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megaerakles · 12 days

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To Whom It May Concern

Tim couldn’t stay.

No matter what Bruce had said when he caught Tim in the act of laying the paper trail to establish his Fake Uncle, no matter how long Dick had sobbed into the phone at him during an inordinately expensive long distance (read: off planet) phone call, no matter how much Alfred had been fussing over him and insisting it was no trouble at all to care for him since Tim’s scheme had been revealed and promptly foiled, it just didn’t change the fact that Tim couldn’t stay. Truthfully, the Wayne family’s apparent sudden burst of affection for him actually made this whole thing worse because somewhere along the way, without even trying, Tim had failed to keep things wholly professional between them and somehow tricked them into thinking he belonged in their family!

He couldn’t let it stand. For the sake of Jason’s memory, for the sake of preserving the sanctity of the true Wayne family, he had to stop this… this absurdity of pretending that Tim belonged with them from continuing! Tim had to run. Tim had to vanish. It was the only way to make things right again. Sure, the thought of never seeing any of them again, the thought of being done with Bruce and Alfred and Dick and Barbara and everyone in his life he currently held dear once and for all made it feel as though his heart was being ripped out of his chest only to be shoved back down his throat to stop the flow of air into his body—but it didn’t matter. He didn’t matter, not nearly as much as they did. This would be for their own good.

Tim was leaving, and it turned out to be easier than he thought it would be in the end. Not emotionally easier, but logistically easier. Bruce had been extra attentive lately, so he thought he’d have to fake an injury and get ‘benched’ so that they would lower their guard long enough for him to slip away. But by some divine stroke of luck, a new player had waltzed onto Gotham’s criminal scene not too long after Tim’s Fake Uncle plan fell through and started making threats against Batman and Robin. They had apparently freaked B out enough to prompt him to send Tim off to Titan’s Tower to ‘focus on his team for awhile’. Tim had accepted the command with the requisite amount of complaint, planted some fake texts to make it look like he’d actually communicated to his Team that he would be there, shoved everything from his guest room in the Manor that he couldn’t bear to part with into a duffel bag underneath a spare uniform, gave Bruce what only he knew was a more emotionally charged nod goodbye than usual, and then poof. Tim Drake was zapped out of the Batcave for the last time ever.

He let himself have one night in the Tower. Partly to catch a few hours of sleep in a familiar and secure environment, but mostly so he could clean up his room for its next occupant, sweep his belongings and his person for any extra trackers, and repack his bag more efficiently. He also took the time to grab a spare backpack and fill it up with emergency rations. While he was taking plenty of cash, he didn’t want to risk having to go into stores with security cameras for a while, at least until he’d cleared a suitable distance from San Francisco proper as well as implemented the first of his many planned disguises. He didn’t think a bottle of cheap hair dye and some colored contacts would be enough to fool Oracle indefinitely, but if he was appropriately cautious it might keep her from getting a confirmation of his location long enough for the Bats to either get bored looking for him or to actually realize they were better off without him around.

When the early rays of dawn started to bathe the sides of Titan’s Tower in ember colored light, he was off. He left behind seven trackers pulled from his clothes and bag and one more from behind his ear; he’d kept the one he noticed in his favorite pair of sneakers because it was a type that wouldn’t start transmitting data until the Bats actively started tracking it and he was hoping to find someone who wore his size at the bus station he could pay to wear them so he could throw them off for even longer. If all else failed, he would just toss them in an out of the way trash can. He had also left a letter of resignation for Batman that he’d whipped up based off of an online template, signed and sealed and awaiting discovery atop the pillow in his nearly empty dorm room (he had tried for something more personal, a longer note of explanation for Bruce about why he couldn’t stay despite being asked, but—the words just wouldn’t come, and he’d been running out of time). His bag was heavy, courtesy of all of the extra supplies he’d grabbed in anticipation of having to evade not only Batman’s team but the rest of the Justice League. His heart was heavy, courtesy of emotional baggage that he wished was as easy to unpack as his actual bags would be when he finally found somewhere to settle.

He boarded the first bus he saw after he’d gone a few blocks and took a seat towards the back, where he leaned against the window and stared back at the iconic giant T that he used to belong in, however briefly, until it disappeared from sight. And just like that, Tim Drake’s life as Robin was over.

—

To Whom It May Concern:

This letter is to formally notify you that I’m resigning as Robin in Gotham City, effective immediately.

