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the-insomniac-emporium · 3 years

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Serenade (Daniela Dimitrescu/Reader) Pt. 9

Fandom: Resident Evil: Village Rating: T for language + mentions of sensitive topics Warnings: Referenced past abuse. Does not go into detail. Notes: Longest Serenade chapter yet at 4k+ words! Bit of angst, majority is fluffy fluffer fluff though. Next chapter is maximum h*rny, with two versions depending on reader, uh, equipment. EDIT: Forgot to put title, like dumbass. Past Chapters: Pt. 1: Nocturne, Pt. 2: Overture, Pt. 3: Accelerando, Pt. 4: Toccata, Pt. 5: Poco a Poco, Pt. 6: Elegy, Pt. 7: Harmony, Pt. 8: Obbligato

Chapter 9: Berceuse

(Berceuse: A lullaby. Generally slow and undulating.)

One moment you’re playing the piano, lovingly demonstrating a song you’d like Daniela to learn, the next you’re blue screening as she places a teasing kiss to your neck. It takes all of your willpower to keep playing, improvising a way to end the song right then and there. Then you’re turning to Daniela, eyes wide, blushing hard. She’s giggling. When she regains her composure, you give her a confused expression.

“I’m pretty sure this is the first time you’ve made real eye contact with me all morning. What gives?” She asked, frowning slightly. Awkwardly rubbing the back of your neck, you avoid her gaze, doing little else than proving her point. This frustrates her, and she lets out an aggravated sigh. I should probably tell her what happened, you think, dreading the idea. Still, the two of you had been making an effort to communicate better. What kind of partner would you be if you didn’t tell her about her mother’s intervention?

“Okay, okay… I wasn’t sure how to bring this up, but if I’m being this obvious about it anyway…” You started, trailing off anxiously. In response, Daniela places one of her hands over yours, giving you a reassuring squeeze. Though your face somehow gets even redder, the action gives you the courage required to continue. “I had another progress update meeting with your mother yesterday. I was worried, since this was the first one where you weren’t present, but I didn’t- I mean, er… Fuck it, she knows you’re interested in me. Doesn’t think we’re already together, thank God, but she told me, and I quote, that my response should be ‘swift and uninterested’. What are-” before you can finish you’re cut off by a loud groan, followed by your girlfriend cradling her head in her hands. Yeah, you think, this is about what I expected.

“Of course she did! I can’t have anything nice,” Daniela snapped, having gone from ten to sixty real quick. You’re just glad that she wasn’t taking it out on the piano. “How would she even know about us? I only stare at you when she’s not looking!” Oh? Since when did she stare at you? Certainly if Lady Dimitrescu had noticed, you would have as well?... Then again, the few times where all three of you were in the same room usually involved you working while they chatted or ate together. Still, the idea of Daniela making heart eyes at you from across the room was enough to make you blush again. “Look, she’s probably making some assumptions. There’s no way she knows as much as she thinks she does, at least not about us. So let’s just be careful- ugh, I sound like Bela- and otherwise keep doing what we do. Alright, songbird?”

“If you’re sure, then so am I. Let’s try to focus on our lesson for now, though,” you replied, doing your best to sound confident. Hoping to add in a little reassurance, you give Daniela a quick peck on the cheek. Unsurprisingly she ‘dodges’, instead kissing you on the lips, but you hardly mind at all. When she pulls back she’s got a huge grin on her face.

“Lesson now, fun later, got it. Speaking of later… You and me, inside the library, right after lunch. I’ll tell mother we’re going over theory and key recognition, but really-” she leans in close, mouth barely an inch from your ear “it’s a date. Don’t worry about getting caught, I’ve already made sure that neither Bela nor Cassandra will interrupt.” Your heart skipped a few beats at her suggestion, and you had to admit… you were beyond excited for this. When was the last time you had gone on an actual date? Years ago, just a month before you left your hometown and moved to the village. That had been a date you’d spend the rest of your life regretting… then again, it was what made you leave in the first place. And if you hadn’t left, you’d have never met Daniela.

Maybe it hadn’t been that bad after all.

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Four minutes past one in the morning, you shuffled nervously towards the library, with note cards in hand. Even if you weren’t really going to help Daniela study, you wanted to be prepared in case you bumped into anyone along the way. After all, this was the night shift, when most of the servants were up and about, accomplishing any tasks deemed ‘too noisy’ to be done while the manor occupants slept. Thankfully, the fact that lunch had just finished meant a fair amount of workers would be busy cleaning up the dining hall. In the end, you only passed one other servant, but it was the only one you hadn’t felt confident about running into: Daphne.

Despite your long-standing friendship (having known each other in the village, and being brought to the castle within the same week), you had yet to tell her about your relationship with Daniela. Which by itself wouldn’t have been too bad, if not for the fact that she could tell you were hiding something from her. This had, understandably, put a damper on your friendship. From her perspective, there was nothing you shouldn’t be able to tell her. Even you weren’t sure if you should be more honest, all things considered. There was no way she’d ever tell someone else about your situation. But if one day you got in trouble for lying to Lady Dimitrescu… and somehow someone figured out that Daphne knew too, well, she’d be just as fucked as you, if not more so. After all, there was a chance that Daniela’s affection for you would lead to a lighter punishment. Not that being exiled into the forest was much better than being flat out killed.

So when you saw Daphne heading towards you, you tried to get by with a simple smile and a brief wave.

“Aren’t you even going to say hi?” Daphne asked, tone stiff but filled with disappointment. It catches you off guard, to the point where you drop your note cards. Immediately you’re squatting down, gathering them up, taking the excuse not to look at your friend. She doesn’t move to assist, instead pausing in the hallway to watch you. “We were supposed to stick together, you know? But it’s like becoming Lady Daniela’s little plaything made you think you’re better than the rest of us. Better than me.” That last part was barely more than a whisper, and you freeze in place, hand still hovering over one of the cards. “I shouldn’t have said anything, it doesn’t matter. Just try not to get yourself killed, alright? I don’t want to be the one to clean up your corpse.”

“Daphne, wait, please!” You said, finally moving to your feet, blocking your friend’s path. When she looks at you, you can just barely make out tears in the corners of her soft blue eyes. “I’m sorry, really. I… I can’t tell you what’s going on because I can’t risk getting you in trouble. You’re my best friend, Daph, and I don’t want anything happening to you just because I was doing something reckless.”

“Do you really think I don’t know what’s going on between the two of you?” Daphne questioned, with a bitter laugh. She’s shaking her head in disbelief, even as you stare at her, shell shocked. “Maybe the others haven’t caught on yet, but I’ve seen the way she looks at you, and I’m not oblivious to the way you talk about her. I figured you’d tell me eventually… It’s been weeks, though. More than that, I mean seriously, don’t you think I’d go down for you in a heartbeat? There was a time where I was sure the two of us would do anything for each other, ride or die when the dying part was a guaranteed end to all of this. Something tells me that’s not the case anymore.” Now she refuses to meet your gaze, instead staring down at what few note cards still lay on the floor.

“That’s still the case, I promise. It’s hard enough to look past what our employers do to strangers. If they hurt you? I’d never dream of forgetting, let alone forgiving them,” you explained. It’s enough to make her look back up, but she’s far from smiling.

“If that’s the case, maybe I’m looking at the wrong signals. But I’ve got to go, and I assume you do too. Take care,” she said, before slipping past you as quickly as she can. Then you’re left to gather the last of your note cards, mind whirling. Cruel as the thought may be, you hoped that this wouldn’t ruin the mood for your date. The best your mind could do to cope was focus on one thing at a time…

————————————

“Are you sure this is safe? I can’t even remember how many times I’ve been told to keep this door shut, under the threat of, you know, losing my life,” you called out, hanging out in the doorway. Beyond you by a few meters was Daniela, who twirled about with laughter, reaching out to catch a few falling leaves. This was the entrance to the garden, as far as you could tell. Not to be confused with the vineyard, which was larger, as well as on a completely different side of the estate. You had never been to either, seeing as only a select few servants were allowed to leave the manor. If Daniela hadn’t made it seem like you’d be staying in the library, well, you probably would have protested a little, regardless of how badly you wanted to go on a real date. Even when you had met up with her, she hadn’t told you any details, just laughing and asking you to follow her.

“Don’t be a baby! We’re still a few weeks away from autumn, and besides, you’re here with me! What could possibly go wrong?” Daniela asked, sending you a cheeky grin before dashing off into the garden proper. For a moment you’re left on the threshold, a picnic basket in your arms, wondering what the season had to do with your safety. Then you sigh, figuring that it couldn’t be that bad. Hadn’t your girlfriend mentioned this to Bela, anyway? Certainly the responsible older sister would have stepped in if something genuinely dangerous had been suggested? Well, you hoped as much, at least. With that in mind you close the door behind you, then dashed towards where Daniela had gone. Even as you round the corner, you don’t see her, and suddenly you’re nervous as hell. Before you can call out to her, the sound of rustling leaves catches your attention. Suddenly something jumps out at you! “Rah! Gotcha, babe!”

Ah, of course it was your girlfriend, clearly pulling a leaf from Cassandra’s book. You playfully smack her arm in response, trying to ignore the way your heart pounded. Humorous intentions aside, she had legitimately scared you, and you had nearly dropped your basket in response. Before you can say as much, Daniela’s hooking her arm in yours so she can pull you further into the gardens.

“You’re lucky you’re so fucking cute, firefly,” you muttered, a tad grumpy now. Most of your irritation was false, however, intended to tease your girlfriend. For a moment she doesn’t seem to realize that, and she stops in place. Once her eyes meet yours she understands what’s going on. Then she’s grinning, sticking her tongue out at you, and continuing down the path. Soon enough you’re approaching a paved brick circle. All around it, minus where it meets the walkway, are various flowers in bloom. Past the flowers are bushes, and past those are trees, whose branches provide a canopy for the circle. “Wow… and I thought you were pretty,” you teased, admiring the view.

As soon as the words leave your mouth, Daniela lets out an offended scoff, before taking the basket from you. Wordlessly she opens it up to grab the blankets within, spreading them without sparing you a glance. Now it’s your turn to wonder whether or not her anger is just a joke. Hoping so, you help her smooth out the blankets, making sure the two of you have ample space to spread out. At one point both of you reach for the basket at the same time, and she just grabs your hand instead, squeezing it. Next thing you know she’s pulling you down onto the blankets, rolling on top of you.

“Come here often?” She asked. Then, unsurprisingly, the two of you kiss. Both of your arms wrap around her waist, holding her as close as you can. One of her hands cups your cheek, the other resting on the ground to support herself, for ‘optimal makeout angles’. It’s a minute of bliss before she has to pull back for air. Instead of pulling away entirely, she shifts down a notch, resting her head against your chest. “Mmm… so comfortable. I could just… fall… asleep…” Daniela murmured, pretending to be sleepy. You can’t help but laugh, chest obviously shaking in as you do. “No! Pillows aren’t supposed to vibrate.”

“Are you sure about that?” You asked, only laughing harder.

“They don’t talk, either,” Daniela replied, huffing as she does. When you keep laughing, she rises to a sitting position, much to your disappointment. “So you have chosen death? So be it. I’ll just eat these candies myself, then.” With that said, she digs into the picnic basket, retrieving a bag of chocolates. Pouting, you reach out to try and yoink one away from her. Rather deftly, she pulls them away, sticking her tongue out at you before tossing a couple in her mouth. Determined, you surge forward, trying to catch her off guard, only to (somehow) end up face down in her lap. “Exactly like I planned, songbird. Now get comfy, alright?”

One of her hands trails fingers through your hair as you semi-awkwardly roll over. Now you’re facing up, watching your girlfriend practically inhale a few pieces of chocolate. But now she seems more inclined to share. She plucks one more from the bag, offering it to you by holding it in front of your mouth. Gladly you open up, and she drops the chocolate, before giving you a small ‘boop’ on the nose. Both of you laugh, then, a sound that sparks warmth in your chest. This was… nice. Relaxing. Not only were the two of you allowed to be as open with your affection as you wanted, it was the first time in ages that you had actually been outside, able to enjoy the sunlight.

Several minutes pass by like this, with Daniela feeding you (and herself) candies, both of you taking time to appreciate the scenery. Eventually the bag of chocolates becomes close to empty, and you see your girlfriend have an ‘oh crap’ moment.

“I was going to save some of these for you to smuggle into your quarters, damn it… guess you’ll just have to refuse to share, babe,” she said, shrugging a little. Then she sets the bag aside, now devoting both of her hands to playing with your hair. “Guess I’ll just have to find something else to keep my tongue occupied. Know any volunteers?”

“Hmm… I would, but it’s reeeaaaaaallllllly comfortable down here,” you teased in reply. Suddenly her hands are taken out of your hair, and you can just barely see that they’re positioned on her hips. She’s pouting at you, very similar to how you’ve seen her mother do, yellow eyes betraying her mischief. What exactly did she have planned?

“Really, songbird? I take you out, give you a wonderful place to rest, hand feed you chocolates… and you won’t even kiss me? When was the last time you even got to do something like this?” She asked, perking an eyebrow. The question is innocent enough. The answer, however, is not. Even with your head in her lap, you cannot fight off the brief sense of panic as your mind flashes into the past. It takes a deep breath, a few blinks, and a reassuring touch from Daniela for you to calm back down. “Songbird?... Hey, hey, it’s okay, I didn’t- I don’t know what happened. But we don’t have to talk about it if you don’t want to, we can just…” She trails off, sounding unsure of herself, and you feel a pang of guilt. Was it finally time to come clean?... Yeah, yeah it was.

“It’s fine, I promise. I just… I need to sit up for this,” you explained, begrudgingly rising out of her lap. But she doesn’t let you pull away entirely, a hand guiding you to sit right up against her. Then she gently wraps an arm around you. Leaning into her touch, you rest your head on her shoulder, closing your eyes for a few seconds. “It’s kind of a long story, firefly… But this has happened often enough that I need to tell you. At least part of it. So, well… When I was younger, I, uh, I read a lot of romance novels, watched a lot of movies. Not even the good ones, really. And I didn’t- I couldn’t think through them. Couldn’t analyze it the way I needed to. So I didn’t get a good grasp of what a healthy relationship looked like. My, uh, my folks weren’t keen on demonstrating one for me, either…

“Before I came to the village, I was, well, uh, the thing is you might not like this part? And you’re not gonna like the next part, either. Just… listen to the end, please,” you pleaded, waiting for an acknowledgment before continuing. “I was engaged, as in to be married, to a woman I had known for most of my life. We were neighbors, and had gone to school together, and everyone thought we were the cutest couple. Hell, for the longest time I thought that. We weren’t, though. She was-” Daniela tenses a bit, though remains silent- “manipulative, sometimes aggressive. Anytime there was an argument, she made herself into the victim, told me that I was crazy. She wanted to make all the decisions about our relationship for me, and I just… I didn’t question it. Not even after she proposed, when my only reason for saying yes was because we were in public, with friends, and she clearly assumed that I’d agree. I tried to tell her that I wasn’t ready, that maybe we were going too fast, but she tuned me out.

“I didn’t even think about running until our final date. That was the first, and the only, time that she ever… that she ever-” a few tears spill from the corners of your eyes- “got physical with me. She’d broken things before, for sure, but I never thought she’d hurt me.” Daniela rubs your back gently, her breathing a little shaky. Evidently she hated hearing about this as much as you hated talking about it. Somehow that made it a little easier to talk through. “The next day she had to work early, so I just packed up my things, went over to my parents’ house and told them what happened. For once they actually agreed, if you can believe it. Told me to get the hell out of town, said that they’d deal with my fiance, and our relatives, so that I didn’t have to worry about anything when I came back. It was less than a full day before I drove away from everything I had ever known, promising my folks that someday I’d be back. Didn’t settle down until half the continent was behind me, not ‘til I was here at the village.”

There were a couple moments of silence as Daniela waited to make sure you had finished talking. Then she’s kissing the top of your head, shaking a little more noticeably now, murmuring reassurances that you can’t quite understand. Again you lean into her touch, indescribably thankful for her comforting presence. Fuck, you think, I probably ruined the date… so much for spending quality time with my lil firefly. When the silence breaks, it does so softly, slowly, a careful opening rather than a forceful push.

“Why would you give me a second chance? After what I did to you?” Daniela asked, voice barely audible, her head still resting atop yours. It’s not the response you expected. Not in the slightest. You pull away slightly, to look her in her eyes, heart aching at the tear stains on her cheeks. Even though you want to give her an answer that will bring her peace, your mind draws little more than a blank. Why had you given her a chance? You had wanted to be with her, without doubt, even before Cassandra and Bela intervened. Even after every time that she reminded you of your past…

“I-I don’t know. Maybe I haven’t learned anything from what’s happened,” you started, uncertainty clear in your tone. “Or maybe it’s because you looked… regretful. You didn’t enjoy what you did, and I saw it in your eyes. And… and then you did something about it. If you hadn’t shown remorse, or if I genuinely believed that you might do something like that again, we wouldn’t be here right now. I mean, in that case your sisters probably would have killed me for turning you down, but that’s not entirely relevant right now, is it?” You’re rambling a little, stuttering over your own words. Still, somehow it makes Daniela laugh, and relief floods your chest. Soon enough you’re curled up against her once more.

“Hey,” she said, after a minute of comfortable silence. “Thank you for showing me what romance is supposed to be.” Then she’s leaning in for a kiss, and you’re responding eagerly, unable to stop yourself from smiling. This time it’s your hand that runs through her hair as you pull her in as close as you can. To your surprise, she does pull away a tad earlier than usual. But there’s a grin on her lips, and she looks satisfied as hell. “Definitely more of that, soon. There’s just one more thing we have to do, to make this date perfect, you know? I may or may not have, kind of, written you something? You’re not allowed to laugh, though!”

“When have I ever laughed at you?” You asked, teasing, literally laughing as you speak. In response, Daniela scowls, making a point to look away in feign protest. “Joking, joking… I’ve just, you know, never had someone write me something before. Kinda don’t know how to react, really. Other than blushing real hard-” which you were doing- “and trying to play off my excitement with humor. But I promise I won’t laugh, even if you start with something like ‘roses are red, violets are blue’ or end with something like ‘just us in bed, doing the do’. Please tell me that’s not what you wrote, though?”

“Now that you mention it, maybe that should be what I recite. Sounds exactly like the sort of thing that would get me laid,” Daniela joked, rolling her eyes at you. Then she’s tugging a loose piece of paper out of the picnic basket, unfolding it to reveal a well-worn surface and hand-written text. She hesitates for a moment, glancing up at you, before taking a deep breath. When she speaks it’s clear just how nervous she is. But with every line she gains a measure of confidence, by the end acting her usual confident self.

Step from the shadows, weary corners of my mind Encased in old thoughts, brought into new life Like ashes rising from tombs housing the divine

Spinning webs as I descend, from the cradle of heaven From the dead I have risen, blessed be the gift I’m given Only from your haunting call do I embrace living

Catching the corners of my lips turning up All my years I’ve felt, but never this much Quietly writhing, begging for your softest touch

The pursuit of unintentional romance left abandoned Whispering love-locked tales to be consumed Sweeter than every facade I have ever imagined

Come closer now, into my arms, heart embraced Trailing fingers over scars, sewing lines traced Tell me love, “we shall last until the end of days”

At first, all you can do in response is stare at her, expression filled with affection. Inside your chest your heart was racing, and you couldn’t remember the last time you felt this warm. Reaching out, you take one of Daniela’s hands in your own, grinning as soon as her gaze meets yours. Both of you are blushing rather hard. Then she sets the poem down, eyes never leaving yours for even a second. You try to stutter out a few words, but find your tongue tied, and so you settle for placing your forehead against hers. The two of you stay like that for a few loving moments. When you part, it is only to come back together, this time in a tight hug.

“One helluva date, yeah?” Daniela asked, looking incredibly proud of herself. You can’t help but nod enthusiastically in response, honestly happier than you had felt in years. “Well, I will have to let you get back to work soon, unfortunately… but we have a few minutes, at least. Besides, having to part will only make tonight all the more sweeter.” At that you pause, confused, tilting your head to the side. Realizing that she must have gotten ahead of herself, Daniela blushes before elaborating. “You, me, my room. Tonight, right after your shift ends.”

You could hardly wait.

#daniela dimitrescu #daniela dimitrescu x reader #resident evil: village #re8 village #please tell me if the poem is any good #seriously pleaaaaaaseeeee #or just tell me what your favorite line from the whole chap is #that's always what I want to know #feedback wise

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antiloreolympus · 3 years

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10 Anti LO Asks

1. ok so did that two week break literally not mean anything? because it looks like theyre still wildly behind. i really do think LO needs to go on a sizable break, because this cannot be fun to be constantly stressed and behind like this. the books are being published too so its not like she'll be strapped for cash. as much as we critique on her we still dont want her working herself into burnout/a breakdown so i think a real break would be v beneficial to her and the comic as a whole.

2. Honestly, Persephone’s affection and understanding of mortals throughout the series rings incredibly hollow to me. The only interaction that I could remember with her and another human being within the comic is during her “act of wrath” confrontation, which literally leads to her beheading the man and going on an (accidental) murder spree upon a large city. Seriously, did anyone not take the time to think that if you were going to create a character who sympathizes with living beings that it would be beneficial to have some sense of origin that establishes said sympathy? Perhaps a panel showcasing a young Persephone playing with a human child? Or maybe if we want to stay with the plot convenience of Demeter’s helicopter parenting, maybe having Persephone just observing the mortals’ way of life from afar and contemplating their way of life? Hell, she even comments on this sentiment in Episode 79 when describing to Hades how she likes to “do things the way the mortals do...” while gardening the traditional way without utilizing her powers. Show me where you learned to empathize with them, Persephone! Did your mother teach you? Did you just observe and notice how stressful their lives could be? Have you interacted with any of them beforehand that cemented this compassionate worldview?

3. i still dont get why hxps first meeting was retconned only to be a lesser superior version of hades being a drunk idiot and persephone being possibly underage and naked??? also she wasnt drunk so how would she forget ... idk the whole thing didnt add anything and imo kinda ruined one of the few memorable parts of the comic and only made hades look grosser for it. its just weird.

