vain and spoiled princess as Mizu might believe. Instead she has never cared for frivolous things like fashion, love or looks, instead favouring poetry and strategy games instead, and has always only cared about her own independence. Seki, her father figure who knows her best, knows this.
But neither is she some authoritative dominatrix, though this is part of her new persona that she is trying to project to get what she wants. Because while Akemi is willful, outspoken, intelligent and authoritative, she can still be naive! She is still often unsure and needs to have her hand held through things, as she is still learning and growing into her full potential. Her new parental/guardian figure, Madame Kaji, knows this as well.
So with all that being said, now that we know that Mizu and Akemi are essentially wearing masks and putting up fronts throughout the show, what would a representation of Mizu's and Akemi's true selves actually look like? Easy. It's in their hair.
This shot on the left is the only time we see Mizu with her hair completely down. In this scene, she's being berated by Mama, and her guard is completely down, she has no weapon, and is no longer wearing any mask, as this is after she showed Mikio "all of herself" and tried to take off the mask of a subservient housewife. Thus, here, she is sad, vulnerable, and feeling small (emphasised further by the framing of the scene). This is a perfect encapsulation of what Mizu is on the inside, underneath all the layers of revenge-obsession and the walls she's put around herself.
In contrast, the only time we Akemi with her hair fully down, she is completely alone in the bath, and this scene takes place after being scorned by her father and left weeping at his feet. But despite all that, Akemi is headstrong, determined, taking the reigns of her life as she makes the choice to run away, but even that choice is reflective of her youthful naivety. She even gets scolded by Seki shortly after this in the next scene, because though she wants to be independent, she still hasn't completely learned to be. Not yet. Regardless, her decisiveness and moment of self-empowerment is emphasised by the framing of the scene, where her face takes up the majority of the shot, and she stares seriously into the middle distance.
To conclude, I wish popular fanon would stop mischaracterising these two, and flattening them into tropes and stereotypes (ie. masculine badass swordsman Mizu and feminine alluring queen but also girly swooning damsel Akemi), all of which just seems... reductive. It also irks me when Akemi is merely upheld as a love interest and romantic device for Mizu and nothing more, when she is literally Mizu's narrative foil (takes far more narrative precedence over romantic interest) and the deuteragonist of this show. She is her own person. That is literally the theme of her entire character and arc.
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