Thank you so much for the opportunity to work with you all for the past three years. I’ve enjoyed getting to know the team and appreciated the opportunity to learn about vigilantism and hone my detective skills. I’m excited to take these skills with me as I pursue the next step of my career.

During the past two weeks, I have done everything possible to wrap up any ongoing cases and leave no unfinished business. The Robin suit as well as my spare have been cleaned and placed in the armory of Titan’s Tower along with any gear I have been issued.

I wish Batman and team the best, but am afraid I will be out of contact for the foreseeable future.

Sincerely,

T. J. Drake

—

Red Hood stalked into Titan’s Tower with all the grace of a wildcat closing in on its prey, his vicious smirk hidden by his helmet, his unauthorized entrance hidden by virtue of the heroes’ own stupidity in failing to remove his codes from the database. Seriously—he’d thought gaining entry into their so-called fortress would be the hardest part of this little trip, and had only tried his access codes for the sake of checking the most stupidly obvious Plan A off his list! For them to work, to realize that there was nothing truly separating the precious sidekicks from the wrath of a vengeance minded crime lord, well… it sure made the message he was about to send feel all the more poignant.

He had come equipped to subdue an entire horde of Teeny Titans without hurting them (much), but to his surprise, the tower was empty of kid sidekicks despite Robin having been sent to work with his team yesterday afternoon, a fact Jason had gleaned last night from listening to the mind numbing chatter of Nightwing being bored on a stakeout and wanting to chat with anyone over the comms Jason had hacked into. Which he’d done in order to better plan his aggressive takeover of Crime Alley, not because he missed hearing his family’s voices. Nope.

(Since coming back to Gotham, it had been more difficult than he anticipated to stick to the plan when some part of his mind still stubbornly clung to those foolish, childhood dreams of belonging and family and a father who gave a shit and things like that, and kept popping up with annoying questions like ‘what if he revealed his identity to Dick or Alfred or someone just to see if maybe Talia had been right and they’d want him back after all. Clearly, the existence of a new Robin meant that they’d never really given a damn about him, so he was going to go through with this thing, just watch him.)

Truly this had to be fate, because the path to Robin was practically unfolding before him with no barriers. All that was left to do was find where in this gigantic clubhouse the itty little birdie was nesting. Jason tried the common room first. Then the kitchen. Then the rec room. And then the training floor. And the med bay. And then the armory, where he found Robin’s suit, but no actual Robin. He supposed the next place to check would be Robin’s bedroom, because even though it was well past eleven, Drake was a teenager and could conceivably be sleeping in, especially since there was no Alfred around to rouse him at a reasonable hour. Luckily, the doors on the floor with sleeping quarters were all clearly marked with either the name or symbol of the person it belonged to, so it was easy enough to find the one with that all too familiar stylized ‘R’. Jason paused to take a steadying breath before gritting his teeth and deciding to really make an entrance by kicking down the door.

…To an empty bedroom. Like, not just devoid of Tim Drake, but also devoid of books, trinkets, photos, decoration, clothes, dishes, mess, et cetera, et cetera. It looked as clean and sterile as a hotel room, and if Jason hadn’t literally just seen Robin’s insignia on the door he would think he’d entered an unassigned room by mistake. He frowned and yanked off his helmet, as if looking with his own two eyes would suddenly change the scene, but no. Nothing. He strode into the room and yanked open the closet—empty. He walked over to the desk and yanked open the top drawer—empty. He yanked open the bottom drawer, and mostly empty except for—wait, was that a pile of deactivated Bat trackers? Fucking bizarre. When he stood up, he glanced around again, and this time something on the bed caught his eye. It had been easy to miss against the white pillowcase, but there was an envelope tucked up against the pillow. With a scowl, he stalked over and grabbed it.

When Jason flipped it over, he noted that it was addressed to Batman, but decided that since he was a crime lord now he didn’t have to care about something as trivial as opening someone else’s mail. He didn't want to take off his gloves and risk leaving prints on anything, so he pulled out a dagger and used it to slice open the envelope. As he flipped it over to dump its contents on the desk, he had the fleeting thought that he probably should have put back on his mask in case this had been some villain’s ploy to poison Batman, but luckily all that fell out was a single sheet of printer paper folded into thirds.