4. In the latest (free) episode we can see P naked (what a surprise, never seen before! /j) and sometimes she doesn't have her huge badonkers, so now I have the headcanon that her huge badonkers are fake

5. tbh its funny to me LO is framed as persephone "making hades better" when literally everything we've actually seen from it is both of them becoming worse 💀

6. Y’know, if Smythe had just accepted that, regardless of how well-intentioned Persephone might’ve been, that her upbringing and comfortable position of privilege had instilled in her a warped sense of what’s moral and just rolled with that, then Persephone could’ve became an interesting character whose existence doesn’t constantly piss everybody off. But instead, we constantly have to receive this forced perspective of a “girl boss” whenever Persephone so much as opens her mouth to speak. Honestly, this girl could literally punch a straw hole in a Caprisun packet and RS would still find a way to make it a “boss bitch” moment. I would’ve much rather had the story establish that Persephone was not a good person straight from the beginning instead of this side “Dread Queen” personality that absolves her of all accountability when it’s time to be responsible for her actions. I’m sick and tired of this “thou shalt not kill if thou art the protagonist” mentality in fiction, which is practically riddled throughout LO when it comes to Persephone’s character. One could argue that Persephone did, in fact, kill a series of mortals through her act of wrath, but this is also kneecapped by her having accidentally lost control of her powers and feeling “grief-stricken” during the aftermath. She turns Minthe into a plant as a result of her uncontrollable anger, but now feels “bad” about it because she’s made Hades sad. And she jokingly relays the fact that she’s a felon in front of Hephaestus without so much as an ounce of decorum. Seriously, even the comic plays this off like it’s clever! All of these unfavorable moments that would’ve put Persephone’s demeanor in a negative light could’ve been used to add some amount of character growth as a means to make her feel more fleshed out. But no. Everytime I get my hopes up and think that we’re gonna take two steps forward when Persephone stands up and owns her ruthlessness, we end up taking several steps backwards because it’s “not actually her fault! The ‘feeling’ started it!”

7. ok but thats also a thing i dont get bc like ... shouldnt rachel care this product with her name slapped all over it actually looks good? like the early praise for it was never the writing, it was the unique art, but that unique look and effort hasnt been in it for years now? idk if its just burnout or w/e but theres no way shes actually happy with this lack of quality, surely. i guess she woudlnt care as long as the $$$ rolls in, but that's an awful way to view your work.

8. Can someone please tell RS that bringing out and comparing the deeds of "bad characters" won't make what H&P did any better cause their deeds are far worse? Like seriously this strategy is so damn stupid! No, you won't justify the murder nor slavery because someone stole something (evidence at that) from your house. We agree that both are bad but the way she compares them trying to defend her perfect couple is ridiculous and half-assed.

9. doubt webtoons cares as long as they get money, but doesnt rachel care about the quality she puts out every week? because even if the first 25~ episodes arent perfect art wise, there was still clear effort and thought put into it to look visually nice, but now thats lost. she also clearly isnt strapped for cash if she has book and merch deals, so she could easily afford to take a long break off and reevaluate the comic, bc it seems like the passion has been replaced for monetary gain/clout (?).

10. side-eyeing the webtoon creators who said the people critiquing rachel as "haters" and " they arent in the industry so they cant comment on it" like no, i saw the QRTs, it was overwhelming her own fans calling her out and expressing their disappointment in her and other comic creators being upset how she was playing into the undervalue of creative work, so these weren't "haters" or "people not in the industry", they were her peers and loyal fans. them distorting the truth to defend her is so :/

#anti lo #anti lore olympus #lore olympus critical #lo critical

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rachelbethhines · 3 years

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Vintage Shows to Watch While You Wait for the Next Episode of WandaVision - The 60s

So the 60s is the era that Wandavision pulls most heavily from for it’s inspiration. So much so that one could make the argument that each of the first three episodes are all set in the 1960s. Episode one pulls from the early 60s with multiple Dick Van Dyke refences, episode two is very Bewitched inspired, and episode three is aesthetically very similar to The Brady Bunch which started in ‘69. As such it was hard to narrow down the list for this decade and I had to get creative in some ways.

1. The Andy Griffith Show (1960 - 1968)

The Andy Griffith Show gets kind of a bad rap now a days for being, supposedly, a conservative’s wet dream. People claiming it as such have apparently never actually seen the series. Oh yes, it’s very much set in white rural 60s America and will occasionally present the obliviously outdated joke, but the story of a widowed sheriff being the only sane man in a small town full of lovable lunatics, who prefers to solve his and others problems with negotiation and hair brained schemes as opposed to violence has far more in common with modern day Steven Universe than whatever genocidal fantasy fake rednecks have in their heads.

As the gif above shows Andy Griffith was very subtlety progressive for its time. Andy was a stanch pacifist, pro-gun control, treated drug addicts and prisoners with respect, and all the women he would date had careers, ect. and so on. It’s not a satire making any sort of grand political statements but the series had a moral center that was far more left than many realize.

But if it’s not a satire, then what type of comedy is it?

The Andy Griffith Show excels in what I like to call, ‘awkward comedy’. See everyone in Mayberry is far too nice to just come out and tell a character they’re making an ass of themselves, so therefore whoever is the idiot punching bag of the episode’s focus must slowly unravel as everyone looks on in helpless pity until said character realizes the folly of their ways and the townsfolk come together to make them feel happy and accepted once more. Wandavision takes this polite idyllic awkwardness and plays it up for horror instead of laughs.

2. The Dick Van Dyke Show (1961 - 1966)

The creators of Wandavision actually met with Dick Van Dyke himself to pick his brain and learn how sitcoms were made back then. Paul Bentley also took inspiration from Van Dyke in his performance of the sitcom version of Vision, while Olsen stated Mary Tylor Moore had a heavy influence on her character of Wanda. But more than just being a point of homage, The Dick Van Dyke Show was hugely influential in modernizing the family sitcom and breaking a lot of the unspoken traditions and ‘rules’ of the 50s television era. It’s also just really, really funny.

3.The Alfred Hitchcock Hour (1962 - 1965)

Bit of a cheat here. Alfred Hitchcock Presents actually started in 1955 as a half hour anthology show, but in ‘62 the show got a revamp and was extended into a full hour tv series. I knew I wanted The Twilight Zone to be covered in my episode one recap, but ‘The Master of Suspense’ couldn’t be forgotten. While The Twilight Zone reveled in the surreal and supernatural, Alfred Hitchcock pioneered the thriller genre and made real life seem dangerous, horrifying, and other worldly.

4. Doctor Who (1963 - present day) vs Star Trek (1966 - present day)

Just like how westerns dominated the air waves during the 50s, science fiction was the center of the cultural zeitgeist of the 60s. From Lost in Space to My Favorite Martian, space aliens and robots were everywhere. So naturally I had to name drop the two sci-fi juggernauts that still air to this today. If you thought that the rivalry between Star Wars and Star Trek was bad then you’ve never seen a chat full of Whovians and Trekkies duking it out over who is the better monster, the Borg or the Cyberman. But which one has the more influence over Wandavision?

Well Star Trek owes it’s existence to sitcoms. As with The Twilight Zone before it, Star Trek was produced by Desilu Productions and it’s co-founder and CEO, Lucille Ball, was the series biggest supporter behind the scenes, lobbying for it when it faced early cancelation. As with all things sitcomy, everything ties back to I Love Lucy in the end. However despite that little backstory, it would seem that the series has very little to do with Wandavision itself beyond being quintessentially American.

I would argue that Wandavision owes much to Doctor Who though. Arguably more so than any show mentioned in this retrospective. Time travel, alternate realities, trouble in quite suburbia, brainwashing, people coming back from the dead, ect... just about every trope you can find in Wandavision has also appeared in Doctor Who at some point. As a series that can go anywhere and do anything, Doctor Who was a pioneer of marrying genres in new and interesting ways.

5. Bewitched (1964 - 1972) and I Dream of Jeannie (1965 - 1970)

It’s hard to pick one series over another because they’re essentially the same show. A mortal man falls in love with a magical girl who upends their lives with magic filled hijinks as they try their best not to have their secret discovered by the rest of the world. And both have their fingerprints all over the DNA of Wandavision.

There’s only two core differences; Samantha and Jeannie have completely different personalities, with Sam being confident and knowledgeable and Jeannie being naïve and oblivious, along with their relationships with their respective men, Sam and Darrin being married and in love at the start of the series and Jeannie chasing after Tony in the beginning in a will they/won’t they affair, finally only getting together in the last season.

6. The Munsters (1964 - 1966) vs The Adams Family (1964 - 1966)

Fans of these two shows are forever sadden that there never was a crossover between them. Because they’d fit perfectly together. Both shows are about a surreal and macabre family living in American suburbia and disrupting the lives of their neighbors with their otherworldly hijinks. Sound familiar?

The main difference between the two shows is the way the characters viewed their placement in the world they inhabit.

The Munsters were always oblivious to the fact that didn’t fit in. They just automatically assumed everyone had the same personal tastes as them. Whenever they encountered anyone who behaved strangely around them they would write that person off as being the odd one rather than questioning themselves. As such the main cast was structured like a stereotypical sitcom family who just happened to be classic movie monsters.

The Addams were well aware that they were abnormal and they loved it! They lived life with in their own little world and didn’t care what anyone thought of them. As such the characters were far more colorful and quirky as individuals but there was little in the way of refences to other horror franchises beyond just a general love of the twisted and strange.

7. Green Acres (1965 - 1971) and the Rual-verse (1962 - 1971)

So the MCU is not the first franchise to bring viewers an interconnected universe to the small screen. Far from it, as sitcoms had been doing this for decades, starting with the ‘rualverse’. Beverly Hillbillies, Petticoat Junction, and Green Acres were all produced by the same company and were treated as spinoffs of each other, complete with crossovers and shared characters and sets.

Of the three, the last show, Green Acres, has the most in common with Wandavision. A well to do businessman and his lovely socialite wife settle down in small town America on a farm in order to get away from the stresses of city life, only to find new stresses in the country. Eva Gabor, herself a natural Hungarian, plays the character of Lisa as Hungarian making her one of the few non-native born Americans on tv screens during the cold war. Despite her posh nature and original protests to the move, Lisa assimilates to the rural life far easier than her husband, Oliver. Who, as the main comedic thread, can’t comprehend his new quirky neighbors’ odd and often illogical behavior.

8. Hogan’s Heroes (1965 - 1971) and Get Smart (1965 - 1969)

So as comic fans have been quick to point out, it’s looking like both A.I.M. (Hydra) and Sword (Shield) will be players in the story of Wandavision. To commemorate that here’s two shows to represent those opposing sides. Although in truth, neither series has anything else in common with each other but I need to condense things down someway.

In Hydra’s corner we got Hogan’s Heroes. A show all about taking down Nazis from within.

I love, love, love, ‘robin hood’ comedies where a group of con artists try week after to week to pull one over the establishment. The Phil Silvers Show, Mchale's Navy, and Top Cat, just to name a few examples are all childhood favorites of mine. However while those shows had a lot of morally ambiguous characters, Hogan’s Heroes has very clear cut good guys and bad guys, cause the bad guys are Nazis and the show relentless makes fun of the third reich as should we all. In fact I was watching Hogan’s Heroes while waiting for the GA run off election results. Fortunately my home state decided to kick out our own brand of Nazis this year.

For Shield, we got the ultimate spy spoof, Get Smart. Starring, Inspector Gadget himself, Don Adams, as the bumbling Maxwell Smart. Get Smart, is a hilarious send up of Cold War espionage but the real selling point of the show, imho, is Max and his co-worker 99′s relationship. You can cut the sexual tension in the air with a knife all while laughing your ass off.

9. Batman (1966 - 1968)

First was Superman and then came Batman. Yet while Superman was a serious action show, Batman was a straight up comedy. Showcasing that superheroes could indeed be funny.

Also shout out for Batman being the only show on this list to have an actual crossover with it’s competitor, The Green Hornet.

10. Julia (1968 - 1971)

Since episode two features the first appearances of Herb and Monica, let’s highlight the first black led sitcom since the cancelation of Amos ‘n Andy over a decade earlier. The show focuses on single mother and military nurse, Julia, as she tries to live her life without her recently decease husband, who was killed in Vietnam, as she tries to raise their six year old son on her own.

The series is cute. It’s more of a throw back to earlier family sitcoms where there’s no fantasy and life lessons are the name of the game. It’s the fact that the main character is a single black woman is what made the show so subversive and important at the time.

Runner Ups

There’s much good stuff in the 60s, so here’s some others that didn’t make the cut but I would recommend anyways.

Car 54, Where Are You? (1961 - 1963)

I call this the Brooklynn 99 of the 1960s. Bumbling but well meaning Officer Toody longs to do good in the world and help anyone in need, but often screws things up with his ill thought out schemes. He often drags his best friend and partner, the competent but anxiety riddled, Muldoon into his escapades.

Mr. Ed (1961 - 1966)

The grandfather of the sarcastic talking pet trope.

The Jetsons (1962 - 1963 and 1985 - 1987)

Hanna-Barbera often took popular sitcoms and just repackaged them as cartoons with a fantasy theme to them. The Jetsons has no singular show that it rips-off but is rather more a grab bag of sitcom tropes that feature, robots, computers, and flying cars.

The Outer Limits (1963 - 1965)

The Outer Limits was The Twilight Zone’s biggest competitor in terms of being a sic-fi/horror anthology series.

Gillian’s Island (1964 - 1967)

The only comparison to WandaVision I could think of was that this is a sitcom about people being trapped in one place. But by that point I was running out of room on the list. Still it’s one of the funniest shows on here.

So yeah, this took longer than expected cause there’s a lot, here. Hopefully the 70s will be easier. Which I’ll post on Friday.

#wandavision #sitcoms #1960s #dick van dyke #bewitched

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leverage-commentary · 3 years

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Leverage Season 2, Episode 10, The Runway Job, Audio Commentary Transcript

[Silence]

John: Marc?

Marc: Hi, I'm Marc Roskin, Producer and Director of this episode.

John: I'm John Rogers, Executive Producer, and the one with the Guinness, so you have no excuse for missing that cue.

Albert: And I'm Albert Kim, I'm the writer of the Runway Job.

John: Here we go. And this is a great opening sequence, what- is this a set Marc Roskin? How did you create this incredible look?

Marc: This is the largest girls school uniform factory on the west coast, and they-

John: So this is some sort of internet connection where you order school uniforms or-?

Marc: It was very hot. No, this was-

Albert: Strangely Marc knows a lot about girls’ school uniforms. I don’t know why, but-

Marc: Yes, this was an actual working factory. A lot of the background workers are some of the factory employees who knew how to operate the machines. It was right across the river, really close, and they opened their doors to us just like everybody did in Portland.

John: I love the fact that we wanted to do a fake sweatshop, so when we shot in there, when they saw the hours they shot the workers in the fake sweatshop, we're like, ‘These hours are horrible. How can you people work under these conditions?’ And Albert, since we’ve just seen someone collapse with these- this great shop, which, actually, I believe was the pitch. How did you come up with the idea for the episode?

Albert: Well as you know, I'm quite the fashion icon in the office, so it was quite natural for me.

[Laughter]

John: Yes.

Albert: No, I knew that I wanted to set an episode in the fashion world because it seemed like a fun environment to get into, and lots of great visuals and scenes with models and fashion designers and runway shows. So I knew the area was there, and then so the trick was coming up with a sympathetic victim, and then, as always, a credible villain and threat. So I did a little research and finding the victim wasn't too tough, because the real- in the real world, the fashion industry has sort of been dogged by allegations of sweatshop abuse for a while, so having the sweatshop victim came fairly easy. Finding the threat required a little more research, but as I dug into it, I found that it was actually a real world connection between sweatshops and global clothing counterfeiting, which is controlled by the Chinese Triads.

John: It's interesting because a lot of people talk about intellectual rights and stuff in new international treaties and people immediately think of movies, television, digital rights. A lot of it also involved intellectual rights on clothing.

Albert: Yes. Clothing counterfeiting actually counts for more of the income of these Triads than illegal narcotics trade. So it’s a huge billion dollar business for them and right then, sort of, the pieces fell into place for the elements of the episode.

John: And now these actresses are, Marc?

Marc: That is- um-

Albert: Jen.

Marc: Cathy Vu.

Albert: Cathy Vu and Jen Hong.

Marc: On our left and Jen Hong, and they were great though local Portland actresses. And they knew how to speak some Mandariarin and it worked out great. This was actually, in the shooting order, Jeri Ryan's first episode working with us.

John: Yeah, it's really interesting because, you know, the crew- the cast was genuinely kind of freaked out by Gina not being on set, and so a lot of the weird vibe you get on this episode is from ‘there's a new person’ and of course Jeri became great friends with everyone and really fit in, but it was a really interesting vibe the first couple days on set. It really felt like, yes, Jeri’s a new person here; we don't quite know how to handle it.

Marc: But we had to play it like she was already part of the team because we shot these out of order.

John: It does help that really you don't make her part of the team until the end of the previous episode.

Marc: Right.

John: This is almost a cold relaunch.

Albert: And we played that in the episode, too, so you sort of everyone's tentativeness around her worked well for the dynamics within- the character dynamics within the story as well.

John: And this is, again, this wass also a scene we added just to- It was interesting, we really wanted to make sure that everyone understood that Sophie- Because originally there was going to be a giant gap between episodes, we wanted to make sure everyone understood Sophie signs off on this. You know, audiences were very attached to Gina Bellman - rightfully so - and we did not want them to think we were shuffling her off and bringing in a new actor. We listen to you. Not a lot, not really.

[Laughter]

John: But we do listen to the bigger screams. Also love the callback there that Hardison screwed up in the Ice Man and that's what motivated this entire- this entire replacement.

Marc: We always like to bring up Hardison's screw ups; blowing up offices and whatnot.

John: Blowing up offices. But it's interesting that this is one of those trios where you just kind of park the camera and, you know, they have the dialogue, just let them run; let them do 4 or 5 versions, get the hell out of their way.

Albert: And this scene is really our version of: the kids are wondering where mommy went. You know, so it's like they are a little uncomfortable, it's a new family dynamic, so they're on the phone with her.

John: Yeah.

Marc: Right. But of course, they don't want dad to know that they are speaking to mom.

Albert: Yeah.

John: Yeah, and that's a- that actually started in Ice Man, where they are calling and not telling Nate. And we continued it all the way through where they just don't feel comfortable letting Nate know. And that was a nice little moment with Beth, you know, just ‘I miss you’. It's not often we crack the shell on Parker, that's part of the advancement of the character, to show that she's comfortable in the family, even if she’s not comfortable with other humans. And these two actors the- not those actors, that's stock photography- but the two actors playing the bad guys are?

Marc: Grace and what's her last name?

Albert: Grace Hsu and Tom Choi.

Marc: Grace was a Portland local, she was fabulous; and Tom came from Los Angeles. They did a really great job.

John: The con here is kind of convoluted. It's interesting, just watching this, is the idea that we really had to come into the fashion show from- the fashion industry is one of those industries where if you're inside it, you know everything. We had to constantly figure out, what does the audience need to know in order to understand what we're doing without overexplaining it?

Albert: Right. Again, this is a case where research helped. I mean, to actually looking into what happens during fashions shows. It's based on a real life event, Fashion Week, which normally takes place in New York though there are regional ones all around the country where there are big showcases for new designers as well as opportunities for the stylish designers to bring out their new lines and things like that. So we knew we had an event that was tied to a specific time which helped; it gave us a very limited time frame. And then, again, researching into how the Triads operate and what their connection is to the clothing industry. All of that just helped flesh out the con.

John: I love the Parker giving her instructions on how to be photographed, you know Sophie gave her instructions three weeks ago for some other con. And this was kind of fun, creating the idea for how do you create- in modern media, how do you create the illusion of an actual human existing for some period of time, object permanence to a great degree?

Albert: Right.

John: So you figured out how to- you know, my wife watches a lot of fashion TV and it was kind of backing up: how do I actually know who the hell any of these people are? And it was because of the fashion shows and magazines. Cover both of those and you're done. And DVRs have certainly been a boon. And also this, printing off one magazine it's actually easier than we made it look.

Albert: Yeah.

Marc: Oh yeah.

John: There's actually a service that prints off short runs of magazines that you can use if you're say doing a trade show or running a con.

Albert: This was all done on location. Beautiful house. This beautiful house in- was it in Clackamas?

Marc: Yeah, just outside of Clackamas.

Albert: It was great. It was a huge mansion that worked perfectly, and we ended up recreating the mansion later when we blow it up.

John: Also that what they're doing there, where they are looping, that's exactly what it looks like at Electric Entertainment - it’s basically just a laptop and a mic in the kitchen and that's how we finish up these episodes. No, but it was fun to be able to say, ‘Oh well, put the words on her mouth when we’re on her back, just like we do with actors.’

Marc: Right.

John: Presently, Tim Hutton delivers no more than 50% of the dialogue you hear per episode. We put the rest in his mouth later with a cunning Tim Hutton imitator. Yeah, this is to close off the sale that she's locked in.

Marc: Yeah, just to continue the sale.

John: Now Marc, you directed a bunch of episodes by this point, coming into this, right?

Marc: Yes.

John: And what was it like having a new human on the staff?

Marc: It was interesting. We- it brought a new life to it, and was interesting to see how everybody worked together. And she was just trying to get a feel for everybody and, you know, she was really easy going and said, ‘Listen, if you want a different performance, please, I'm here to help you guys.’

John: ‘Who likes to do this style? Who likes to do that style? Is that head writer really drinking that much in the middle of the day?’ Basic questions.

Marc: What is that smell coming from his trailer?

John: It's shame. It's the smell of shame. This scene was actually not in the original shoot, right? We wound up- this is one of the scenes that was: how much do we explain to the audience? Do they explain what Fashion Week is or isn't? And when we kinda looked at the first cut, it was like, you know what? I know because I watch it on Saturday morning on fashion TV, but we gotta make sure we establish the rules.

Albert: Right. Just a little more explanation as to how the fashion world works and where the con is going; just another step in the process.

John: And an excuse to get Aldis in orange.

Marc: Exactly and have Aldis in orange and Eliot in mascara.

John: That's eye makeup, that's not mascara.

Marc: Sorry.

John: Don’t. Please. Please, I don't want that phone call again, don't make that mistake.

[Laughter]

Albert: What's great about that factory, even this part of this set was also in that factory.

Marc: This was just another portion of it.

John: Wait, so all the dresses and stuff, did we bring those in or those were-?

Marc: Yeah, we just put up the bolts of fabric and some employees.

Albert: We spent a lot of time in that sweatshop.

John: Yeah. As one does.

Marc: As one does.

John: I love, by the way, in this episode, just watching what Kane is doing behind her during this scene. I'm- he's making a lot of interesting choices for Eliot there. Especially with the card snap coming up. And this was a lot of fun, too; this was a lot of the fun of the show is learning all the rules and idiosyncrasies of each industry.

Albert: Sure, that's part of the formula is figuring out what's the interesting world you can look into and then diving into and explaining to the audience how these worlds work.

Marc: Well it's funny, cause she needs to explain it to her teammates on the show.

John: And the card! I love the card delivery.

Marc: And the card the bam, yeah, you get to explain it to the teammates and explain it to the audience as well.

John: We’re really replicating what we’re doing in the room. Which is, one person knows the field pretty well and they explain- I remember when we did Iceman and we were talking about getting the serial numbers off the diamonds and Chris Downey was like, ‘I'm not following’ and I went, ‘It's like getting VIN numbers off a car’. ‘Oh, ok perfect!’ And that wound up in the script. Also this was fun having somebody who didn't know how the earbuds worked; it kinda reset the rules for the audience. And some beautiful- how did we get all this beautiful Boston stock footage?

Marc: Some we bought, some we shot.

John: You actually went out and shot a lot.

Marc: I did. Myself and Dave Connell spent a couple days running around the great city of Boston.

John: Now this is your directing debut, isn’t it Albert?

Albert: It wasn’t my debut, but it was probably the longest sequence I've done.

John: And it's just naked backs.

Albert: It was just tedious, grueling labor to just have to order these models around to take off their clothes and take off their shoes. No, it was great, it was. We already had the set, we finished the big scenes in the set, so Marc let me take a few people out and just get as much fun behind the scenes stuff you can, so that’s kind of where we ended up.

Marc: You and Norbert, right?

Albert: Yeah, Norbert. That was one of his first days there.

John: I love the hair. Whose idea was the Swiss Miss hair?

Albert: Well the other thing about this episode was hair, makeup, wardrobe, obviously had a field day with it. They were really excited about being able to put their best foot forward on a lot of this stuff, so they were able to-

Marc: Yeah, they really had a good time.

John: I also love the fact that Hardison is basically using CIA technique of human intel signals and analysis on the PA’s on a fashion show to figure out who’s in charge without actually figuring it out. It's a lot of fun, and our friend Apollo Robbins helped us out with the envelope slip, and it helps that Beth is very good-

Marc: This girl is great; she was a lot of fun, this girl, Caitlyn, Caitlyn Larimore. We- she read for us a few times on other things; we just knew there was gonna be something for her eventually.

John: So really, if you're looking to act, you should get out of whatever little LA or New York, whatever little hick town you're in and move to Portland because that's where you're gonna get some work.

Marc: Move to Portland; that's where it's gonna happen.

John: This actually hacking into the printer is something we've done before. A favorite trick of Apollo is to print stuff out in your office when you don't realize something is about to happen. And then the slide-

Marc: That wonderful calligraphy on those envelopes was my mother in-law’s.

John: Really? That's great.

Marc: Yes, Louise.

John: We didn’t pay her did we?

Marc: Oh god no.

John: Alright, just making sure. We are a cable show.

Albert: But she ends up featured as a featured extra in the episode, too. She's in the fashion show; you'll see her later staring down Parker.

John: Mother-in-law? You got your mother-in-law on tv?

Marc: That's right.

John: Wow, you're the best son-in-law ever. This actress- actually nice shot. We wound up repeating that character later. I remember we were kinda restructuring; we were like, ‘Oh, we can just use her again, that’s fine.’

Albert: I remember watching her read, and she was great at it, so we decided to, rather than use a separate character for a scene later on, just, you know, bring her back. And she wound up doing that scene later when they approach the security people.

John: Just some love for the extra, ‘Hey, how are you doing?’ A little something from Eliot just for you.

Marc: Just a little.

Albert: Well he had to know that if you're gonna do a fashion episode, one with lots of models, that Eliot was gonna be right in the thick of things there.

John: Yeah. And the overheard- How did you stage this? The overheard conversation is a staple of the show and the bane of all directors everywhere.

Marc: Yeah, we didn't have a lot of time on this day, but we figured out a way; just keep her in the background, eventually a couple close ups of her ears perk, and soon they'll drag her in deeper.

John: Now each one of them is doing a specific person. I can't remember, he's doing-

Marc: Lagerfeld.

John: He's doing Lagerfeld. She’s doing Donatella Versace. I can't remember the British guy that Hardison is locked in on, cause I remember Aldis actually had pictures of him. I’m trying to remember...

Albert: André Leon Talley from Vogue, who is the legendary creative director of Vogue. And he's sort of channeling him. But yeah, again, during the course of research-

Marc: I got my ladder shot in there, by the way. I'm just two for two on-

John: On having ladders in your-

Marc: Yeah.

John: That's good; that's excellent.

Albert: This whole set was built; this was the whole fashion show.

John: We actually built this in the museum that we shot the finale for 207 in, right?

Marc: No, this was just an empty warehouse.

John: Did we have permission?

Marc: Yes we did.

John: Good. Cause sometimes we don't; sometimes we just build stuff and then get the hell out before the cops show.

Marc: Yes, we used a lot of fabric to hide things.

Albert: But the beauty of it is, if you go to real fashion shows, it's kind of what it is. The highlight of fashions shows are supposed to be the clothes, so they keep the surroundings very minimal, and that's- that's always the idea of a fashion show. So luckily for us, it's fairly easy to recreate realistically as a set.

Marc: A lot of times it's just a wedding tent and a runway and chairs.

Albert: Well anyone who's watched Project Runway can see what it's like. It’s just a runway and some folding chairs.

John: I thought we built- that's interesting. Where did we go back to the museum for? I can't remember; it's gonna drive me crazy. Whose idea was the buckles?

Albert: Buckles was something I came up with in the script when I was trying to figure out how to explain what a poor designer Gloria is.

John: What's the one thing nobody likes a lot of?

Marc: Buckles.

Albert: So it became a little joke that someone that- someone, I think it was Chris actually pitched the joke about ‘pilgrim chic’ which we put in there, and found out later that that's actually kind of a real thing. If you make up any kind of joke in the fashion world you'll find out eventually that it's a real thing somewhere.

John: Yes.

Marc: This was actually the workers rec room, which was pretty much an open area room and-

John: You're kind of ruining the whole sweatshop vibe with, like, ‘They had a rec room.’

Marc: Yeah, they had a rec room and basically we've pretty much four walled it.

John: Yup.

Marc: And, you know, put in-

John: Which means?

Marc: To put up a wall to close it off.

John: So this is a bigger space behind him.

Marc: Yeah, it's actually pretty much the same size, but it's just a platform where they had their lunch table set up. But we liked the ability to have shots like that where we can look down onto the floor, it was always-

John: And then shoot back up.

Marc: It was always something that I know that you guys mention, that we wanna have more connection with our victims. So we placed that shot-

John: It is tricky, particularly when we’re doing complicated ones, you can lose track of that vic that's in the opening, and we really tried this year to tie it back a little bit more.

Albert: Yeah, it was interesting. I had a conversation with another writer just the other day about - who works on a crime procedural - and they have the same issue about how to connect with their victims. It's much harder for them because usually their victims are dead. So they show up in the beginning dead, and they can wrap things up with the relative of the victim at the end. If you notice, what a lot of crime shows do is they have flashbacks, so then you get to learn the personality of the victims through the flashbacks.

John: Oh, interesting.

Albert: So we don't do that, but our victims are alive so there are opportunities, like in this scene, to reconnect with the people who we’re working for and establish what our emotional stakes are.

John: And this is also one of the places where we sort of set up- and if you watch what we did with Jeri’s character, and sort of the difference between Sophie and Tara Cole. Tara Cole is a short grifter. Sophie is never gonna push it, she's never gonna try to get the big payout. And Tara’s job is to get in and get out with as much money as possible, so this is one of the times where we really sort of set up how she needs to adjust. Though when you look at the back half, we don't really change it that much. The team doesn't really change, it's- she kind of adjusts herself to fit in the team a bit more. They wind up using her short term push just as a different sort of batter.

Albert: Whereas personality-wise, there's something you told me I remember which helped make everything click which was - Tara is really kind of a guy’s girl. You know, she's the kind of girl who sits around and watches football with the guys on Sundays. Sophie is very much a girl's girl; she's out there doing the shopping and fashion and all that stuff. So that kind of distinguishes the two characters. Although they fulfill the same role within the team, they're very distinctive in terms of their personality.

John: But that's also from when we originally created the show. A lot of these characters have slightly different personalities, and the actors brought other personalities, and we realized as long as that job was fulfilled in the team, you can range pretty widely within there. How did you shoot- where the hell is she?

Albert: She's supposed to be-

Marc: Tashkent, right?

Albert: Tashkent. So-

John: Uzbekistan?

Albert: Yes.

John: Oh right there you go. Of course. ‘Cause Tashkent is in Uzbekistan. Who doesn't know that?

Albert: Right.

Marc: And yes, so we shot Gina on a much later date, during a later episode, and just one green screen and some stock footage behind a little wind machine and there you are.

Albert: And camels.

Marc: And some camels, yes.

John: As one has in Tashkent.

Marc: In Portland.

John: Oh no, we went to the Portland zoo see, I was hoping you'd give them the whole speech about sand, and yeah. That's a little bit of jealousy, a little bit of- and that was another thing, too, to make sure that Sophie wasn't just a character that you checked in with once a week. She had to have her own little arc that whenever you went to her she had a distinct attitude about the team. Yes and the reindeer gag, which I really foolishly insisted on keeping in the script because it was my favorite bit.

Albert: It was brilliant; it was great; it was all John.

John: That's mine. Whenever you see a joke that doesn't quite work and seems kind of doomed but we keep, that's usually me diggin in at the table, particularly if it's absurdist. Now did we put banners up or is that digital?

Marc: Digital. Those were digital banners on the building. Do our little whip pans to Eliot and whip back.

John: Just to establish, yes, he's with a model. Where do you think he was gonna be? And he’s out.

Marc: And he's angry he has to leave the model.

John: The- and again, it was interesting to, sort of, know that we had to plot out these arcs on the back six, and figuring out exactly, like, how do we show trust and acceptance? And, you know, you can do it in dialogue, but you don't want people talking about their intentions. And the ear bud became kind of an interesting metaphor; it goes in and out of use over the back six and even with Eliot we wound up using it.

Marc: Yeah, it's like the chief asking for your gun and badge.

John: Yeah, exactly. And it also solved the problem later when you know it’s- she shouldn't have heard X.

Albert: Right.

John: And that's a big problem on the show is in theory, if they can all hear each other’s conversations... Whereas a lot of cop shows, a big chunk of the time is, ‘What did you find out from witness x, Billy?’ What did you find out about witness y? Alright now let's put it together.’ They know. Now how did we do this blow?

Marc: Now that wass digital smoke, and that is a model.

Albert: Green screen model.

Marc: Yeah, we modeled the windows and actually shot it in our parking lot right here in Highland, in Santa Monica Boulevard.

John: Now we built- we do builds on the- building’s blowing up is better with models. The cars we've found we can do just digitally, but the buildings really look great with the model.

Marc: But we still use the model for the car as well. We just don't have the time or the money to do full explosions, you know, we do just a little aftermath with some debris and smoke.

Albert: Especially when it's someone's real house.

Marc: Yes.

Albert: Don't want to-

John: Generally they kind of frown on that, of just blow out the windows.

Albert: Because last year we did, Marc and I worked on another episode where we blow up a warehouse. And it was an abandoned warehouse, so you blow out the windows and break the glass, so it's not such a big deal.

Marc: Yeah, we did a little damage to the Prison Break set on that. What they shot was-

John: I remember, because I pulled up the day you were shooting that, I was like ‘I hope I haven't missed the blow.’ I was a quarter mile away and my windshield shook and I'm like OK, that was a little bigger than we anticipated’.

Albert: But this was a house with six kids was it?

Marc: Six kids, yeah.

Albert: So it was-

John: So blowing it up wouldn't have changed it all that much.

Albert: Probably not. Actually that family was incredibly neat.

John: And this is a lot of fun. And again, this is where, if you pay attention, we never tell you Tara’s backstory; if you pay attention all six episodes, you can figure out exactly what Tara used to do before she became a con woman. The information she knows, the way she puts stuff together, you’ll figure it out. Also the yelling. This was a lot of fun, because Eliot would be annoyed in this situation, and Chris Kane is never funnier than when Eliot is incredibly annoyed.

Marc: That’s right, and it's usually with Hardison.

John: Yeah. Thank you, I don't know how you make this show without phone cameras I really- we couldn't have made this show in 1978 this would've been a lot harder.

Albert: Or earbuds.

John: Or earbuds. Well earbuds we could've got around, but- no earbuds might have made our life easier, actually.

Albert: This was another thing that came up in research, actually, when I wrote a book about the Chinese Triads, and it is actually true that they're signature weapon is a meat cleaver. We looked at a few pictures of them, they're pretty impressive; they are really big and they have engravings on them, stuff like that. I've also looked at way too many pictures of victims of the Triads.

Marc: Yeah, missing fingers, and hands, and arms.

Albert: But that, again, it just added another fun element, knowing that there was, in reality there was a signature weapon that they use, and gave Eliot another fight scene.

John: Of course they'd be fancy meat cleavers, you're not gonna just pick a meat cleaver at Tesco or the kitchen section of Best Buy; you're gonna get one specially made. This was a lot of fun, too, something we haven't done in a while, which was watching Eliot figure out his fight space. You know, control access doing the math in this head. You know, it's always a little easier if no ones around him, just so he can tear people around a little easier. Fun stunt. Jerri did this, right?

Marc: Yeah, she was really nervous about doing her first fight with us, but she was a trooper; she did a great job.

John: She actually killed that guy. I feel a little bad about that, that's the first time we've admitted that, but you know. This was one of my favorite fights, cause we don't do a lot of weapon fights.

Marc: Yeah.

John: And it really reads well; the cleavers read real. Also we do a nice fight style with Chris here.

Albert: We did use cleavers back in the first season with the Wedding Job.

John: Oh that's right, we had the kitchen thing.

Albert: A kitchen thing. But it was a different kind of fight; it was a one on one in an enclosed space. This was an open space with multiple attackers ,and again, different props to use. So like, you saw the mannequin dummy there, and the rolling carts, and things like that, and so it ended up being a really fun scene.

John: And again, thank god for the surveillance culture - the fact that there are so many traffic cameras. Although you may bitch about privacy, it really helps us.

Marc: It really, really helps us.

John: This was interesting. This- I forget how this came up, I think the fact he had two IDs, but they had only checked one. I had a friend who was a Mountie- and remember, we were talking about my buddy who had done undercover up in Canada, and gh said the problem was, the guys got the fake, ran up records on fake Canadian IDs and you never knew the original crimes. Yeah. ‘Hey, how does Tara Cole know how to handle a meat cleaver?’ You’ll find-

Marc: Yup.

John: There you go, and that's a nice hit. And the head butt. I love the head butt, I'm sorry, man, that's a great way to end a fight.

Marc: She gets to take part.

John: Also, there's a lot of really nice hair flipping around in that fight scene, I gotta say.

Marc: I love-

John: I don't know whose looks better.

Marc: It's like a [Unintelligible. Sounds like ‘Germat’?] commercial.

[Laughter]

John: And that's, again, one of the problems with having a really uber competent team is, ‘OK they would have run this guy's background. What is the one loophole we could find that Hardison could screw up?’ You know, it's not screw up, it's nobody’s perfect.

Albert: It's just overlooked.

John: That's the trick, it has to always be some sort of fair play thing. Not a mistake, not just a ‘I didn't look in that drawer.’ This is a legitimate loophole.

Albert: Look how great this location is, though. It's everywhere; there's stuff everywhere. We really would not have been able to duplicate this on a set.

Marc: No.

John: What? No?

Marc: Never.

John: I love that he keeps the voice up here. That killed me here the first time I saw the dalies I was like, ‘Is he still doing Lagerfeld’?

Marc: Jack Bouvier.

John: Yeah the fingerless gloves are really the pièce de résistance there. There's a lot of stuff there that could be on anybody, but the fingerless gloves really digs in.

Albert: Again, that's straight out of the Lagerfeld book.

Marc: Tim went for it.

John: Are those glasses actually rose tinted?

Albert: Yes.

John: Yes they are, that's magnificent. And the evil speech of evil: ‘Listen, I'm just a businessman. I have obligations.’ You know, in his head he's keeping many people employed back in China. You know, and he's a copy fighter, he's like those electronic freedom foundation guys who doesn't believe in copyright.

Albert: He's a hero, really.

John: He is a hero.

Albert: Of his own story, but-

John: Exactly, he just happens to interact with our story.

Albert: Exactly.

John: And this is actually a cue, this is a hint to where Nate’s- This winds up being the first episode of the second half of the season. This is kind of a hint of where Nate’s arc is going for the season, where he's getting so addicted to control and not losing and beating the bad guy, he's starting to make poor decisions. And he makes a series of remarkably poor decisions through the back six that really just the competence of the team protects him from.

Albert: He's kind of like those football teams that keep pulling it out in the 4th quarter and just decide that's just what they have to do. So they don’t mind coasting through the rest of the game or even, you know, getting down and behind before then.

John: Yeah it's- it's the mental discipline, and something that Parker says later on in the season which is, ‘Be the Nate Ford that we came back for.’ The mental discipline that made him legendary and which they count on is starting to slip. And it's not because of the booze, it's because of what he's substituting the booze with.

Marc: Right.

John: This is me drinking my Guinness, by the way.

[Laughter]

Albert: It's not your Guinness, it's what you’re substituting for the Guinness.

John: No, no, this is my Guinness; I'm actually drinking.

Albert: Oh ok. It's actually another Guiness that is substituting for his Guinness.

[Laughter]

John: It's, again, a Guinness that's somewhere else that I would like to be drinking. Some bargaining, trying to get them to take Eliot instead of Jeri.

Marc: That wasn't something he planned for.

John: No, no, and it's interesting, and again, this is all trust issues. She kind of volunteered herself for this position, she’s, you know-

Albert: The trick is, part of the whole episode was really the character dynamics. Because it was a new character, because it was a new team member, even though she'd been introduced in the episode beforehand, this is really the first full con they run together as a team. So it was a very tricky thing, and so I had the outlines of what the broad strokes would be, but this is the point when you go to the show runner and you say, ‘John how does this work, exactly?’ And then John takes over.

John: We stare at the ceiling and- that's what the writers room is for. And this is great, we actually wound up paralleling this shot. You created this shot for this episode, Marc; we wound up paralleling this argument in, like, two other episodes. There's actually a similar version of this shot in the first half in the season finale, where it's like, we are now sitting judgment of Nate Ford, and we’re a little distrubed that we’re not feeling very comfortable here. Yeah, and this cutting pattern replicates, and it’s interesting, and it's because we have editors working over certain episodes that make certain choices. And those are I think the names of-

Albert: They were real Electric Entertainment employees.

John: ‘Maybe I want to meet...’ Yes. Hardison is the most hard done by character; he never gets what he wants. And that, again, is one of those things where this episode was shot in 6 ½ days.

Marc: Yes, there's my mother-in-law.

John: There you go; she's a lovely woman.

Marc: A lovely woman.

John: Are you checking the list of actors to pick her name up? That's not good.

Marc: No, gosh no.

John: You know, we had four different ways this scam works. All depending on exactly how this shooting schedule worked out. And I remember I had to sit down with my wife and I was like, ‘Alright’, cause she's big into this, I was like, ‘Exactly what is the timing and choreography on a fashion show?’ And there, the thing with the dresses and they're all transported across town. So it was a good lesson for writers is, the great thing about TV is you're shooting every week; the really great thing about TV that will also drive you crazy is, you learn how to have a bunch of choices. Because sometimes the world decides not cooperate with you, and you can't shut down production for two days and just go- You've worked on big films, you've seen this. Like, ‘You know what? We're just gonna take a day off and find the right location.’

Marc: Yes.

John: No. Not so much.

Albert: The scene coming up with Parker in the gown. This is really, if you think about it and you say that you're gonna do an episode with the Leverage team involved in the fashion world, kind of the promise of the premise is you're gonna get Parker in a fashion show. In a gown, in a fashion show.

John: Right, because she's the one person who would despise it.

Albert: Right, and you kind of have to deliver this scene.

John: This was also shot later, and it was interesting because we don't usually get Parker and Eliot- you know, Parker and Eliot in a two-hander. And if you go back, you can see in the back half of the season when we- especially when we saw how it worked out in The Lost Heir Job, it became kind of a little more standard that we go to this partnership. You also see it pop up in the bottle show, the bar show, what the hell did we call it?

Marc: Bottle Job.

John: We called it The Bottle Job, that's right.

Marc: The problem with doing these two-handers is he can get her to laugh and break.

John: Yeah, Chris can crack Beth up. Him doing the dirty dresses on the floor line, Beth I think broke character maybe ten times because we are in the basement shooting that day.

Marc: And this is the dress that Nadine our costume designer built.

Albert: Yeah.

John: It's a pretty amazing dress.

Marc: A beautiful dress.

John: The thumb drive of intent. Thank you thumb drive, for giving us a short hand so audiences know what we're doing.

Marc: Yes, so she basically- you'll see that all of the Andre V, that's the Andre V character, has a touch of yellow in it.

John: That's right. Nadine created a unified theme for the fashion line - the fake fashion line that we were doing.

Albert: She created an actual line.