This he was careful not to damage as he unfolded it. It wasn’t a long note, just a few small paragraphs, so it was quick enough to read: To whom it may concern. This letter is to formally notify you that I’m resigning as Robin in Gotham City, effective immediately…

Jason dropped the letter and took a step back, staring at the innocuous piece of paper with wide eyes and racing thoughts. Robin had—Drake wasn’t—Timothy—the kid, he was quitting? Leaving? Gone?

It could be a trap. It probably was a trap. Except Robin shouldn’t have had any way of knowing Red Hood would be able to track him all the way to Titan’s Tower so why would he have set a trap for him in the first place? A trap for someone else, then? If it was, it was really, really stupid of him because the kid had signed his resignation letter from Robin with his actual name, and surely he wouldn’t have made it this far if he were that careless with his identity. So, it was either a very bad trap, or not a trap at all. And if it was not a trap at all, then…

Then Robin had… resigned. Which, ok, Jason’s stated goal coming into this thing was to get Tim Drake to stop being Robin. So he should be happy about this, right? Except he’d not gotten to toss the kid around and work out his aggression at all so there was no satisfaction in it. Also, the timing was fucking obnoxious. Go figure that the very day he decides to do something about his replacement, the kid decides to peace out of the Gotham vigilante scene and… and go…

… Somewhere. Jason had no idea where Tim Drake would go if he were no longer Robin. Given how he’d waited until he was alone and then left the note to be found on the other side of the country, Jason had a sneaking suspicion that returning to Gotham was currently off the table. The letter had said he would be ‘out of contact’ for the foreseeable future; Jason could read between the lines enough to figure out that meant he was running away.

—Which, fuck. Another Robin was running away from Batman because of… well, Jason didn’t know what this kid’s issue with B was, but there were plenty of potential flaws in the man to choose from so Jason was going to play it safe and assume it was something Bruce did. Clearly, the man could never learn. And now, this poor dumb Robin was going to pay the price! Jason was more than familiar with the number of horrors that awaited kids who ended up on their own. He could starve; he could freeze to death; he could catch some disease like the flu, or get cut on a rusty nail and get tetanus, and then die from it because he couldn’t access medical treatment. He could get mugged, or harassed by cops, or snatched up by traffickers, or—

And fine; Jason himself had meant to hurt him. But that had been for ideological purposes, to prove a point about putting children in danger and not taking good enough care of them and stuff. It wasn’t like he was going to hurt him that badly, just bad enough to freak out Bruce a bit. But Jason was also the Red Hood, and the Red Hood’s mission was to do what was necessary to stop awful shit from happening to vulnerable kids. And this stupid, stupid letter was apparently enough to abruptly transfer Timothy Drake into that category in his head.

Everything Jason had heard about the kid said he was smart, and the timing of his disappearance pointed to some thoughtful planning on his part. Jason could imagine that the little shit had some sort of plan in place to evade Batman’s attempts to locate him, and he probably could manage to run without getting caught by Bruce and the Gotham team for a while. Heck, the kid probably had strategies to get away from most if not all of the Justice League members, since B was sure to call in favors once he got frantic enough about the little bird. But one thing the kid likely did not plan for was being pursued by him. Ex-Robin, currently a crime lord, League of Assassins connections, and a bone to pick with Timothy specifically? (He ran away from home and left a fucking resignation letter about it? Does he not realize what that would do to Dick, to Alfred, to Bruce—)

After stuffing the letter into his pocket, Jason put back on his helmet and stalked out of Titans Tower as silently as he’d arrived, this time with a new yet equally furious purpose sharpening his steps. Sucked to be Timothy Drake, he thought, because the Red Hood got his message and he was officially concerned.

#my writing #my fanfic #tim drake #jason todd #to whom it may concern #would be what this fic is called if I ever continue it haha #but this is as far as I got and then kinda lost steam #but it stands as a one shot pretty nicely so I thought I'd share it here see what people thought. ya know.#could it be a multi chapter fic one day? sure. what do I know. will it be soon? probably not.#um ok what else #unreliable narrator #tim drake has self worth issues #are probably the two most critical tags/warnings for this one.#anyway actually being on desktop is giving me way too much power look at me go all these tags and no typos damn!