Marc: Yeah, so she created a whole line and there's a touch of yellow in everything and as you’ll see when we get to the runway-

John: Where's this dress? We should auction this dress off.

Albert: Nadine probably has it.

Marc: It's actually in my car.

John: Oh no. I wish I didn't know that.

Marc: And then Dave Connell carried it with the lighting design as well.

John: Oh that's great, that is great. It's like we do this for a living.

Marc: Almost.

John: I love that Parker does the most- the little slide across the spot; that's a lot of fun. And now, did you shoot this at night? You had how many days on this set?

Marc: I think we did this-

John: You had the day, which was the warm up and then-

Marc: I think we had this location for two days.

John: That's not bad.

Marc: That's Jeffery Gilbert who played Andre V; he was just great. And I love Parker with the moves.

John: With the big head turn.

Marc: Just for a moment she thinks she got it under control, of course.

John: No, not so much. Walking is hard; walking in those heels is hard.

Albert: Walking in heels is hard.

John: I also love the little improv- it wasn’t in the script, but I remember seeing it in the dalies - she cracks her neck.

Marc: Yes that was definite Parker move. And I know this had to be- the scene coming up had to be a John Rogers line, where it's written that Andre V is banging his head repeatedly against the wall.

[Laughter]

John: Well, yeah, because I do that in the writers room.

Marc: And they said, ‘We gotta move on.’ I said, ‘No, I need to get the guy banging his head.’

John: Trust me, have some sympathy. And this is where we pay off the idea that Tara has heard about this team, and now believes she's given Nate one clue as to what she’s gonna do and she's desperately hoping they're as good as they think they are, and she’s doing the set up to this, she's setting up this beat. It was tricky, because we did actually play- she does actually look like she's selling the team out here, and if you're watching the DVD, you are watching all the way through the seasons. aAnd we did go back and forth on how loyal would she be to the team. And it really is the fact that one of the reasons you watch the show, or at least I think one of the reasons you watch the show, is the family vibe.

Albert: Absolutely.

John: And just having somebody who wasn’t into the family vibe in the middle of it, it might've been interesting from a writing standpoint, and we’re all fans of the show who write the show, it wasn’t interesting from an audience standpoint; it felt a little overly clever, a little constructed. But we do it just enough that we can get she's part of the team, but she doesn't buy into Nate’s bullshit, and as a result her actions in the finale make some sort of organic sense. And the van, oh, the van.

Marc: Gotta have the van.

John: Not anymore.

[Laughter]

Marc: Well-

John: No the- and this, again, we had like four variations how this particular con worked. Who did those designs? Who did-? We have a lot of actual fashion designs floating around in this.

Marc: I think Nadine.

Albert: Nadine and her team did pretty much everything.

John: They sketched them up and sent them off to Derek to do the computer graphics.

Albert: They did the sketches, they did the buckles sketches, they designed the clothes. Like I said, this was a real- this was a field day for the wardrobe and makeup and hair.

Marc: For the glam department.

John: That was nice, too. Cause the thing we originally missed, that having him hand him the badge, it’s a nice touch. Again, the trick when you’re doing- Some of the endings we stop and explain a lot, some just kind of unroll, and you have to make sure you set up all the pieces. And a lot of times when you're running and gunning and shooting, that stuff goes away.

Marc: It does. And so much of it is like, you get to a certain scene like, oh my god, in the flashback you're supposed to see that happens later.

John: Do you break those off separately when you shoot these or-? I mean, I know you, kind of, barely read the script.

Marc: A lot of times they are within the scenes and god bless Suzanne, our script supervisor, she just, she-

John: She's the best. She's actually the best I've ever worked with.

Marc: She's the gatekeeper, yeah, she’s amazing.

John: A Script Supervisor’s job, in case you don't know, if you're watching, is to sit next to the Director with a copy of the script, with special notations that they go to school to learn, to track what is in every shot, what the angles are, what the sizes are, who’s crossing, who’s walking in from what direction.

Marc: She's basically- she's keeping score and she’s the directors best friend, or worst enemy.

John: You will hear a lot of directors, even really experienced directors say-

Marc: As well as an editor, because, you know, an editor just gets a hard drive of footage, and if he can't decipher her notes, then he's gonna struggle as well.

John: I've seen really experienced directors, guys who are famous, they will finish and will turn to their script supervisor and go ‘What do I need?’ Cause they're watching the coverage while the directors watching the-

Marc: And we do a lot of different things and as a director, you're watching performances, and you're making sure you're hitting all the right emotional beats, and you know, when we do certain scenes where we have multiple characters, or you’re doing a 360-

John: We have a five-hander here.

Marc: Yeah, or doing a 360 and the camera’s going around and around, you need someone to be keeping score for you.

John: I like the physicality, by the way, watching this again, of watching Tim does with his face when he’s with the character and when he's just dropped it, and all of a sudden that kind of fake character, the wardrobe doesn't matter if he's just pissed, and you know he's dug in.

Marc: As soon as he's pulled off the glasses-

John: It's Nate.

Marc: It's Nate.

John: Great job.

Marc: And we haven't even had him say that, when Tom, later on, you know, points that out, you're not even who you say you are, he, like, looks at him in a certain way.

John: Yeah. No, nice call. The- oh yes, this was, again, interesting, is one of the things that really depends on the speed with which these guys can rip this stuff off. You know, in one of the original versions we were talking about where the dresses are actually transported- right after the fashion show, the dresses actually are driven across town and are put in a private closed viewing for the buyers. They won’t let anybody else close to those dresses because even with photographs, they can be knocked off within a matter of 48-72 hours. Which is stunning, which is what you're trying to fight when you're trying to fight piracy. And hung by his own sin, which is one of the rules.

Albert: There's always a rule. Yup. Going back to the wardrobe and hair and makeup departments, the other thing you don't end up seeing is that they went through a lot of their own iterations of what- before what you see on the screen. They did a lot of tests, they did a lot of different looks. If we had time, we could probably show all these other test photos they took, and different hair configurations, and make up, and at one point they did this whole sort of Kabuki look, but we decided that might've been a little too fashion forward for this show. They really went all out.

Marc: They went all out.

John: Did you say fashion forward?

Albert: Sure.

Marc: And some of them were just based on the element of time, you know, we wouldn't have time to change actors over to a certain style, and-

John: Yeah, cause I mean, that's the thing, is when the difference between shooting Parker as Parker, and shooting Parker as Parker as fashion model, is two hours to change that character's look.

Albert: At least.

John: At least. And the walk of victory.

Marc: Dun dun dunnn.

John: This is nice, this is- I, you know, I always love the 60s, 70s call back; it's a nice style choice. Also, you've got that great street to shoot down. Where was that? Was that outside of-?

Marc: That was right outside of the actual warehouse location.

Albert: Across the river.

Marc: Just across the river from downtown Portland, so it was really close; you know, had a nice overpass.

John: Looked like that section of T that’s elevated.

Marc: This, again, is supposed to be in Asia, which was actually just another area of the warehouse again.

John: And then that's a kind of an iconic shot for this show now. That's nice, the Jeri Ryan era, as the fans call it. If you go on the boards and see the fans arguing over which six episodes are the best in the giant ouvre of Leverage ouvre. And she pays a horrible horrible price for her treachery.

Albert: Those are real working steam presses, and I can tell you from having been there, they were ridiculously hot.

[Laughter]

Albert: I didn't want to be anywhere near it. I was like, ‘Wow, Gloria is really a trooper going through this.’ She had to learn how to operate it; it had, like, foot petals and things.

John: This is why it's good to be a writer, is, we write horrible things and then the directors and actors go live there, while we occasionally- Sometimes we venture from the hotel room to go visit the set.

Marc: At times.

John: But it's for the best if the writer isn't there; just causes trouble.

Albert: We can go pose and take pictures with the models; that's when we show up on set.

John: Yes. And then this is actually based on, there's a bunch of factories now that are owned by the employees that were taken over. Some car factories, some- there was a big thing in South America for a while of the workers seizing foreclosed factories and opening them up as co-ops.

Marc: I did not know that.

John: Yes, there you go. Anything we can do to undermine the infrastructure of capitalism of America in Leverage we try to, we try to.

Marc: Now this is a happier factory, it's brighter.

John: Brighter colors.

Marc: Yeah, it's brighter colors, there's sound.

[Laughter]

John: I love that. I love you sitting in the director’s chair like, ‘Alright, now make it the happy sweatshop.’

Marc: How else can we make them happy?

John: Lunch breaks.

Marc: Lunch breaks! Sandwiches. Sandwiches make everyone happy. Everybody’s happy with a sandwich.

John: There you go, and milk, that's delicious. Look, and we saw that particular extra was unhappy earlier.

Albert: That's right.

Marc: She was.

John: There you go; really sold it. And again, it's interesting because, you know, you shot two years of this now, and you understand the vics aren't a big part of actual screen time, they are on in the opening, they're on in the closing. Those actors are insanely important, because it means you have to like them really fast, and if you don't like them really fast, you know, it won’t pay off.

Marc: Yeah, and they have to keep up because, you know, it's not like we get a lot of time to do rehearsals, and so some of the crux of the episode can be in their hands.

Albert: Oh yeah, the emotional core of the story always hinges on the victims and their choices.

John: And sometimes those scenes with Tim Hutton in the bar, that's the entire reason you're gonna care about this episode. And this is a lot of fun with- this is when we- again, we really track, if you watch the back six episodes where Tara Cole feels in how she's getting the money. Happy about getting the money, ambivalent about getting the money, not caring so much, you know. She never doesn't care, cause that's just wrong. And now, it's interesting, Tim and I had a nice conversation about this particular phone call, cause he called me about this and he's like, ‘I'm not sure where we're going with this.’ I'm like, ‘You know that moment when you've had an argument with the wife and you've realized you've said the wrong thing and you can never take it back?’ And he's like, ‘Oh yeah.’ and I'm like, ‘That one right there.’ And it's one of my favorite little Nate/Sophie scenes and they're not even in the same room. Because it's, you know, it's- banter is fun, relationships are hard.

Marc: Right.

Albert: Oh I like that. Banter is fun, relationships are hard.

John: And, you know, end of day, unless you show a couple of these scenes every now and then, you don't buy these relationships as real. And that's why I think one of the reasons the Eliot/Nate relationship feels very grounded is, we give opportunity for Chris Kane and Tim to kind of dig in on the fact that they don't always agree, those characters.

Albert: And you gotta give somewhere for the characters to go. That's the thing about a scene like this, at the end it gives them somewhere to go after here.

John: That was great. Thank you so much, guys, that was a lot of fun. The episode was fantastic.

Albert: That was The Runway Job.

Marc: Thank you.

John: Anything you wanna say to the nice folks before we move onto the next one?

Marc: Stay tuned.

[Laughter]

John: It's a DVD, I don't think they’re gonna wander off-

Marc: For the season.

John: Oh for another season, that's right. Season 3. Albert anything you wanna say?

Albert: No this was great, this was, I think, my third episode working with Marc. Third, that I'd written. Kind of fourth.

John: Kind of codependent.

Marc: Yes, yes.

Albert: We are, but I've learned that one thing: banter is fun, but relationships are hard, so we gotta keep working on it.

Marc: That’s right.

#Leverage #Leverage TNT #Leverage Audio Commentary Transcripts #Audio Commentary #Transcripts #Parker #Alec Hardison #Elliot Spencer #Nate Ford #Sophie Deveraux #Season 2 #Episode 10 #Season 2 Episode 10 #The Runway Job

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de-profundis-ad-astra · 3 years

Text

One, Two Punch

Pairing: Ben Miller x Reader, kinda. Flirtationship more than a relationship Rating: Somewhere between T and M? Summary: After knowing Ben for barely two months, you’re invited to attend one of his fights. Length: ~2k words Warnings: Swearing, mentions of alcohol, vague descriptions of legally sanctioned violence, vague mentions of masturbation. Taglist: @firefeatherx @goldenhour-goldenboy @mandoplease @mylifeliterally @phoenixhalliwell @havenforafrazzledmind @living-reminder @beatriz-silva-00 @pascalz @worldominatorx @givemethatgold @agirllovespancakes @lilacyennefer @dignityneeded @veuliee @briskywalker @the-bird-suit @mapache-lector @skylyknightly (let me know if you want to be +/-) Note: For the anon from yesterday. If you see this, I love you and if you want me to keep posting old fics, please let me know.

The day you’re invited to watch one of Ben Miller’s fights, it feels like a rite of passage.

The boys go quiet when he drops the question. So quiet, in fact, you wonder if you mistook the invitation for a marriage proposal. Suddenly extremely interested in their respective drinks, they sneak glances in your direction in the moments following. Ben’s eyes, clear and bright and… have they always been that blue? They root you to the spot, pinning you without him needing to lift a finger.

“Sure,” you say, shrugging off the odd looks and your own uncertainty. “Sounds fun.”

The fight isn’t for another three weeks, but Will practically has to drag Ben out of the bar by the collar whilst claiming that prep starts now. Once the door is soundly closed behind the Millers, Santiago and Frankie take turns explaining that Ben has never invited anyone to his fights. Well, not for a while, at least. They run you through what you’re sure is an abbreviated version of their last experience with this.

Long story short: he invited one of his previous flings to a fight, she left before the match ended with nothing more than a text letting him know that she didn’t think it would work, and they never heard from her again.

You swipe a finger down the glass–it’s started sweating condensation since they started talking. You rub the moisture between your fingertips, then take a sip, welcoming the burn as the tequila warms its way down your throat. “Why are you telling me this?”

“Because it’s a big deal,” Santiago says. “A big fucking deal.”

You get it, they’re more than friends to Ben. They’re his teammates, the people he trusts more than anyone in the world to watch his back. You suppose that’s precisely what they’re doing, now. You suspect that if you were to bail out like the previous girl did, they wouldn’t let you off so easy.

Not that you would. It’s just… a lot to take in.

“I get it,” you say with a smile. “I break his heart, you break my neck, right?”

Frankie lifts his glass in a toast. “I knew you were a fast learner.”

–

The following Tuesday evening finds you knocking on Ben’s door for your usual burger run. It’s probably too early to call it a tradition, but you’re relationship with Ben, thus far, is comprised primarily of spontaneous adventures such as this. Every Tuesday for the past three weeks you’ve gotten together to eat greasy foods and talk and laugh together. So it’s worth a shot, right?

Except when Will opens the door.

“Hey, Y/N,” he says cordially, if not a bit bewildered.

“Y/N!” you hear Ben’s unmistakable voice call from further within. “Come in!”

Will steps aside, vacating enough space for you to pass. You step over the threshold, your eyes immediately landing on the small dining table to your right. And the… grain bowl he’s eating?

“I see you’ve already got dinner taken care of,” you note with a small laugh. You’re more entertained by the sight than you are upset by the fact that burger night will have to wait.

Ben’s face falls, and his fork clatters to the table. “Shit,” he scrambles to pull his phone from his pocket. “Shit.” He unlocks it, hits a few buttons, then slides it back into his jeans.

A few seconds later, your own phone’s screen lights up with an unread text. You open it and read:

have 2 take a rain check on burgers 2nite. wills got me on this ‘clean eating’ diet before the fight.

You hold up the phone for him to see, “Got it.”

Ben says a bit sheepishly, “Forgot to send it. Selective memory. Sorry.”

As much as you want to be sad that your night out has been postponed, you’re more touched by the fact that of all the things on his mind, that was one of them.

“He needs to get into work mode,” Will fills the silence as Ben shovels a heap of quinoa and chicken into his mouth and makes a show of gagging on it. “Gotta keep him focused on eating better and training.”

You think about the pack of beers you’d bought and stored in your fridge. “I take it that means no alcohol, either.”

“Nope,” the brothers answer in unison–Ben with notably more disdain than Will.

“I was winning fights before you put me on this diet, you know,” Ben grumbles around his food.

“Doesn’t mean you still shouldn’t be taking care of yourself when your putting that much wear and tear on your body.” Will points at his younger brother. “Eat.”

“You’re worse than mom.”

“Eat.”

Ben groans and heaps some more food into his mouth. “I’m not worried,” he says half to himself.

You see it then. In his eyes, he’s focused and somewhere that isn’t quite here. You look at the hard lines around his mouth and suddenly wish you could take your thumb and run it across his lower lip, card your fingers through the unruly hair he dutifully keeps under the protection of his hat. One look at his face, and you know his mind has wandered somewhere similar.

Want, need, desire, call it what you will. All that and more churns in your gut.

Will clears his throat, pulling you two back from where you teeter on the edge of the gutter and back to the present. “We’ll worry about it when it’s time to worry about it. There’s nothing we can do right now except prepare. It’ll turn out how it turns out. And if Ben does what he’s supposed to, it’ll turn out well.”

“Win that fight, Benjamin,” you tease, turning back towards the door. “And we’ll get those burgers.”

You feel his eyes burning into your back long after the door shuts behind you.

–

You don’t feel ashamed of the moment you and Ben shared. That nagging in your chest is a far cry from shame. You’d outgrown that long ago. The look you’d shared, the thoughts you had and knew he had were mild in comparison to what you knew you wanted.

You knew the look in his eyes, that unspoken promise for something more–something you completely, unabashedly craved–and your carefully placed tethers would fray and fray and fray until there was nothing to hold you back. He didn’t need distractions right now, you wanted to respect that.

That didn’t make it any less miserable.

It only takes three days before it grows so unbearable that you take matters into your own hands.

Overheated and nearly frantic, you toss and turn in bed that night until your tank top and short clink and chafe against your slightly sweaty body. You try counting the minutes until sleep takes you. But minutes turn to hours with no sign of relief.

Need crawls over you, slithering under your skin. It doesn’t take much to imagine his face, that it’s his hands on your skin, inside–

But that release only leaves you hollow–unsatisfied.

You make a point to keep your distance for the remainder of that week. Until the day of the fight, actually. By then, the tether is pulled so tight that you fear it might snap at one wrong move.

Later, you remind yourself. That unfinished business will come later.

–

The air is thick with the mingled scents of liquor, body odor, and several variants of cheap cologne. And it’s so hot. People move around you in groups, and the floor beneath your feet is sticky from some spilled drink that hadn’t been properly cleaned. The heavy beat of a rock song slam against your chest, and as you look around you think you see more tattoos than skin, more leather than jeans, and more filled cups than empty hands.

You’re not scared. Far from it, actually. The energy of the crowd feeds your own, the music heightening your excitement as you follow Frankie and Santiago through the crowd and squeeze yourselves into an open spot right in front of the cage. One of them, you can’t tell who, shoves a drink into your hand and tells you its on them.

You hold the beverage, but don’t partake as the referee begins to announce the next fighter. The first thing you see is a flash of red shorts.

Perhaps it’s for show, watching Ben make his way from the door to the cage, swaying his shoulders with each step, his eyes locked on it and nothing else as heavy metal blasts around you. You don’t exist to him. Not right now. Regardless, heat pools in your stomach.

He takes is sweet time peeling off his shirt and stretching his shoulders. He turns away from you so Will can help him into his gloves, allowing you a full view of that gloriously muscled back. You admire each line of muscle, each movement he makes as he turns and enters the ring. To hell with all the people around you. You want that. You want that over you, under you, all around you. You could touch him everywhere at once and it still wouldn’t be enough to satisfy you–

His eyes find you in the crowd, and he winks.

If it was socially acceptable to swoon, you might have.

Maybe you did, anyway.

–

The fight itself doesn’t last long. At one point you set your untouched drink down, then promptly kick it over when you leap to your feet to cheer.

Even then, you can’t help but clinch every time someone lands a hit, skin reddening and bruising, breathing labored and shallow until a hand is being lifted in the air in victory. It’s Ben’s.

–

You wait outside the lockers with the guys. Santiago is weaving a tale from his days in Brazil that you’re only half paying attention to. You remain standing off to the side, sipping a lukewarm water, watching.

It takes a while for Ben to come out. The blood has been cleaned from his face and, remarkably, the only lasting mark is a purple-blue bruise above his cheekbone. But he’s grinning ear to ear, and he pulls first Santiago, then Frankie into a bear of a hug. You see his face over their shoulders, how hie eyes still veritably glow with the same energy you’d seen in the ring.

You push yourself from the wall you’re leaning against, and step up to them. Ben’s eyes meet yours as if by gravitational pull.

You’d felt drawn to him since the day you’d met. But this is like meeting him for the first time. A dim hallway. The crowd slowly draining out from the gymnasium. You, holding a cup of piss-poor excuse for water, and him.

The boys quietly let Ben know that they’ll catch up with him later, and melt into the meandering crowd.

The shift in his expression makes it achingly clear what Ben wants. His gaze lingers, now. His shoulders seem broader as he steps towards you, his gym bag over one shoulder, his other arm extended for you.

“Let’s go.” His voice is different in the aftermath of the fight. You can see the adrenaline still pumping in the way his eyes lock on you.

You find your way to his body, and let him guide you outside. His hand sneaks around your waist and under your shirt, his fingers digging into the skin above your hipbone. He guides your steps with a fierceness, and as soon as you make it back to his car, his hand wanders lower, lower.

He tosses his bag into his car, refusing to let you go. Another swift motion has you pinned between the heat of his body and the side of the car.

He’s in front of you, caging you in, his fingers lingering at the waistband of your leggings, his shirt damp from the shower he just took, hair dangling over his forehead. You clamp your hands down on his biceps, digging your fingers into skin and muscle and him.

You barely have time to register it all before his lips crash into yours, and the empire of your longing comes crashing down.

Yes, you could stand to be with this for a little longer.

#triple frontier #triple frontier fanfiction #ben miller #benny miller #ben miller x reader #garrett hedlund #garrett hedlund fanfiction

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someobscurereference · 3 years

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For one: whenever the concept of the Nohrians meeting the young trio comes up, my first thoughts are 1) Inigo being cripplingly shy and terrified of Xander 2) Severa being Extremely Unreasonable and Aggressive especially toward Camilla and 3) Owain gravitating toward Elise because she's reminiscent of his mother, because he's a mama's boy who probably lost his mom very recently and that's pretty fucked up!!

That being said, I'm screaming at the idea of Owain gravitating toward Elise because mother, Xander because cool sword, and Camilla because cool armor, and Not Trusting Leo because he's a Dark Mage and Dark Mage Means Plegia Means Grima Means Evil (almost always) and Leo being so upset about it. It turns the tables entirely, where Odin was originally the one who thought both Leo and Niles were so cool and they thought he was a weirdo idiot until he proved himself, now he thinks they're creepy and Evil and have to work for his trust. And I will always love the Nohrians realizing the trio were Fucked Up Kids and the idea of them watching the three of them take down a faceless with Brutal efficiency because of how much more dangerous Risen were...I'm so into this. AND!! The trio fucking hating each other!! They're so used to them being Best Friends and Inseparable and understanding each other on a whole different wavelength. And now? Sev and Inigo aren't very kind toward Owain's dramatics, Sev and Owain are Bothered by Inigo's flirtations, and Severa is just so harsh with both of them (and most people). Of all the people they could be stuck with, they would Not choose each other. I'm rambling but I'm so into it I'm so so into it. One of the previous asks you linked spoke a lot about Inigo, but if you could talk a bit more about Severa and Owain? Especially if their adult selves were involved with their lieges and partner retainers and how different the dynamic is now and the way they each react when realizing the trio went through something so clearly screwed up and beyond even what they've seen

(prev ask) Ayyy, glad you got a kick out of all of that, lol. And yes!! Leo Trio origins reversed!! With Niles and Leo being the ones who have to prove themselves to Owain instead of the other way around. And the Trio not getting along!! They're 100% there to save each other when they think they're in mortal danger, but as soon as they realize they're not in Plegia? Don't touch me, don't breath on me, don't look in my direction, any of you. Owain & Inigo can't be alone in a room together or else they'll scuffle, Severa stomps away whenever Inigo tries to compliment her, nobody wants to talk to Owain, etc.

Also sure! I spoke a lot about Inigo in that last ask because I wanted to be clear about what I meant with the shyness thing, but for Severa & Owain...

I don't know if they would have been in romance with their lieges before this! I obviously ship the royals & their retainers, but I don't ever see the appeal of that dynamic in deaging fics? I get the idea of like "oh, this is a new side of my partner I've never seen before," but the deaging part is such a huge part of the plot that I don't really see the benefit to that dynamic in these types of fics.

But just in general! The friendship/platonic shift!

I mentioned before about Camilla trying to dote on little Severa but struggling because Severa rejects her So Hard, lol. In general she'd want to dote on Severa because of her personality and how Severa is a tiny version of her beloved retainer, but the more it becomes clear that Severa has issues (especially re: family, which is a major reason Camilla feels the need to dote on Corrin), the more she wants to spend time with her and make some happy memories with her. Which makes Severa's rejection of this attention even stronger bc who the hell are you to presume you know her? And also you're not her big sister/mom/whoever.

Eventually, I almost feel like Camilla would?? I don't want to say "give up," but eventually you're going to get more flies with honey than vinegar. By which I mean the less Camilla tries to push the relationship, the more open Severa might be to spending time with her. But I'm not sure Camilla would get to this point within the timeframe of the Trio being deaged! I think this would take many days or perhaps even weeks to figure out. If the Trio return to normal before this, I think Camilla might feel different (Hard to say how... maybe guilty??) about the way her Selena dotes on her and wants her attention all the time vs little Severa rejecting her. But!! If the Trio stay deaged for a while and Camilla learns to stop pushing the relationship, Severa may slowly grow to approach Camilla on her own and may then be open to being doted upon once they understand each other more (bc she canonically wants all the foods and fun stuff Camilla is offering; she just wants it from someone she trusts. And primarily from her parents ((see: awakening supports w/ parents)), but they're not here).

tl;dr Camilla would have to go against her doting instincts if she wanted Severa to get comfortable with her. Otherwise Severa would avoid her/take advantage of the things Camilla is offering while not wanting to be near her very much.

Re: Beruka!

Unlike Camilla, who has a lot of sad and sympathetic feelings for Severa, Beruka really leaves feelings out of it. Which is probably to her benefit in this scenario, as she's approaching Severa's trauma's from a logical (perhaps even detachedly relatable) standpoint rather than sympathetic. She's more direct than Camilla, so Severa might be a little more comfortable with her, just because she knows what to expect.

Severa, for her part, may even seek Beruka out once she knows they're partners because (1) she wants to know what sort of person her future partner is and (2) she wants to prove that she's the better retainer than Beruka. Which of course she can't do because (a) Beruka would never compare them like that, nor Camilla and (b) Severa is younger, more hotheaded, and less skilled than her older self, so anything she tries to prove now, she'll probably fail at and will blame on her older self having more experience. This competetive spirit may start as an inferiority complex thing, but with Beruka never really fanning the flames, Severa may eventually calm down about it and just feel more driven to get better on her own/respect Beruka as her partner (sort of like her Cynthia Supports in Awakening, though a little different).

Leo & Owain, I already talked about. Owain will immediately take note of the fact that Leo & Niles are his future lord & partner, which he is very curious about, but once Xander, Camilla, & the other very cool people with melee weapons come into the picture, he's very drawn to them, which makes Leo jealous, lol. Leo dedicates himself to "solving" the deaging issue, using this as an excuse so he doesn't have to spend time around Owain and get compared to his "cooler" siblings. HOWEVER, joke's on him bc the fact he's avoiding Owain means Owain doesn't get the chance to quiz him even more and tell him about how cool Brynhilder is. When this finally happens, Leo feels incredibly foolish for trying to show off for Owain & avoid him in turns. Owain, meanwhile, may or may not have ever picked upon on the fact Leo was feeling weird about him at all (although he will admit he felt nervous around Leo at first bc Pelgian Mage Memories and had to take time to get over that).

Niles is a little hard to consider because I actually think?? He'd be good with young/immature folk when he's genuinely trying to be? (See: Niles's interactions with Elise & Nina). However, he can also be quite cruel to people who don't really deserve it (See: Mozu C & B supports) despite having a motto of only insulting "people who deserve it," (Peri Support). So!! I think Niles's interactions with Owain ultimately come down to how well he respects Odin/how good their relationship was. If they were besties when Odin gets deaged, then I don't think Niles will purposely try to make Owain feel bad, though a lot of what he says with metaphors & double meanings will probably go over Owain's head anyway. I also don't know if he'd purposely go digging for information or not?? Depending on how much he feels asking would be a betrayal to Odin's trust vs his own curiosity and all the hints Owain doesn't realize not to drop?? I think Owain would really determine what Niles does or doesn't learn about him. They have the potential to have a really good talk where Owain talks about his parents' deaths and the struggles he & the kids are going through and Niels talking about his own life on the streets. (BTW, despite Owain literally going through a war & both parent death, I think he might think Niles has the worse situation bc he's never known parental love at all, which baffles Niles).

Similar to Leo, I think Owain would be really cautious around Niles at first, both because he's an intimidating sort and because he takes cues from how everyone acts around Niles too. But!! Also just like Leo, if his future self trusted them, obviously that means something, right? So he'd approach Niles a bit more after a few days of settling in.

Niles & Owain's interactions are really hard to imagine because they depend on so many factors that I haven't decided upon! But hopefully the other ones make sense, lol

Thanks for asking!

#my text #asks #my fic #queue #fe14

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masterhandss · 4 years

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‘My Next Life as A Villainess’ Anime is over...

SO WHAT NOW???

A lot of us are disappointed that Katarina’s adventures are finally over, and a lot of us are gonna miss watching the wacky hi-jinks of our dense villainess. I’ve seen a lot of people say that they will stop posting or paying attention to hamefura after the anime ends, and while I might be the same to some extent, I just want to say that there are still a lot of hamefura things to look forward to after the anime ends!

These are actually some very obvious things to look forward to, but you know I’d still like to share them so you can use them to fill the hole in your heart that the anime left behind.

-------

Edit: (9/30/20) I added stuff, as well as a cut for all yall who says my posts are too long qwq

The Manga

Hamefura still has an on-going manga that is currently in Chapter 3 of the Light Novels! A lot of you already read it, and understand that it can get frustrating when there’s a lack of updates on the english side of things, but if you’re really curious, you can go over and check out the JP releases every month so you can have an idea of whats to come for the manga :DD (The fan translation of ENG Chapter 26 came out a few days ago so you know it’s not dead!!)

I’d recommend reading the english translation on Mangadex, since most translation groups officially upload their translation on there.

The Spin-off (Hametsuo/Bakarina Alter)

It deserves it’s own category for just how unique it is in terms of its reception in the western crowd. I know a lot of people probably read it, but I guess people barely talk about because it’s not really that far into it’s premise yet.

I just can’t stop recommending this manga to people (despite not going where I thought it’d be) because of how good the art-style is and how much promise it has. It updates monthly, which I know is a long wait, but it does pay off when you see the quality of everything. Plus it’s just fun to imagine how hamefura would go if it followed the typical “villainess otome isekai” format.

I actually love talking about hametsuo, so maybe my posts are woth the look ;; w ;;

The Light Novels

credits to @sparckle-art for the scans!

I’m happy to read that a lot of people are gonna go switch and buy the light novels after the anime ends! By the time the anime ends, the Vol. 6 of the LN would release a week later, acting kind of like a replacement of what is supposed to be a new episode for that week.

The fan-translated version of the web novel is available online, up until half of Vol. 4, but I still recommend buying the books on bookwalker (i don’t know if the sale is still there, but I’d recommend picking up the book regardless!). If reading the fan translation piqued your interest, then playing for the books would definitely worth your money if you ask me!

An increase of sales might show them that there’s interest for this light novel, and might make them translate the JP novels even faster! (or maybe i’m just too impatient to wait 2-3 months for Volume 7 dshfjsfgs who knows?)

My only warning is that the tone really does shift post-arc 1 (Fortune Lover I) so if you’re looking for harem hijinks, from spoilers I’ve seen I think there would less of that and more of world building. (ps. please stop asking me where to read it ;;-;;)

Edit: Volume 8 is coming out in a few months, with Volume 9 probably being released at either Jan or Feb next year, then after that it’ll be a yearly update

StoryMe Otome Game

credit to the hamefura reddit discord for the screenshots!

I’m surprised a lot of people doesn’t know about the StoryMe game, despite it updating every week alongside the anime. Just kidding I didn’t either lol, I actually found about this thanks to the hamefura reddit discord server! StoryMe is a choose-your-own-adventure otome game, kind of like those “Episodes” or “Chapters” game that gets recommended on Youtube a lot.

It’s still in japanese, which is probably why not a lot of people knows of it yet, but it seems like you can play as Katarina and romance anyone from the entire harem (yes, the girls too), so keep you eyes peeled for if ever it gets an english translation!

It’s basically the bluray Fortune Lover game with the DVDs, but instead of Maria, you actually get to play as Katarina!

(I’ll make a separate post for this later, maybe)

Edit: The game just came out in English in September 16, and just spat out a 11-episode update at September 30

tldr: go play it, it has 19 episodes out right now

Katarina’s Farm

It’s a newly announced mobile game with a web trial version that centers around playing as Katarina, trying to earn money and points for expanding your farm land, planting more expensive plants and getting the other members of the harem to join you! It’s a 2D pixel game that seems like it wouldnt take too much time to play (you can get the first 4 characters within 30 minutes of gameplay, but that might be adjusted in the mobile version) so I understand if it might not interest some people, but that’s still something to look forward to!

I made another post about it so check out the link to the web version here!

The Bluray Otome Game

While I can’t say this for certain, but maybe if there was ever an official english bluray release, it might include the Fortune Lover Male Capture Target Routes that are included in the game. Maybe someone will play it and translate it even! It would interesting to see how different the boys are, and give us further appreciation for Katarina’s influence and changes!

There’s a preview for a CG in Keith’s Route, which comes with the second bluray (no pv for Geordo ;; w ;;)

Edit: All the boy’s routes are out in Japanese

We don’t know if they’ll ever be released in English though, so hopefully someone translates them at least ;;w;;

The Manga and Yuri Anthology

Missing the hilarious and heartwarming antics of Katarina and her harem? Then you should check out the Manga Anthology (that has just been been translated in its entirety). It’s 14 chapters of absolute hilarity!

There’s also a Yuri Anthology, featuring the 4 girls of the harem! If you’re looking for more of that then, it’s an absolute recommendation!

Spin-off Visual Novel

Edit: They recently just announced a spinoff visual novel! It takes place after the Fortune Lover 1 Arc and features sexy pirates hgsjhgsdf

It’s just recently announced so there’s not a lot of info besides the company making it (it’s Otomate) and the fact that it’s gonna be an all new Bakarina adventure uwu

Bakarina Radio

I heard there’s a Bakarina Radio too, featurning the VAs of the anime cast.

I don’t know if its a regular thing or a one time thing, but its still worth checkin out!

https//twitter.com/hamehura/status/1309831738525278209

The Second Season of the Anime

I seriously wasn’t expecting another season, considering how different the next arc is, but I’m happy nonetheless for more Bakarina! I hope this motivates the fans to continue supporting the series, as a bigger reaction will definitely lead to more content for us to enjoy! I have a theory about S2, which I think is worth the read :3c

Other Otome Isekais

There’s a lot of other Villainess Otome Isekai’s that are worth the read, and a lot of them as just as interesting as hamefura, despite the lack of a harem (from deep rooted revenge to hilarious and crazy villainess, there’s a lot!) The quickest recommendation I can give is just looking up “Akuyaku” and “Villainess” on Mangadex (do both btw they dont have the same results), but theres a lot that doesn’t get recommended so do your research! I swear it’s worth your time!

Anyways, I hope any of these fill the hole that the hamefura anime will leave in our hearts as we wait for season 2! (sorry for repeating the same line again hdsfgdjhsfg) Feel free to add anything like fanfic recommendations and artists, as I can’t cover everything on my own, as those really help provide hamefura fans with content :DD

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destielshippingnews · 3 years

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Edvard's Supernatural Rewatch & Review: 1x04 Phantom Traveler

In this week’s analysis, I’ll be discussing the unfortunate introduction of Abrahamic mythology, the lamentable gender politics of Dean in his nightwear, and magic languages.

Supernatural’s fourth offering, 1x04 Phantom Traveler, (not a misspelling, 'traveller' is spelt like that in America) is a solid episode. It’s not fantastic, and Supernatural certainly has better to offer, but it’s still an entertaining watch which introduces demons into the Supernatural universe and continues developing Dean and Sam’s characters, making them more distinct.

It is also the first episode Robert Singer directed for Supernatural. I didn’t see much to particularly comment on in the direction for this episode (my two years of Media Studies were not wasted on me at all), but one interesting choice, however, is the tracking shot of Dean’s sleeping form straight after the title card. EscapingPurgatory podcast had a shrewd postulation: the intended audience was heterosexual educated men between the ages of roughly 15 and 39, but a lot of them would be watching with their girlfriends and wives etc, and Dean is the brother who’s available at the moment.

Returning to the plot of the show, the script does itself a major disservice as early as the cold open. This episode was broadcast in America four years after 9/11 (almost four and a half in Britain) and was right in the middle of the decades-long and still ongoing war on drugs. The atmosphere surrounding airfare has changed fundamentally. The air hostess clearly saw the man’s black eyes and was affected by it, and should have alerted somebody on the plane to her worries, because she would have thought he was on drugs of some variety at the very least, and possibly smuggling drugs on the plane. However, for the purposes of the plot she does not act on her misgivings, but simply gasps and goes about her day.

This raises the question of why the demon revealed its presence like that. Demons are usually incredibly stupid on Supernatural, but this level of dumb is difficult for me to believe. The air hostess could have very easily had the man thrown off the aeroplane, and then its plan would be scuppered. The most likely reason was to show the audience that the man was possessed, but the audience was going to find that out in about a minute’s time anyway, so why reveal it there? It breaks the fourth wall in a bad way.

Whilst on the aeroplane and the demon’s plan, the episode never makes the demon’s motivations explicit. Sure, Sam claims that demons like death and destruction for their own sake, but this doesn’t fit well with how demons behave later in the show. They are, forsooth, as thick as poo, but they usually have higher ups telling them what to do. Was the demon’s repeated downing of aeroplanes part of a higher up’s plan?

Before I go on, it’s worthwhile mentioning that this episode is the first one to introduce the idea of an actual Abrahamic Hell in the Supernatural universe. It’s not the only genre show of its kind to have included something like this, with Charmed having the Underworld where the Source of All Evil resided, and Buffy having various Hell dimensions, but those two examples weren’t Hell as depicted in the Bible.

Joss Whedon specifically avoided the idea of a Hell and employed dimensions ruled by demons and demon gods rather than Archangel Lucifer. Charmed used the Underworld as an equivalent of Hell, but it was not a place of punishment for human souls. While Charmed is definitely my least favourite fantasy/horror/sci-fi genre show (Prue notwithstanding), I appreciated that it took a step away from Abrahamic mythology. Buffy/Angel were even better, having their own mythology that had precious little to do with Middle Eastern religions and more to do with Dunsany, Lovecraft or sometimes even Tolkien.

Kripke, however, took the lazy route with Abrahamic, specifically Christian, mythology, a choice which I believe was to the show’s detriment. It’s supposed to be a show about American folklore and urban legends, but that stuff eventually gets thrown under the bus. Forget Native Americans, screw the Americanised versions of Scandiwegian lore, screw the Old West and the Gold Rush and all the tales revolving around America’s history. And Canada? Pfft. What even is Canada? And don’t even think about Mexico. Let’s just have yet more desert myths from 2-3000 years ago.

My distaste aside, this universe has a Hell (and a Heaven), and demons are made by torturing humans until all humanity is gone from them, or by letting the humans off the torture rack if they agree to become the torturers.

Knowing this, two possibilities come to mind. One is that this demon is repeating its own human death for some reason, and another is that it kills people and drags their souls to Hell to make more demons.

Repeating its own death is entirely speculative, but this episode mixes up demons with traits later associated with ghosts and death echoes. Never again is an EMF reader used to detect demonic activity, and unless I’ve forgotten a certain example, demons aren’t shown to act as specifically as this again.

The second option, that of dragging souls to Hell, doesn’t seem likely as it’s made clear that demon deals or trades are required in order for Hell to get its claws on human souls, at least in usual circumstances. There’s nothing saying that demons can’t just decide to drag certain souls to Hell, and there is an implication at the end of this episode that this might actually be the case, but it’s a stretch. If this were the case, however, it would give the demon a real motive and make the episode less of a stand-alone bit of fun with overt X-Files vibes.

Sticking with Hell events on the aeroplane for now, let’s skip to the end and the exorcism. Whilst trying to exorcise the demon, it tells Sam that Jessica is burning in Hell. Dean tries to reassure Sam by saying that demons read minds and that it was trying to get to him, but demons can only know the minds of people they possess. This then leaves three options: the demon was lying and Jess is in Heaven, it was telling the truth and Jess is in Hell, or the demon was just trying to get to Sam, but unbeknownst to him Jess actually was in Hell.

Technically speaking, Jess shouldn’t be in Hell. She didn’t make a deal (that we know of) and it’s established later in the show that most people go to Heaven anyway. But Kevin didn’t, neither did Eileen or Bobby. Mary did, even though she made a deal with Azazel, and she died under the same circumstances as Jess. As Jess is never mentioned as being in Hell by another demon in the show, and as Dean, Sam and Cas eventually visit Hell and find nothing of her there, we can assume Jessica went to Heaven.

The exorcism in this episode is strange compared to exorcisms in the rest of the show. The Doyle (external to the text) explanation is clearly that the writers didn’t know exactly how they wanted things to work yet, but the Watson (within the text) explanation could be that they used a different exorcism ritual. Later in the show, there is no intermediate stage between being expelled from the host body and being banished to Hell: they just go directly down. This version, though, forces the demon to manifest and thereby makes it much stronger and more dangerous. I personally think the version in this episode makes the demons more of a threat because it’s harder to exorcise them, but I can see why it became streamlined later in the show.

The fact the demon possessed the aeroplane, however, raises the question of why it didn’t do so in the first place. Maybe it’s more fun to possess a human first.

Speaking of the ritual, Jared tells us on the commentary that he had to have a Latin teacher from a local university instruct him in Ecclesiastical Latin because he learnt Classical Latin at school. As a language person, I’m left wondering why. It’s the same language, just pronounced differently. Does the spell need to be pronounced in a certain way in order to work? If so, would the Ancient Romans have been completely incapable of expelling demons with their own language? Would they have had to rely on Greek, Etruscan, Gaulish or Sumerian for the rituals? It’s just completely unnecessary, especially as we later see Rowena casting spells in Scottish Gaelic, Irish witches casting spells in Irish, Celtic ‛demons’ performing rituals in Gaulish…

At least the university teacher got a little bit of extra money, I suppose.

Sticking with the aeroplane a little bit longer, Dean’s fear of flying is a welcome expansion to his character, though it was clearly included with the intent of making fun of him. It could easily have been played as such, but Jensen’s comments on the commentary indicate he saw it as an opportunity to provide more depth to Dean, as his connection with Lucas through their shared childhood trauma did in 1x03 Dead in the Water. In these two episodes, Jensen begins taking Dean away from the writers and making him his own: he was supposed to be the sidekick, but Jensen said nope.

In making Dean afraid of flying, but having him so insistent upon flying in spite of it, The Show perhaps did itself a bit of a disservice in its mission of making Sam The Hero and Dean The Sidekick. Dean was terrified, but flew anyway. That is bravery, and it’s what the audience wants to see in a hero.

Sam, however, does not miss an opportunity to make me dislike him (you knew this was coming at some point, don’t look surprised). Not only is he incredibly unappreciative and derisive of Dean’s talents, such as making his own EMF from an old Walkman, but he was also derisive of Dean’s fear of flying.

Sorry, let me reword that. Derisive of Dean for being scared of flying. It’s perfectly rational to be afraid of being in a giant metal bird suspended miles above the ground, but Dean agreed to it anyway in order to save people. And Sam treats him like a child because he’s scared of take-off and turbulence. Dean’s fear is a rational one, something that a person who hasn’t been sheltered from reality would have. Sam’s greatest fear, however, is…

Clowns.

I get it, they’re brothers, and siblings are supposed to rib on each other like this (the siblings I still talk to aren’t like this with me or each other, so I find it difficult to relate to Dean and Sam’s relationship) but it makes Sam come across as an utter cunny-hole. If somebody is clearly terrified of something and on the edge of a panic attack, you don’t sneer and mock, and then demand he calm down. Sure, Dean needed to calm down and Sam was the only one who could do it, but talking to him like a child just reveals how little Sam knows of taking care of other people. He’s the pampered younger brother, and it really shows.

He also shows a lack of judgement when roughly putting a hand on Dean’s shoulder while he was distracted. Dean’s essentially a war child (and suffers C-PTSD) and you just shouldn’t do things like this to somebody like that. That’s how you trigger panic attacks or flashbacks. Ask a veteran, I’m sure s/he’ll agree.

Aside from that, the middle-aged man on the aeroplane winked at Dean – winked – when Dean was walking down the aisle with his EMF reader. A man winking at a man has sexual overtones nowadays, and has done for a long time. How many men wink at a built guy standing over them like that unless they’re sure they won’t be punched in the face? Dean had his EMF reader out at that moment, but he was simultaneously on somebody else’s radar. Something about Dean set sexual bells ringing in cameo middle-aged man’s head. Regarding Sam, there’s two important moments for him in this episode (Jess aside): when he discovers John talked about and praised him in his absence, and when he exorcises the demon. It’s made clear in a few episodes’ time that Sam never felt like he fit in with his family, and that he believed John was disappointed in him. Exactly how he came to this conclusion is uncertain, since John doted on Sam and afforded him liberties he never would have allowed Dean, but it’s clear their relationship is difficult. Going away to university was Sam’s attempt to run away from the dysfunctional family he felt an outsider in and to escape John (and Dean): that he apparently didn’t speak to either John or Dean during his time there says a lot.

He finds out, however, that John praised him, undermining somewhat Sam’s belief that John regarded him as a disappointment. Episode 1x05 Bloody Mary provides another moment of character growth for Sam that subtly changes the way he perceives himself, but all in due course.

Praise from parents is important for children, and it really shouldn’t be hard for parents to tell their children they’re proud of them, even if they don’t say it in as many words. In spite of his difficult relationship with John, Sam gets that by proxy in this episode (whilst Dean’s happily checking out all the men in the hangar) and it changes the way he sees himself and John, even if only slightly.

The other moment – discussed above – is his exorcism of the demon. I don’t mince my words about disliking Sam, but even I can see he had potential. He’s the weird kid who wanted a normal life, but because of cursed blood had that hope denied him. Series 4 shows us the beginning of what Sam could have turned into when his blood magic arc truly kicks off, and it could have been a riveting plotline if written and handled well. Think for example of Willow in Buffy and the journey she went on with her magic powers: there was real darkness in there, and a gargantuan struggle to overcome it and become stronger.

This exorcism reminds me of Willow’s first steps at witchcraft in 2x22 when she casts the spell to restore a certain character’s soul and we see the potential for true strength as she performs the spell with ease. This exorcism of Sam’s should have been something similar, and his demonic powers should not have been completely removed and forgotten about in 8x23. He could have been Supernatural’s answer to Willow, and the Dark!Sam arc in series 3-7 could have been the first in his descent into darkness and his fight back out to take control of his own powers and become the opposite of what Azazel wanted him to be.

But – and not for the last time – three words come to mind. Such potential, Supernatural.

You might remember I mentioned the tracking shot of Dean (and neglected to mention the revealing shot of his thighs and underwear). Paula R. Stiles’ suggestion that the fact the writers and director for this episode were men doesn’t cheapen it is one I don’t understand. Jensen is in my 100% objective and unbiased opinion one of the finest men alive, but exploiting that in order to draw in an audience does cheapen the show.

To be fair, Supernatural is hardly high culture and commercial television is about revenue, but things like that break the illusion of artistic integrity, just like not making Dean explicitly bisexual does because that’d scare away too much of the audience. If having scantily-clad women in a show or film is there for the male gaze and drawing in money, then so too are Dean’s thighs and buttocks, similarly cheapening the show. If the male gaze objectifies women, stripping them of their power and subjecting them to male desires, then the female gaze objectifies and strips men of any power they might have and subjects them to female desires.

If it’s bad for the gander, it should also be bad for the goose.

Neither do I think it matters one bit that the writer and director are men, or am I supposed to believe a woman has never encouraged or coerced another woman to flash a bit of boob in order to get men to empty their pockets? Claiming that presenting a person as an object of possible sexual attraction turns him into an ‛object’ is strange, and that claim’s only ever made when women are being presented for men’s enjoyment.

But let’s stick to Supernatural because I have work in the morning. To be honest, I never notice if a woman on screen is being subjected to a ‛male’ gaze because I have no sexual or romantic interest in women whatsoever: if a woman is supposed to be portrayed as appealing to men’s eyes, it’ll usually go straight over my head because it just doesn’t register as having anything to do with sex. Interesting, however, is that this begins the trend of treating Dean in certain ways that women are usually treated, or associating him with ‛feminine’ traits.

Some people go overboard with for example Dean’s association with and likeness to Mary, his taking on the parental (maternal?) role in Sam’s upbringing, his knack with children etc, and use it as evidence to suggest that any traditionally masculine behaviour – or masculine behaviour at all – from Dean is a performance to keep up an act so that he can hide how feminine he really is.

My take on this is quite different than the condescending viewpoint that a man behaving like a man is performing and pretending. Dean’s ‛feminine’ traits are not his ‛true’ self in opposition to his feigned masculine behaviour. There is absolutely no contradiction between Dean exhibiting ‛feminine’ traits such as being good with children, cooking, or trying his hardest to fill the role Mary would have filled, and being a masculine man who identifies very strongly with being male.

I do think it’s fascinating, though, and the complexity and depth of Dean as a male character is one of the reasons he is one of my favourite characters. We rarely get to see men who are very manly and also incredibly loving, loyal and paternal and who exhibit a normal range of human behaviours and interests, including ‛masculine’ and ‛feminine’. That’s what normal men are like, something television and film seem to have forgotten.

Regarding Dean in bed, note that he is a stomach sleeper (sleeping on your stomach keeps your tummy safe), and this is consistent throughout all fifteen years of the show. However, this early in the show he takes his trousers, outer shirts and shoes off, in contrast to sleeping fully dressed as he begins doing sometime rather soon. He’s alert and cautious this early in the show, but not yet quite so worn down that he can’t be bothered to get ready for bed.

Note also that both brothers have sleeping problems here. Dean knew Sam was still up at 3am, meaning Dean likely slept for less than three hours, having been woken up by Sam at 5:45.

The end of the episode presents the brothers with something to be hopeful about. John has a new mobile phone number, the first evidence they’ve had so far that he is very probably still alive. It’s not much to go on, and John does not answer Dean and Sam’s call, but it’s something the boys can latch on to and keep them searching for John. Whether or not they should be searching for John is another question altogether, though, but at least it got the plot going in 1x01.,

Phantom Traveler is a strong but flawed episode which builds on last week’s expansion of Dean’s character and role, as well as introducing demons and Hell into the lore. The cut scene where Dean has to remove all his concealed weapons before going into the airport really should have been kept in because it says a lot about his character, as does his sleeping with a blade under his pillow, but other than that, I’m happy to leave this episode now on a positive note.

#Michael's Supernatural Rewatch #SPN Rewatch #spn 1x04 #phantom traveler #sam winchester #john winchester #dean winchester #demons #hell #male gaze #female gaze #christian mythology

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anika-ann · 3 years

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What I’d Never Say or Do (Had I Been in My Right Mind) - Pt.1

We Both Break Free (…if We Make It on Top)

Type: series, soulmate AU series (part 1, part 2, part 3)

Pairing: Steve Rogers x reader Word count (Ch1): 2050

Series summary: A story in which you officially come back from the dead, Tony with Natasha decide to take the blame for the whole mess and organize a party with unexpected party crashers and Bucky should consider thinking before speaking.

Fic title applicable to Tony, Natasha, Steve and his soulmate (aka the Reader), Bucky and his sort-of-buddy Matt Murdock and possibly few more.

Ch.1 summary.: In which Natasha and Tony go mad.

A/N: This series will be just a smaller thing, snippets set around The Age of Ultron (and later, Endgame). Later will be referred to as WINSoD because the title is a monster.

Warnings (ch1): mention of death and resurrection, mention of superntural creatures (see Errare Humanum Est), language, fluff

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Tony Stark was a ridiculously theatrical person.

While that was no news to anyone who knew as much as his name at least, but he still managed to outlive the legend, the reputation that preceded him.

He left you standing by the door, walked in to gain the undivided attention of the person inside the office and wanted you to reveal yourself in the exact right moment – a moment he trusted you to recognize.

Well. You assumed with a revelation like yours, it was rather hard to keep the drama away. But leave it to Tony Stark that he would blow it to proportion just to have fun.

“Tamara, darling!” the billionaire howled, the door opened only for a crack, so you could hear the reaction. You rolled your eyes, sighed and nervously looked around. The department was empty safe for the woman in the office, but it still made you feel uneasy; probably the effect of having to hide for the past weeks to avoid detection that could lead to a major scandal.

“Oh god, what happened?” Tamara asked, sounding as horrified as annoyed.

“Why do you assume— okay, that’s fair. How’s you hubby doing?”

“Alright,” the poor woman answered, clearly suspicious. “I more or less cleaned up the latest mess, so I’ve been coming home early…”

“Yeeeeah, about that. I have good news and bad news. Which would you like to hear first?” Tony offered cheerily.

“Bad news. Always. Let me just sit down-- no, no, don’t let me sit down, I have a feeling I’ll wanna pace irritably.”

That caused the corners of your lips to turn up. You were starting to like this woman already.

“I’m gonna need you to deal with a major scandal worthy of your skills.”

“Flattery will get you nowhere and I assumed as much.” Now you officially loved her – and you saw why Tony did too. Sass and snark; Tony’s language. “So, care to elaborate?”

“Nah, I’ll give you the good news. You’re gonna get some help. I brought reinforcements. She doesn’t have much experience with PR-” Try none. “-but I’m pretty sure she’ll be the one all the questions will be aimed at.”

“Oh my god, Anthony, did you get a woman pregnant?!” the woman hissed, not bothering lowering her voice. She sounded… kinda pissed. Which was reasonable, given the fact Tony Stark was happily-not-single with one amazing Pepper Potts.

“What? No! I have Pepper!” he opposed her, having the nerve to be offended. You smirked, hoping Jarvis caught that one line too. “This is all on Capsicle-“

“Captain Rogers got a woman pregnant?! What the-“

You felt like this was the moment.

“No, Mrs…. Tamara,” you said it the end, realizing Tony never told you the poor woman’s last name, and entered the room. “But his soulmate sort of came back from the death.”

Tamara was a middle-aged woman, with blonde medium-length hair and huge majestic glasses, business suit in a bloody-red colour and lips perfectly shaped in an “O” as you demonstrated the problem at hand.

“Holy. Shit.”

Leave it to Tony Stark he would flee the moment an actual explanation was needed, letting the others deal with the aftermath of his dramatic tendencies. To be fair, this was more of your drama, so…

“Good. Looks like introductions are not needed. I’ll send you the necessary data. Have fun.”

He strode through the door, winking over his shoulder at you and sending an air kiss to Tamara and you nervously smiled at the woman, your awkward side showing when you raised your hand to a reluctant wave before you could realize a handshake would be more appropriate.

“Uhm. Hi…”

The blonde blinked several times, shook her head with an incredulous chuckle and stuck out her hand.

“Hi. I’m Tamara, Antony Stark’s cleaning service. What can I do for you?”

Oh yeah. You’d get along just fine.

…

The story was simple and yet enough to make at least two Avengers very much hated.

Tony and Natasha, perhaps from some residual guilt of which you weren’t sure where was coming from, were determined to be thrown to the wolves of public.

Apparently, it had been all their idea – to have Steve and you kidnapped in the first place by the bomb enthusiast psycho. They had caught something fishy, been aware of it for a long time and opted for drawing the something rotten within SHIELD and company out by leaking early info on where you and Steve would be going to dates for several nights in a row without your or Steve’s knowledge. Perfect bait with nearly perfect surveillance background and safety measures.

Predictably, it had gone to shit and while you had never been blown up to death, which was something Steve had had zero clue about, you had been recovering from your life-threatening injuries for weeks in a hidden facility of top-secret location with way too much security. Still without Captain America’s knowledge.

Admittedly, this tale was a PR nightmare in making, not to mention a complete bullshit. Yet, the Avengers (sans Steve so far) unanimously approved of it. Tony and Natasha would be the first to blame, while the rest would reluctantly admit they knew as well and they had all kept it from Steve.

“You can’t be serious,” was all you managed to come up with, Steve sitting on the couch next to you while the rest of the team, the part that was momentarily on Earth, gathered around you to break you the news. This was what they came up with? “People will hate you.”

“And their hearts would still bleed for their golden boy, who would forgive us in time, especially since we offered his girl a job and an apartment she can’t quite refuse.”

“Wait, what kind of a job?!” Steve snapped, waking up from the deep thoughts he had fallen into with this stupid talk.

“The non-dangerous kind, Steve, calm down, please,” Natasha cooled him off flatly, but you could see her sincere gaze when it met with Steve’s. We wouldn’t endanger her, not again, it whispered. Steve’s shoulders slumped.

“What kind of a job?” you echoed, still worried. You assumed the apartment Tony mentioned was a place in the Tower, not bothering to ask about that part.

“PR. Unless you want to deal with your old job of which I have no doubt your best buddy would give back. I’d just like to remind you how the public reacted to you dying.”

Right. You wouldn’t mind a little privacy and safe space. You liked your old job, but it didn’t seem like an option now. Except… this was crazy.

“But they will still hate you. It makes you guys terrible friends and teammates. Frankly, it makes you kind of… terrible people,” you said slowly, taking time to examine everyone’s face.

“She’s got a point,” Steve agreed, wheels in his head clearly turning in a lightning speed.

“Meh. You should know what Fury’s up to during his ‘the end justifies the means’ periods – which is non-stop. I wouldn’t worry about that,” Natasha shrugged it off, pursing her lips a bit.

“Wasn’t it you who said you weren’t sure how to get her back to the world without having to explain she was literally led by an angel from Heaven?” Clint reacted to Steve, who sighed.

“Yes, of course, but this-“

“-is perfectly believable,” Natasha interrupted him, raising an eyebrow before beckoning to Tony and herself. “Me and Tony came up with the operation – a spy and a billionaire with questionable conscience. We pulled the rest of the team into the charade. This can work.”

“I can’t say I’ll enjoy this,” Bruce entered the conversation for the first time, surprising everyone. “However, it will allow you to walk the streets freely – with uncomfortable questions, yes, but it is a reasonable deal for us.”

“Steve? Thoughts?” the spy turned to him again.

Your soulmate observed his team for a long time, just like you, watching each of them individually, trying to read them as he himself was conflicted and undecisive. Finally, his eyes settled on you, a hint of an encouraging smile on his lips.

“Doll? How do you feel about that?”

The softness of his voice, the actual freedom he gave you when it came to this decision warmed your heart and made you shudder at the same time. You had no doubt he had come to a decision; but the final step was on you and you only. He would be affected too, of course, but this was your life that could turn upside down for like… what, the third time since you had met him?

You worried your teeth over your lower lip. “I mean… I’d really appreciate not having to hide in here all the time, but… I don’t want people to hate you, guys. I feel like I caused enough problems-“

“No, doll,” Steve whispered, his hand covering yours and squeezing firmly as he locked his gaze with yours and didn’t let go. “I’m not asking about them. I’m asking about you. They are clearly willing to do this.”

“Are you?” you questioned despite being confident about his answer.

“Do I love you?”

That caught you off guard. “Huh? That’s not what I-…?”

What did that even mean? Did he love— come again? How was this about his feelings towards you all of sudden? Was it time to question them? God, you hoped NOT.

“That the newest version of asking whether the sky is blue, doll,” he explained with a lop-sided smile and you released a breath you didn’t realize you had been holding.

Idiot. Sap. Sweet-talker.

“You’re such a sap.”

“You love it,” he hummed confidently. You smiled despite your better judgement. You loved him. And yeah, you loved this silliness too.

“I do.”

“So… are we doing this? Together?” His smiled grew a little wider, the twinkle you adored appearing in his eyes and you couldn’t but squeeze his hand back.

“Yeah. Together.”

“Jarvis, send Dum-E with some insulin shots,” Tony cleared his throat and you felt your cheek dust with a blush, roughly pulled out of the haze Steve managed to put you in once again. “We’re all having unhealthy sugar rush.”

The captain rolled his eyes. “Har, har, Stark. Are you guys really okay with this?”

Clint huffed. “It’s not like people will start planning our assassination more than they do already.”

“Tamara might,” Natasha opposed, amused.

“Ah, poor Tamara, I better bring a wine with me when asking…” Tony mused, scratching his goatee.

You turned to the red-head spy, not happy about being out of the loop.

“Who’s Tamara?”

Tamara, the head of the PR department for Tony (and sometimes for the Avengers too, because those two clients, so to speak, often came as a package deal), was currently starring at you speechless when you told her the tale of what actually happened and what lie they had decided to feed the public.

The silence lasted long enough for you to start worrying.

“Are you alri-“

“Angels are real?!” she burst out, nearly making you jump out of your skin with the sudden exclaim. You placed your palm over your chest to keep your racing heart inside your ribcage.

“…yes. But so are demons, shapeshifters, witches and so on, so…”

“Not a good thing to go public with. Got it. I understand the cover-up now. Though people being able to be resurrected would be enough on its own even without the… creatures. My my… we have a lot of work to do.”

“I’d imagine,” you agreed, not having a clue how to do this and where to start.

The woman looked at you over the rim of her glasses, her smile kind, in the Stark contrast to her loud cry only few second ago.

“…you don’t have any experience with PR at all, do you?”

“Nope,” you admitted, accenting the P and looking away, ashamed that Tony threw you into this without giving you anything helpful.

Now Tamara had to deal with the scandal and with you trying to help. That woman was worthy of some serious pay raise (though you had no doubt Tony paid her enough for her to own a villa or something, exactly as much as she deserved for dealing with his shit).

“I’m gonna kill Anthony, I swear…. Okay, let’s get this shit on the road. Also, Jarvis? Tell Antony to get the freakin’ wine ASAP.”

Oh yeah. You would actually adore Tamara, you were sure of it.

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Part 2

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Here we go! The final part of the series. Admittedly, I’m not sure about quality of this thing, but I’m trying.

Chapter titles are taken from the chorus of Les Friction’s What You Need

Thank you for reading ♥

(I’ll be tagging my Errare Humanum Est taggies, if you don’t want ot be taggged anymore, let me know)

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hilarieburtonmorgan · 3 years

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‘One Tree Hill’ Stars Sophia Bush, Hilarie Burton Morgan and Bethany Joy Lenz Welcome ‘Drama Queens’ Podcast’s First Guest (EXCLUSIVE)

“One Tree Hill” stars Sophia Bush, Hilarie Burton Morgan and Bethany Joy Lenz are taking fans down memory lane with their new iHeartRadio podcast “Drama Queens,” which recaps all of the onscreen drama from the show’s 187 episodes and provides behind-the-scenes insight from the women behind the characters of Brooke Davis, Peyton Sawyer and Haley James Scott.

But for the “Drama Queens'” next episode, the trio will add one of Tree Hill’s finest to the conversation.

“Lee Norris joins us first to talk about what it was like to literally be the tentpole of basketball on our show, Marvin McFadden,” Bush tells Varietyexclusively.

“We truly couldn’t have imagined having anyone else come on first,” she explains. “He was like the second person we called after speaking to each other. So, we’re so, so excited. It’s so fun to reminisce with him and to kind of get the gang back together; it feels really good.”

Norris appeared as Marvin ‘Mouth’ McFadden in 171 episodes of the teen drama’s nine-season run, and joins the podcast as the stars unpack “One Tree Hill’s” third episode, titled “Are You True?” which originally aired in Oct. 2003.

Burton Morgan agrees that having Norris as their first guest was a “no brainer.”

“Lee has been a true blue friend to virtually everyone in our cast, and has been there since day one of the pilot,” Burton Morgan says. “On top of that, he has worked with so many of us on other projects, so he is literally the tie that binds all of us. As a real North Carolina boy, Lee probably best embodied what the Tree Hill kids were representing. And he’s dangerously fun. Like… pee your pants laughing on a hotel floor at 2 a.m. kinda fun.”

Plus, Lenz notes that having one of their male cast mates on the podcast presented an important view of the filming experience.

“It was valuable for us to get a perspective from someone who also was a part of ‘One Tree Hill’ from day one, had been in Hollywood from childhood and knew the traps and cliches we might all fall into, and also, as a young male, would have experienced his time on the show differently,” Lenz says.

In an exclusive clip from the episode — which debuts on Monday at midnight — Norris, Bush, Burton Morgan and Lenz reminisce about their favorite memories from filming the series in Wilmington, N.C. Burton Morgan explains that Mouth represented a very important part of the audience watching the show — those viewers who weren’t the captain of the basketball team or cheerleading squad. But, it’s important to note that the character had game when it came to the ladies.

While recounting Mouth’s romantic experiences on the show, the trio discuss the revelation that Mouth was also a really good dancer — which came from the fact that Norris was known for showing off his moves on nights out.

“I’ve heard you talk about this on the earlier episodes, we saw pieces of ourselves start to be worked into the characters,” Norris explains.

The trio then reminisce about nights out at the clubs in Wilmington and how Norris and Bush bonded over their love for “Get Low,” from Lil Jon and the East Side Boys (feat. Ying Yang Twins).

“We’d be like across the like bar or whatever, and if this song would come on,” Norris begins, as Bush cuts in. “It was like the Red Sea would part, because Lee and I would be screaming, running toward each other, like some weird drunken version of a slow-mo love moment in an 80s movie. And we just hit the middle of the floor and like we’d get the whole bar dancing.”

The story is exactly the type of cute anecdote “One Tree Hill” fans have come to expect from “Drama Queens,” where Bush, Burton Morgan and Lenz dish on what was actually happening behind the scenes of the show. The trio launched the podcast on June 21 and it has been an instant hit, with more than 2.5 million downloads of its first three episodes.

“I’m deeply grateful that all our fans have turned up the way they have,” Lenz says. “I thought we’d do well within our fan base, but I never dreamed we’d be at No. 1 all over the world for weeks on end. It’s a dream come true again. And we don’t take a second of it for granted.”

But the podcast isn’t only for die-hard Ravens fans, with a format designed to include the new audiences who are discovering the show for the first time on streaming platforms like Hulu.

“We’re working hard to keep the love and respect of our fans and to earn it from a new audience as well,” Lenz adds. “We all know how rare this is.”

In fact, the podcast has also afforded its hosts — who admit they haven’t watched the show in years — an opportunity to view their experience in a new light.

“I expected to have fun but mostly I thought I’d be cringing the whole time,” Lenz explains. “The experience memory in my body from filming that show was based on so many insecurities and personal trauma and immaturity. So, I thought I’d be fighting a lot of shame while rewatching.”

“To my great delight, however, it’s quite the opposite,” she continues. “Now that I’m a mother and older and wiser, I just love my young self and I forgive her for all her flaws and I just see a young girl trying her best. I’m proud of myself and that has been incredibly healing. That dynamic is at play in our trio’s friendship as well, and it’s just such a gift.

#hilarie burton #sophia bush #bethany joy lenz #lee norris #drama queens oth #one tree hill #podcast #interview #2021

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dherzogblog · 3 years

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The Birth of The Daily Show: 25 Years of Fake News and Moments of Zen

It was July of 1995 and I had left MTV to become President of Comedy Central. It was the basic cable equivalent of going from the NY Yankees to an expansion team. I was on the job just two weeks when I received a call from Brillstein Grey the high powered managers of Bill Maher, host of one of the networks few original programs, "Politically Incorrect". We were informed Bill and his show would leave the network when his contract expired in 12 months. It was a done deal. Bill wanted to take his show to the "big leagues" at ABC where he would follow Night Line. Comedy Central was left jilted. Terrible news for a network still trying to establish itself. We had a year to figure out how to replace him and the clock was ticking. So began the path to The Daily Show.

It was very much a fledgling Comedy Central I joined, available in barely 35 million homes, desperately seeking an identity and an audience. It was just over three years old, born into a shot gun wedding that joined two struggling and competing comedy networks, HBO’s Comedy Channel and Viacom’s HA!, Watching them both stumble out of the gate, the cable operators forced them to merge, telling them: "We only need one comedy channel, you guys figure it out”. After some contentious negotiations the new channel was born and the red headed step child of MTV and HBO set out to find the pop culture zeitgeist its parents had already expertly navigated. The network had yet to define itself. The programming consisted mainly of old stand up specials from the likes of Gallagher (never underestimate the appeal of a man smashing watermelons), a hodgepodge of licensed movies (“The God’s Must be Crazy and The Cheech and Chong trilogy were mainstays) and Benny Hill reruns. The networks biggest hit by far was the UK import “Absolutely Fabulous”, better know as “AbFab”. Comedy Central boasted a handful of original shows, including the wonderfully sublime "SquiggleVision" of “Dr. Katz”, the sketch comedy "Exit 57" (starring the then unknown Amy Sedaris and Stephen Colbert) and of course Maher’s "Politically Incorrect". In retrospect I don’t think Bill got enough credit for pioneering the idea of political comedy on mainstream TV. Back then he was the only one doing it.

Politically Incorrect performed just fine, but got more critical attention than ratings. It was a panel show, and I had something a bit different in mind to replace it. I knew we needed a flagship, a network home base, something akin to ESPN's Sports Center where viewers could go at the end of a the day for our comedic take on everything that happened in the last 24 hours….."a daily show". I had broad idea for it in my head. I would describe it as part "Weekend Update", part Howard Stern, with a dash of "The Today Show" on drugs complete with a bare boned format to keep costs low so we could actually afford to produce it. We could open with the headlines covering the day's events (our version of a monologue), followed by a guest segment (we wouldn't need to write jokes...only questions!), and finish with a taped piece. Simple, right? We just needed someone to help flesh out our vision.

Comedy Central was a a second tier cable channel then and considered a bit of a joke (no pun intended). It had minuscule ratings, no heat and even less money to spend. Producers were not lining up to work with there. Eileen Katz ran programming for the channel and the two of us began pitching this idea to every producer who would listen. One of the first people we approached was Madeleine Smithberg, an ex Letterman producer and had overseen "The Jon Stewart Show" for us at MTV. We thought she was perfect for the role. “You can’t do this, you can’t afford this, you don't have the stomach for this, it will never work ” Madeliene said when we met with her. We could not convince her to take the gig. Ok then....we moved on. The problem was we heard that same refrain from everybody. No one wanted the job. So after weeks being turned down by literally EVERYONE, I said to Eileen: “We have to go back to Madeleine and convince her to do this with us"!

Part our pitch to her was we would go directly to series. There would be no pilot. The show was guaranteed to go on air. We had decided this show was our to be our destiny and we had to figure it out come hell or high water. As a 24 hour comedy channel, if we couldn't figure out a way to be funny and fresh every day...what good were we? We told Madeliene we were committed to putting the show on the air and keeping it there till we got it right (for at least a year anyway). That, plus some gentle arm twisting got her to sign on. Shortly after that, Lizz Winstead did too.

Madleiene and Lizz very quickly landed on their inspired notion of developing the show and format as a news parody. It brought an immediate focus and a point of view to the process . All of the sudden things started to take shape and coming to life. Great ideas started flowing fast and furious while an amazing collection of funny and talented began to come on board. Madeliene and Lizz were off to the races. Now all we needed was a host.

The prime time version of ESPN's Sports Center was hosted by Dan Patrick and Keith Olbermann back then and it was must see cable TV. But I had recently started to notice another guy hosting the show's late night edition. He was funny, with a snarky delivery reminiscent of Dennis Miller. His name was Craig Kilborn. On the phone with CAA agent Jeff Jacobs one day, I asked if he knew happened to know who repped him? “I do" he said. "We just signed him”. Within days he was in my office along with Madeleine, Lizz, and Eileen who were all a bit skeptical about the tall blond guy with the frat boy vibes sitting across from them. After opening the meeting with a few off color comments that would probably get him cancelled today (an early warning sign fo sure), Craig ultimately won them over and we had our host.

FUN FAC#1: Minutes after the news of Craig's hiring went public, Keith Olberman's agent called me directly to ask why we hadn't considered hiring him?

Ok, we had a host and producers...but what to call it? After sifting through dozens of ideas for a title, Madeleine called me one day and said, "I think we should just call it what we've been calling it all along...."The Daily Show". As we approached our launch date we taped practice shows and took them out to focus groups to get real life feedback. The groups hated it.... I mean with a red hot hate. They hated Craig, the format, the jokes, everything. We were crushed and dejectedly looked around at the room at one another. "Now what?" “Either they’re wrong, or we are". I said I think they are...but it doesn’t matter, we're doing this!" We never looked back.

The show took off quickly garnering some quick buzz and attention, we felt like we had crashed the party. Well, sort of. We had no shortage of fun, growing pains and drama along the way. The Daily Show version 1.0 was about to unravel. In a December 1997 magazine interview Craig made some truly offensive and inappropriate remarks about Lizz and female members of the staff. Whether it was poor attempt at humor or just plain misogynist (or both) is beyond the point. It was all wrong, very wrong. Craig was suspended for a week without pay. Lizz left the show. In the moment I chose to protect the show and its talent more so than Lizz. That was wrong too. It's more than cringe worthy looking back now, and I regret not making some better decisions then. My loyalty to our host was later "rewarded" when in the Spring of 1998 Kilborn's team, a la Bill Maher, unceremoniously informed us he had signed a deal to follow Letterman on CBS when his contract expired at the end of the year. No discussion, a done deal. Comedy Central jilted again. Like Maher, Kilborn wanted his shot at the network big leagues and we had a little over six months to figure out how to replace him. We all know how that chapter ended. That search would eventually reunite us with Jon Stewart who along with The Daily Show took Comedy Central and basic cable to the "the big leagues" on their own terms, redefining late night comedy in the process The rest, as they say, is "Fake News" history.

Fun Fact #2: before approaching Jon (who I did not originally think would be interested) I initially offered the job to a chunkier, largely unknown Jimmy Kimmel, fresh off his co hosting duties on "Win Ben Stein's Money" ...only to have him turn us down.

My fascination with late night began as a kid. I remember how exciting it was to stay up to sneak a peek at the Carson monologue and watch him do spit takes with his chummy Hollywood guests. Later on I also loved the heady adult conversation Dick Cavett would have with everyone from Sly Stone to Groucho Marx. But it was the comedic revolution of Saturday night Live in 1975, followed by Letterman's game changing show in 1981 that truly established late night as the coolest place on the television landscape. I could only dream of one day being part of it.

25 years on, I couldn’t be more proud of The Daily Show and its legacy. Those days helping build it alongside Madeleine, Lizz, Eileen and the team were among the most satisfying (and fun) experiences I have ever had. It was thrilling to take a shot at the late night landscape and try and make our mark, especially when no one thought we could.

I am prouder still of what Trevor Noah and his staff have achieved since they took the hand off from Jon, evolving and growing the show through a new voice and lens. I think my personal "Moment Of Zen" will last as long as Trevor remains behind the desk, allowing me to selfishly boast of having hired every host this award winning and culture defining franchise has ever had.

25 years later. it remains as relevant as ever, a bona fide late night institution, standing shoulder to shoulder with all the great shows that inspired us to start.

#the daily show #jon stewart #trevor noah #comedy central

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cluz1babe · 3 years

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*** Episode 2 Chapter 4 (STSF) ***

Dean leaned back in the booth. “Since I have you here, can I ask you something?”

“I get the feeling you’re gonna ask me more than something.”

He smirked and continued, “Do you trust me?”

“That’s kind of...” She paused, “Yeah.”

“Why don’t you trust my brother?”

“Sam didn’t tell you?” She shifted and Dean could see the discomfort in her face. “We tried to— I tried to connect with him.”

“It didn’t turn out well.”

“What happened?”

“I saw things I probably shouldn’t have. Instead of those thoughts and feelings flowing back and forth between us, it was all coming from him and going into me. Couldn’t control it.”

“What’d you see?”

She closed her eyes and focused her breathing, bringing it all back to her memory. “There was this person—a man. No, not a man. He had these yellow eyes."

“You saw Azazel. Did you see what he did?”

“No, but I tasted it.”

“And the other times.”

"And everything else."

“There was so much. There was Hell."

"Then almost like he felt…nothing"

“…and he did things… I can’t really judge him based on those actions. And there were a few beautiful things."

“Did you see Lucifer?” Dean asked.

“Yes. He was beautiful.”

“Beautiful?”

Y/N thought of his radiant grace. “His true form was beautiful, but I could also feel the terror. The fact that he was beautiful is no comparison to that feeling.” She thought for a moment. “There were two others in the cage. One was an angel, but don’t know who the other was.”

“Yeah… His name was Adam.”

“Who was he?”

“Our brother. We were related through dad. Michael used him as a vessel and they ended up in the cage with Sam and Lucifer.”

“Oh...” Y/N tried to find anything else to look at. Why hadn’t they told her about any of this?

“I don’t feel like talkin’ about it right now.”

I guess that’s fair, considering I’ve only known them two and a half weeks, she thought.

“What about Cas? Why have you been avoiding him?” Dean questioned.

“I don’t know. I just don’t feel right around him.”

Dean thinks about it for a moment. “Let’s start with something small about you.”

“As in?”

“What’s your last name?

Y/N rolled her eyes. “How many times do I need to have this conversation before you believe me? I don’t know. Or I don’t have one... It’s difficult to find that information without an official document. I wasn’t born in a hospital.”

“You sayin’ you don’t know who your parents are?”

She sighed, “Actually, I don’t care.”

“How can you not care?”

“They decided to check out early and tried to take me with them. That’s how.”

This revelation was unexpected and Dean didn’t know what to say.

“Look, I don’t know anything relevant to my life before 1995.” She continued. "Can we have fun now?”

“Alright, fine. You tell me what you want to tell me.”

“I was raised in a group home."

"Sort of. Someone saved me from my parents' death trap.”

When his senses returned, he prodded her for more. “How old are you?” “I don’t know exactly how old I am, but I was somewhere between 3 and 5 in 1995. Stopped aging in 2016, I think. At least, enough to be noticeable.”

“So you’re in your 30s?”

Y/N shrugged, “Best guess. Only it’s not that simple. There are feelings, thoughts, languages...like memories, in my head. Stuff there's no way I would know if I’m only in my thirties. I often question if what I remember is real or if the other stuff is.”

“What are some of those memories?”

“Actually sounds like you might have a lot in common with Cas.”

"Do you remember what I showed you?” Y/N asked.

“Nothing specific. It all runs together like—“

“Indecipherable thoughts strung together.”

"Within an acid trip.”

"Yeah", she agreed.

Dean swallowed, "Just thinkin' about it makes me want another drink."

“Tell me something about you that know one knows.”

“Sam is the only person who knows almost everything about me and the things he doesn’t know are way too private to be telling anyone else.”

“So tell me something almost no one knows about you.” Y/N pressed after too many drinks.

“I had a daughter.”

Y/N stopped completely, and stared at Dean. “Had? What happened?”

“She was killed.”

“I’m sorry.”

“That’s not the worst part.”

Dumbfounded, Y/N had to ask, “What could make that worse?”

“Sam’s the one who killed her.”

Y/N’s eyes were fixed to Dean’s trying to figure out if he was telling some morbid joke that she didn’t understand. “H-how—?”

“She was trying to kill me.”

Y/N was trying to imagine it in her head. Was she a toddler? 8? 13? Why was she trying to kill him? Maybe it was a possession? That doesn’t seem right. These guys can handle a possession, easily. Plus, they have an angel on their side. “I-I’m sorry.” She didn’t know what else to say.

“I only knew her for a day. I slept with her completely non-pregnant mom. Three days later, she looked like she was 15 years old. Trying to kill me to be accepted into her tribe.”

The more he talked, the more confused Y/N felt, until he told her the full story.

There was a long silence before she finally spoke again.

“Shots!” She blurted out and left her third beer at the table. This conversation was making her uncomfortable. She wasn’t expecting someone like Dean to drop a bomb like that. She slid out of her side in the booth, as quickly as possible.

The band on stage started playing a cover of Led Zeppelin’s Dancing Days and an older gentleman at the bar grabbed Y/N’s hand. At first, Dean thought he was going to have to step in, but She went with him. He was leading her out to the floor in front the stage and started dancing. At first, she laughed, but the man insisted by continuing his dancing. She finally relented and began dancing with him.

There was a crooked smile on Dean’s face. He hadn’t seen her like this before. It was cute. He took a moment watching before he started to feel a pang of envy. He wanted to dance with her. Closer than this man was, though.

However, when Y/N turned to look at him, there was something about her that reminded him of Lisa. There was a different pang in his chest, and his smile was gone. What am I doing here with Y/N? She’s at least 10 years younger. Maybe 12.

When the song was over, She and Dean were laughing again. Maybe the liquor was helping him forget Lisa again. His phone buzzed and he checked it. He made a slight grin upon seeing the message.

“Your brother wondering what we’re up to?”

“No.”

“Castiel?”

It buzzed again. Same reaction. “Definitely not”, he said.

“Ah, you’re talking to a woman.”

“It’s a dating app. Sometimes I get random messages.” Another buzz. “This one’s a picture.”

“Ooh! Let me see.”

“No. When someone shares a picture, you keep it safe and secret. Hidden to the rest of the world. It’s the respectful thing to do.”

“Ask her if I can see it.”

“Why would I do that?” Dean asked, perplexed and also intrigued by the idea.

“You interrupted fun drinking and sharing time by bringing another woman. Even if it is via smartphone. I’d like to know who else it sitting at this table and what they have goin’ on. — Be sure to let her know I’m also into women.”

"Lookin' for a threesome?”

"Why not?”

After giving her a devilish smile, he sends an ask the other woman he's messaging. Dean then leaned in close to Y/N, placed his hand on her thigh, making sure his lips were close to her ear so she could hear him. "Are you trying hard to be naughty or are you just trouble?”

"I'm trouble all the time. Naughty on the side, and nasty late at night." She caught her dumb line and chalked it up to the alcohol. They both giggled. "I'm sorry. I've never been good with my words, especially when I'm tryin' to flirt.”

"It's okay. Maybe I can teach you." Dean caught her lips with his and the kiss quickly became heated, with his hand traveling up her leg and to her breast. Her hand was grazing his crotch, feeling him getting hard. Even right here in front of everyone, he might screw her. He couldn't understand this desire to be inside of her so badly. When his phone buzzed in a reply, he handed Y/N his phone.

She looked at him, impressed. “Wow. Not bad.”

“Yeah, yeah. I don’t get it, though.”

“What?”

“The lack of hair. One, I thought that was over by 2010. Two, I just don’t feel that comfortable with it.”

Y/N shrugged, “So don‘t fuck her.”

“Easier said than done.”

She scoffed, “Why does a woman’s personal choice about her body hair bother you at all?”

“Makes me feel like a sex offender.”

“Sounds like your personal problem.”

“Well, also her age.”

“What’s wrong with her age?” Y/N inquired.

“Too young.”

“Too young?”

“Too young. I need to find someone my own age and stop runnin’ around, you know?” Dean looked off into the distance.

“Settle down? You?”

“Yeah.”

Y/N laughed at him and replied with a smile, “Sure.”

*** EPISODE 1 ***

CHAPTER 1

CHAPTER 2

CHAPTER 3

CHAPTER 4

CHAPTER 5

CHAPTER 6

Part One - Episode Two

CHAPTER 1

CHAPTER 2

CHAPTER 3

PLAYLIST Ep 2 Ch 1-4

EXTRAS:

AO3

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

*** Strong Tongue and Slender Fingers *** (Here and AO3)

*** Alt Strong Tongue and Slender Fingers Smut Scenes *** (Here and AO3)

KLEE (Original Version) (Currently only on AO3)

Alt KLEE Smut (Currently only on AO3)

#fanfiction #spn fanfiction #spn fanfic #supernatural fanfiction #supernatural #dean winchester #Sam Winchester #castiel #dean x reader #dean winchester x reader #strong tongue and slender fingers #playlist

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punz4lyfe · 3 years

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Wasted Plotential: Pokemon Journeys Beginning

While Pokemon Journeys has certainly proved to be quite unique when compared to other series in the Pokemon Anime, one thing that has particularly bugged me for a quite a while was the beginning. Now don’t get me wrong, the beginning isn’t “bad” in any way, it’s just that when looking at it, I just feel there could’ve been a bit more done to it. So for this post, I’ll be going over the first two episodes of Pokemon Journeys and what I would do to change them to make them stand out more. I would do a little more than that, but considering more important events happen in those episodes (such as the introduction of Galar and Goh’s capturing of Scorbunny), I think I’ll just leave it at the first two to keep things a little more simple. So without further ado, here we go.

Episode #1: Enter Pikachu!

There’s not really much to change in the first episode. Pikachu’s backstory is fine as it is, as well as Goh and Chloe’s side of the plot as it properly introduces their characters and distinct personalities. Ash, however, is on another story.

I don’t know if it’s just me, but Ash is really treated like a joke throughout the first episode. Sure, this is way before the canon plot of the series even begun where he has shown to be much more capable and competent once he gets older, but seriously, first episode and you’re gonna write him off as a joke even when he just won his first regional league in the present? C’mon.

Anyways, just like in the episode proper, Ash wakes up too late to properly Professor Oak’s Summer Camp. He tries to leave the house in his pajamas, but this time, he is stopped by Delia, not wanting her son to humiliate himself in public. While he argues a bit at first, he soon relents and sulks back up to his room. To pass time, Ash sadly scrolls through a small booklet filled with pictures of Pokemon. Delia notices her son’s miserable state, so she walks back down to the first floor and the scene ends with her picking up a phone, dialing in Professor Oak’s number.

When the episode focuses back on Ash, he is still upset in his room for having to miss Oak’s Summer Camp. That is, until his mother comes back from downstairs to tell him some good news: Professor Oak will be having another Summer Camp session within the next few weeks and she had already signed her son up for it via a message she left on Oak’s phone from her previous phone call. The news excites Ash and Delia quickly reminds him to wake up early next time and never try to walk through Pallet Town in his pajamas. Ash eagerly ensures her that he would never be caught running around in his pajamas in public (which we, as the audience, knows that’s a blatant lie) and he grabs a random bandana from his drawers and proclaims it as a good luck charm to help him make it to the next session on-time, with the bandana being the same one he will give to Serena. With his vigor restored, Ash’s backstory part of this episode ends with him looking through the Pokemon booklet again, wondering to himself the many Pokemon he could come across at camp, such as Poliwag or Rapidash, a reference to the times he saw those Pokemon in flashbacks from the Diamond & Pearl and XYZ series.

With these minor changes, the episode’s narrative is hardly changed, Ash is treated with a bit more respect, and the some continuity of other flashback shown in previous series is established.

Episode #2: Legend? Go! Friends? Go!

Here’s when the changes really pick up.

At the beginning of the episode when it shows Ash’s many accomplishments from his past adventures, alongside that shot, we also get a little flashback montage of some of Ash’s most proudest battles, with those battles being against the likes of Lt. Surge, Drake, Gary, Noland, Spenser, Brandon, Paul, Trip, Sawyer, Alain, Gladion, and Kukui, usually showcasing his more iconic mons, such as Pikachu, Charizard, Sceptile, Infernape, Oshawott, Greninja, Hawlucha, Rowlet, Lycanroc, and Torracat. I mean, if the manga wasn’t afraid to showcase Ash’s old mons, I don’t see why the anime itself would be.

When Ash makes it to Oak’s Lab, instead of with only having Pikachu in his party, Ash goes to the ranch to withdraw 5 Pokemon. It honestly doesn’t make sense for Ash to only have Pikachu alone in his party when he’s not going on any big and particular adventure at the moment. Since he’s most likely been at Kanto for a hot minute and since we all know that Ash treasures all of his Pokemon, it would honestly make a lot of sense for Ash to rotate 5 random Pokemon every day from Oak’s ranch when he’s not traveling in order to keep every his mons in tip-top shape and show that he still loves being by their side. Otherwise, it kinda just makes Pikachu’s little tantrum later down Journeys look even more OOC and inconsiderate as it already is. Anyways, since he will attending a Kanto-related celebration, the 5 mons Ash brings with him are Bulbasaur, Charizard, Kingler, Muk, and Tauros, promising Bulbasaur he will return him to Oak’s Lab as soon as he can in order to ensure Bulbasaur’s peacekeeping duties. He also has Bulbasaur out of his Pokeball for the time being, giving Ash’s iconic and first-ever grass-type some more screen time.

Ash, Delia, Mimey, and Oak make it to the lab and that’s when Ash comes across Cerise’s Yamper. Instead of pulling an incredibly OOC moment by invading a clearly defensive Pokemon’s space, Ash simply just keeps his distance while gently beckoning the unfamiliar mon to come to him for a pet. Yamper is, of course, distrustful, but after some reassurance from Pikachu and Bulbasaur, Yamper soon approaches Ash and happily allows the trainer to pet him while making friends with his two outside mons as well. Yamper soon suddenly jumps back up to its feet to run past Ash and return to Chloe’s side, setting up for an awkward introduction instead of Chloe being an inconsiderate jerk by leaving a person her Pokemon clearly has attacked left stranded alone without even calling for help or checking on him. Ash asks her if Yamper’s her Pokemon and she just says “no”. Ash then tries to introduce himself, Pikachu, and Bulbasaur, but Chloe, not wanting much to do with the sudden stranger, simply walks right past them to return home, with the only thing she says being a subtle, but polite “excuse me”.

Ash soon regroups with Oak and the rest of the episode plays on the same way up until the encounter with Lugia. When Ash tries to make his way to the Legendaries location, he has Charizard fly him to its location. The rough winds occurring as a byproduct of Lugia’s presence kinda messes up Charizard’s flight path, justifying Ash’s late arrival compared to other trainers. Upon arriving to Lugia’s location, Ash decides to watch from the side, marveled at both the Johto Legendary and the many powerful Pokemon used by the other trainers. When Lugia begins to take off, Ash gets back on Charizard to follow it, which Lugia, being a friendly mon, sees that Ash and his Pokemon mean no harm and happily flies alongside them. And this, ladies and gentlemen, is when Ash meets Goh.

Ash finds him holding onto Lugia’s tail for dear life, so he helps him onto Charizard’s back. Goh, seeing Ash, becomes a bit stargazed upon seeing a trainer about his age with such a powerful Pokemon as Charizard. Before any former introductions can be, Ash suddenly hears Charizard roar for him and he turns around to see Lugia looking right at him and Goh before slightly turning its backside towards them. While Goh is confused, Ash quickly gets the message that it wants to take them for a ride, so he takes Goh’s hand and leaps onto Lugia’s back with Pikachu while Bulbasaur stays behind on Charizard in order to keep an eye out for their trainer in case something goes wrong. At first, Goh is scared out of his mind until Ash ensures him that Lugia means no harm. The montage of Lugia soaring around with Ash and Goh plays the same for the most part, with a little comedic moment added in when Lugia takes its passengers underwater, causing Bulbasaur to panic before Charizard calms him down, knowing that Lugia is just having fun. Ash and Goh then introduce themselves to each other and once they are left at the flower field, Goh panics due to having no idea how to get home until Ash calmly ensures him that they could just ride Charizard.

The two return to the lab and as soon Charizard touches the ground, Goh collapses out of exhaustion and relief, given the fact that he’s never flown on a Lugia or Charizard before. Yamper greets both Ash and Pikachu in a friendly manner and then we go into Cerise recruiting Ash and Goh. He’s impressed at Goh’s footage and states to himself that he is indeed of some enthusiastic research assistants, which is when Oak steps to inform Cerise that Ash himself has already traveled through Kanto, Johto, Hoenn, Sinnoh, Unova, Kalos, and Alola (which surprises both Goh and Chloe), so he could definitely be of some good use thanks to his previous adventures in those regions. Not only that, Delia also steps in to state how much of a strong trainer Ash is before whispering to Cerise’s ear that he’s Alola’s Champion. I would make a version where she says it out load for Goh and Chloe to hear, but for now, I think I’ll just leave it as a surprise in case the canon anime does that as well. With more than enough reason, Cerise recruits Ash and then, to Goh’s shock, does the same for him, noting that being an assistant could be beneficial to the beginning of his trainer career. The two boys are then introduced to their dorm room (with Ash humbly allowing Goh the top bunk instead of fighting over it like a 6-year old), Delia leaves Mimey with Ash to help take care of him, Ash gives his other 5 mons’ Pokeballs to Oak to return to the ranch since he now has a new adventure (and thus an actual reason to start from scratch with Pikachu again), and Delia and Oak then make their exit. While Delia still reminds Ash to eat healthy and brush his teeth (because that’s what moms do), she doesn’t ask Goh to watch over her son in my version, considering it would be stupid to say that since Ash is leagues above Goh and that’s why she left Mimey at the lab in the first place. Instead, it’s the other way around, with Oak asking Ash to watch over Goh, pointing out that he’s new which Ash promises, much to Goh’s embarrassment. And then the rest of the episode plays out the same way as it did originally. (seriously, what was this episode’s love for embarrassing Ash 24-7 like he’s Dan freaking Hibiki?)

Closing

It honestly really bugs me on how much Ash, the main character of the anime series, is treated like an utter joke throughout the first two episodes of Journeys. If it wasn’t for his past achievements being shown at the beginning of the second episode, one unfamiliar with his character could easily mistake him as just as much as a beginning as Goh and Chloe due to his constant immature behavior that leads him making mistakes that he should be more than smart to not do (invading Yamper’s space, arguing over a simple bunk, etc.), and sadly, this is kinda an overall issue for Journeys as a whole, but that’s another story. Ash just conquered the Alola League, he should be portrayed as a mature, yet fun-loving mentor, not someone who could easily pose as Goh’s younger brother behavior-wise or a kid Chloe has to babysit.

#pokemon #pokemon journeys #anipoke #pokeani #ash ketchum #pikachu #goh #chloe #yamper #professor cerise #delia #mimey #professor oak

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painfulbass · 3 years

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☾ ˚⊹ ❛❛ GENERAL QUICK CROSSOVER GUIDE

So crossovers are usually difficult for a lot of people. So, because I tend to think about these things, I thought I would make this comprehensive list/guide to writing crossovers with me. This isn’t anything in concrete, but to get the ball rolling or to help make it easier for both sides to contribute to plotting. It can be hard when you don’t know the fandom.

FNF, or Friday Night Funkin’ is a rhythm based game around rap battles. The Protagonist (known as BF) is trying to prove himself and win over his Girlfriend’s (GF) Dad, and it spirals from there. Gameplay style, it is very similar to Dance Dance Revolution, and the music is a fast pasted dubstyle/chiptune soundtrack.

What a lot of people know FNF for, however is the Mods. Due to it being on Newgrounds, and the creators having it be open asset, many creators are able to make their own “weeks” for players to challenge their skills in. Ruv, and those within Mid Fight Masses, are one of those mods. You can find most of their lore scattered in the scenes of their week, or by going on their official FNF Wiki.

Now, what does this mean for crossovers? I put it under a read more, simply because this is going to be a lot. I’m going to explain crossover verses I have. How I make them, and how YOU could have your character be in the FNF verse quite easily. So go under the read more to continue reading.

☾ ˚⊹ ❛❛ RUV IN OTHER UNIVERSES

Here are some just ideas that I came up with. While not EVERY interaction will work with these, they are ideas. They’re meant to kick start ideas and inspirations. I do not consider these full verses until I’ve talked with the other mun to make sure that they are okay with it. These can easily be changed, and swapped out for different things. My main goal here is to try and keep Ruv down to his core elements while fitting into a new setting.

POKEMON- Ruv, along with Sarv run the church- which she has turned into a sanctuary and a Nursery. Much like in Canon, Sarv is supernatural, and Ruv as a run away criminal vowed his life for all eternity to protect her. With church’s going out however, the next next step would be a PokeNursery. Ruv acts as protector of the Nursery from trainers and groups alike. He usually is seen sitting on the roof, throwing pebbles at kids or passerby’s who irk him in some way. You can always find his Onix, his Low-Key Toxtricity, and his Absol around him or the nursery at all times. He does still have his strength, speed, and other abilities. The “face” he has is also a mask- an attempt to hide his identity as the wanted criminal.

OWL HOUSE- Ruv was a wanted criminal for the longest time. His magic, due to where he was born was a lot less like those around him. He could fit into the covens, but anything he did reflected back on him. Living alone, and learning to just modify himself he became a wanted criminal with a bone breaking shout. However all of those times soon came to a stop as he met the winged mistress he stays with now. Protecting her (though she is much more than capable of protecting himself) she runs one of the many sects in the area. It isn’t the best building, but it’s out of the way and he usually isn’t spotted. However, unfortunately his past comes back to haunt him. He has no choice, and begrudgingly assists the Guards to repay for his crimes. Tied to Sarv through magical bonds, he has made it clear to those in charge and to her- should something come between his duty as a guard or her, he would chose her a million times over.

DUCKTALES- Ruv is the petrified remains of the guardian of St. Sarvente. Awoken as the earth was shifted off of it’s orbit and forced into something it’s not, the callous guard is in search of the one he calls Sarvente, whom he claims is the Ruler of Souls and the one he Vowed to Protect. He is, 100% made of stone.

TOONTOWN- Stickfigures aren’t uncommon drawings. One’s as complicated as he and Sarv though usually get a few eyes. Not only that, but video game characters are always treated differently in Toontown. Maybe it’s because of a developers history, or lack there of. The story of Ruvyzvat being a heartless killer however spreads like wild flower, and while he and Sarv will primarily stay at the church... sometimes curiosity becomes too much.

KINGDOM HEARTS- FNF is it’s own world. Keyblade turned into a microphone, Ruv & Sarv are some of the first that would be met. Despite their challenge, they are rather distanced from the troubles of the Darkness and Light and would be semi-good companions.

THE BLACKOUT CLUB- Ruv is a 16. Any day will be the day that a voice will end up taking over, merging with his mind. That’s fine. Much like how Seed-The-Grudge would want, he’ll just get revenge.

HAZBIN HOTEL / HELLUVA BOSS- Ruv ironically enough is one of the few in Hell who does not make him dead. In fact, in some cases that can make him extremely rare. This crossover he IS able to accompany Sarvente into the Underworld, and follow her on her treks through it. While most assume he is a dead sinner, he usually just doesn’t answer. However something about being here and meeting those who reside within the land sets him off. He’s a tad more feral, and a tad more willing to go to the violent answer.

PORTAL- Violence core. What else is there to say? Alternatively, him being a test subject would be fascinating, especially if he was grabbed post-vow. The man is immortal, and therefore would have messed with the tests just by the fact that there is only way for him to die. Death isn’t the worst thing to happen to a man however, and he does still feel pain.

RWBY- Ruv has the ability to manipulate sound waves, specifically his own). Trained with great strength and and even greater speed, his form of combat is continuously dodging as he looks for a weak spot. Weapons of choice are shot gun snow boots, and his sickle that doubles as a short sword.

DOCTOR WHO- Sarv has the ability to create portals. While they are MEANT to be used to intergalactive travel, but instead parallel world travel that in of itself is monumental for a lot of DW plots. Ruv and Sarv can easily go from one universe to the next, however chose to stay in the church. Not to mention Ruv’s skills in target elimination and his abilities would make for some individuals to repurpose him into a weapon. While they have been approached by UNIT on several occasions, they always refuse. However, enough time has passed that they’re starting to notice that the couple in the church aren’t aging...

FNAF- RUVYZVAT and SARVENTE were creations of Fazbear Entertainments as karaoke machines... if we want to go the robot route. If we want to go the normal person route, Ruv was hired by Fazbear’s because it’s one of the few places that doesn’t do a background check, and when he said he wanted to wear a mask as part of the work outfit they were all for it. He runs the karaoke machine though. Stays away from quite literally everyone. While he isn’t the infamous killer of children here, he does have a reputation of his own that he is running from, and that does tend to make him silent.

BATIM- Criminal on the run stumbles into the wastelands formerly known as Bendy’s. Actually enjoys it at first because the cartoon was popular when he was a child. ALT. Stickman drawing of one of the artists come to life. Usually pretends to be Lost One, but when he’s alone with another (Sarvente) they turn into their stickman version selves. Has the ability to jump between 2 and 3 dimensions, but none of the strength or voice.

PSYCHONAUTS- Agent Ruvyzvat, Russian sector. Ruv is working for the Psychonauts in some weird, turning event. Mainly because the sole woman that he trusts and saved his life, Agent Sarvente brought him in. The two are inseparable, and despite Sasha and Nein being infamous for their clinginess, these two take it to a whole knew level. Ruve’s “loud voice” is actually a psychic ability he can use outside of the mind to jumble and confuse thoughts and has no damage on anything physically in the present.

GRAVITY FALLS- Sarvente is a Demon, much like Bill. Where sa Bill desires nothing but chaos and madness, Sarvente is trying her best to keep the world like it is and preserve it’s beauty. Seeing such beauty in a runaway criminal, she and he run to the forests of Oregon. Throughout Weirdmageddon, neither managed to be captured or turned to stone, however Ruv seemingly gained his incredible voice abilities. Now, they live in a semi-collapsed church out in the forest. Sarvente always asking those who come her way to join their church, Ruv is suspicious why such events would happen in such a small town, and is distrusting of most everyone he sees.

DETECTIVE CONAN / KAITOU KID / ANY ANIME OR SERIES LIKE THAT- VERY infamous criminal. Take his “Wanted Dead or Alive” that exists in all other verses, and ramp that up quite a bit. Usually wears a mask whenever he is committing a crime. He does seem to be in it for the fun, though it’s hard to tell with the stoic and expressionless looks. That being said, he does seem to have a very clear goal of what he wants. There are no patterns to where he hits, or what he takes. From wallets of people off the streets, to priceless artifacts. He’ll find where Sarvente went, and how they were able to change her mind in such a way.... how they could corrupt her.

MODERN / NON-EXTREMELY FANTASTICAL- Ruv is honestly a rather down to Earth individual, in some terms. He is untrusting of EVERYTHING, but also due to his own strengths finds little that fear or challenges him. Keep him mind he did make a deal with Lucifer (or his Lucifer) for Immortality for protecting her. While he will always be doing things on his own, a lot of his end goals and motives will come back to her. Without her involvement, he is a walking, talking, machine of destruction with no sway on which side he decides to tear apart.

☾ ˚⊹ ❛❛ GENERAL STOPPING POINTS FOR WANTING TO PLOT

DON’T KNOW THE WORLD YOU’RE FROM / YOU DON’T KNOW MY LORE. - That’s fine. I can get my hands dirty. I can research. In fact I usually would love nothing more to. I love learning about new fandoms, or new media to get into. You shouldn’t be afraid of that. As for mine- It should take someone less than an hour to get through all of the links I have posted in the RESOURCES tab in my bio. I’ve timed it. So if you have an hour to spare, or 15, or just enough time to read his wiki that’s fine. He’s not from a long running show, or anything like that. You can catch up extremely quick.

WELL WHAT ABOUT A BOOK/COMIC? HOW WOULD HE FIT IN?- If we are talking about Super Hero comics, then it depends. 90% of the time I will just play up his wanted status a lot more, and make it more of a reason for an interaction. You just ran into a man who has killed hundreds. If your muse is a super hero, or a vigilante? Would you let him go? What a villain? That might make a good partner.

TV SHOW? LIVE ACTION?- Again, it depends on the type of show. Superhero follows the same above. If it’s investigative, have him be a witness. Or a falsely accused man who can prove he isn’t the guilty party. Is it more supernatural- well he did make a deal with Lucifer and is an immortal now from it. There are a million ways to spin it. Don’t look at making him a big character. Quite honestly, side characters that you pass in the street have just as much backstory, and as long as there is a plausible chance of interactions then we can work it out from there.

☾ ˚⊹ ❛❛ GENERAL IDEAS TO BE AWARE OF THAT MIGHT HELP

HE IS A WANTED CRIMINAL.- Meaning his name Ruvyzvat is known. Despite his crimes going on for decades, he is on the run and never stopped. Several city, state, countries, and possibly nations are looking for him, and looking to take him in.

HE IS ALSO AN IMMORTAL.- While he hasn’t been around forever, and nearly not as long as Sarvente has been, he HAS been around for at least 100 years, give or take some. He can be injured, but even fatal injuries heal in an almost Deadpool like way.

HE ALSO HAS SUPERNATURAL POWERS.- His speed and reflexes alone is not something to be taken lightly. He does train and fight with Lucifer on what used to be a semi-regular basis. He has moved and adapted to be able to make sure no one but the singular person he trusts is able to lay a hand on him. That isn’t to say you can’t catch him off guard. You also have his inhuman strength to worry about, but most of all his voice. His voice which could completely demolish a building, and that isn’t the full strength. He has an amazing control over it, but that certainly isn’t a trait of his to ignore.

HE IS NOT ALWAYS IN THE CHURCH. I MADE SURE OF THAT WHEN I MADE MY BLOG.- He goes on walks, and he goes on errands. He also goes to the Gym on occasion, though not as often. He enjoys walks on the beach far earlier than anyone should be awake at. What I’m saying is running into him OUTSIDE of the church is possible. That being said, meeting him IN the church is your best bet for him warming up quicker. He feels safer in the church, and therefore usually wishes to stay there.

DOESN’T FIT THE STYLE OF CHARACTERS/WORLD? - If he doesn’t fit, then I can work to adapt him into something that WOULD fit. What characteristics about him doesn’t work. This is when I would need plotting help. If, lets say it was an all animal world, we can talk about what he is, his traits, and other such things. I am always happy to not use my icons- I just like to because I think they’re neat and I worked hard on them.

WHAT WOULD HE BE DOING?- Any number of things. He likes throwing pebbles at people. He mainly guards and protects Sarvente and her things, but I know we’re talking besides this. He cannot cook, but he does actually sew, and he does read quite a bit. Working on his fist to fist fighting would be a big one. He likes secluded areas, which especially work for explorer’s and people who walk off the beaten path.

IS THERE ANYWHERE HE COULDN’T BE?- He wouldn’t be at a bar. Ruv doesn’t drink, at all. I also don’t see him at any parties unless Sarv dragged him to them. Writing starters or plotting around those are perfectly fine, but do not expect his muse to be comfortable while he’s there.

HE SEEMS OVERPOWERED.- At times, he certainly can be, but only when he feels it’s necessary. He doesn’t flaunt his abilities, and most he has are out of self preservation. If you as a mun are worried about him and what he can do, the best thing you can do is read my information, look into his wiki, and then come and talk to me. Ruv isn’t someone who will 100% abuse what abilities he has, especially since now he is trying his best to be better for her since it makes her happy.

☾ ˚⊹ ❛❛ GENERAL IDEAS TO HAVE YOUR CHARACTERS IN HIS UNIVERSE

LOCATIONS?- The Church, the back alleys, the karaoke bar (that primarily does rap battles), the Alternate dimension that Sarv made so that he can be loud and not retrain his voice.

MOTIVATIONS?- If your muse is in the FNF world, then be ready for some sick beats to be dropped. Your muse could be rescuing someone from the BBEG and going through the slew of minions to sing against. There’s always the alternative side of this of “what the hell is going on?”

MY CHARACTER ISN’T FROM THERE, SO THEY WOULDN’T FIT IN.- Well I do have a “main” verse which replaces raps with fists. Looking for someone important to them, in the search of a deep and hidden artifact within the search, the rumors of a man born 100 years ago- theres a lot to be found in the library if you looked.

WHAT DOES THE FNF WORLD CONSIST OF?- It consists of Demon Daddies, Singing Skeletons and Pumpkins, Tankmen, a Demonic Lemon Demon, Sentient Video Game Characters, and if you take the mods in you also have Demon, Angels, Ghosts, Deadly Ex’s, Bomb Headed Men-- I promise your character will fit in at the end of the day.

ISN’T HE EXTREMELY AGGRESSIVE AND HARD TO TALK TO?- He can be. He talks in very short sentences, however I do my best to give my reply enough that you can reply to. Actions, and I chose to be very descriptive with his expressions in this case. Ruv spend many years alone, and sometimes with him, actions speak louder than words. When you or your muse figure that out is up to you.

WELL WE CAN’T DO AN ENTIRE THREAD IN A CHURCH.- I never said we had to. He is more than happy to leave the church should he want, and should there be a reason. Usually, (despite what it seems) he does like helping people, so you can lure him out that way ;)

#∘⡊ ☾ ˚⊹ 𝕽𝖚𝖓 𝕬𝖜𝖆𝖞 𝖂𝖆𝖓𝖙𝖊𝖉 𝕸𝖆𝖓 ⊹ — ❛❛ v. crossover.#∘⡊ ☾ ˚⊹ 𝕴𝖙'𝖘 𝕶. ⊹ — ❛❛ resources.#∘⡊ ☾ ˚⊹ 𝕴𝖙'𝖘 𝕶. ⊹ — ❛❛ psa & updates.#∘⡊ ☾ ˚⊹ 𝕴𝖙'𝖘 𝕶. ⊹ — ❛❛ save.#i added all i could think of #just so i could kinda help out when it came to plotting but #even if we don't know each others universes or anything #this is pretty comprehensive so i hope it helps #i spent a while on it and it should be pretty helpful to anyone who wants to write with me but has no idea how #now if you excuse me im going to scream because of how long this took #∘⡊ ☾ ˚⊹ 𝕾𝖎𝖓𝖋𝖚𝖑 𝕰𝖓𝖉 ⊹ — ❛❛ headcanon.#∘⡊ ☾ ˚⊹ 𝕾𝖎𝖓𝖋𝖚𝖑 𝕰𝖓𝖉 ⊹ — ❛❛ meta.

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