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shannonsketches · 22 days

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Why is the anime so weird, it's not even the same series dude?? It's like,

Anime:

GOKU: I have a great idea to bring peace to the universe, and my leadership and compassion alone will unite us all. I have No Flaws and am A True Relatable Everyman :)

VEGETA: NO! I AM THE BEST AND I WILL CAUSE PROBLEMS UNTIL I AM RECOGNIZED AS SUCH!!!!

Manga:

GOKU: Vegeta what's cornmeal made of? I know it's what the corn eats, but what's it made of? VEGETA: Hey Kakarot let's play the quiet game until one of us dies.

#silly hours #I do not understand this writing it's so bad aklsdlkasjd #Toei wants Goku to be Clark Kent SO bad and he SO isn't lmao #they're so good and dumb and rounded and complex in the manga what is the anime so afraid of #Toriyama said 'no no this man is a detached faux-immortal who has a dear pure heart but he's childlike and selfish even though he's kind'#and toei went 'got it goku's never done anything wrong ever in his life'#toriyama said 'Vegeta's gone through a lot and he's finally settling into his more mature leadership role with the confidence he's earned'#and toei said 'got it vegeta has the confidence of a high school bully except now he can interact with his family as a comedy bit'#girl hWHAT #Toei trying to group Goku and Vegeta as two people who would rather train than be with their families and Toriyama said NO Vegeta wants #to be HOME this is the first time in years that he's HAD ONE and it makes him HAPPY to be with his wife and children!!#Vegeta trains so that he can protect the things he doesn't want to lose again and Goku trains because it's the thing that makes him happies #They are NOT the same lmao And yeah Vegeta still wants to beat Goku but he also knows that Gohan could dogwalk both of them if he wanted #He also knows Trunks and Goten are going to surpass them it's not about being the best anymore he's past that he just wants to Not Need Gok #He just doesn't want to have to rely on Goku to save the day he wants to be Enough on his own he just wants to know he can be #because every time it's mattered he WASN'T and people he loved were lost to his inability to protect them and he carries that #Like Whis diagnosed him with anxiety and cptsd out in the open and Beerus said he was self-centered for feeling guilt #+ he lowkey enjoys the rivalry it keeps him goal-oriented so he can't get complacent and lazy which is what triggered his Buu Saga breakdow #realized how Fucked Up it was that having a home and loving family made him feel like he was failing and went 'wait no I won actually??'#now he's chill as fuck in the manga. cool confident leader.#and sometimes he is childish and dumb with Goku as a treat #you know what rocks about his rivalry with Goku in Super though is that it's Playful. Vegeta is learning how to Play.#You ever seen a shelter dog get introduced to a really playful dog and it takes a minute for the shelter dog to understand it's safe here #And then they're both running around the backyard playing hot potato with one braincell?? That's Goku and Vegeta's relationship #and the way the anime sleeps on that dynamic is so fucking criminal especially when it's literally canon it's in print it's out there #you had the playbook how'd you fumble it this bad #anyway that's my 25+ year blorbo thoughts I love Geets a lot okay #And I love Goku in the manga a lot I'd forgotten that he's actually a great character when Toei's not fucking up his whole vibe

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cryptiduni · 10 months

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“white mourning.”

#‘‘A white mourning. A modern death. Divorce or something similar. All you can do is put more distance between you & him. make him smaller.’’#jean is a very easy character to hate if you know nothing about him. & you know what they say. easy target doesn’t make for a good practice #judit literally compares harry to intellectually disabled man yet you don’t see ppl hating her because she is outwardly nice.#she’s polite yes but she doesn’t care as much as jean cares for harry #he is not perfect. he is mean. but loyal. if he truly didn't care he wouldn't hab come back to martinaise & coulda just reported harry’s as #he put up with du bois’ bullshit for years and built a toxic (totally straight) relationship with him yet always comes back.#he says he will leave you in the village to die but please understand harry isn't exactly a great person. especially pre-bender hdb.#planned a make up joke & put on a wig for hdb even tho he wasn’t the who started the whole fiasco #you can hate him all you want for leaving harry before & during tribunal but how could he have foreseen all this bullshit would have happen #his second leaving is kinda bullshit writing but #jv is dealing with his own demons too. clinical depression. partner almost died. job is shit. case spiraling out control #i do not blame the DE staff either. sometimes shit just happens. not everything needs a grand explanation.#but it definitely coulda been handled better. but i understand. resources were sparse.#i relate to jv. as someone with temper issues & attention problems i have to remove myself from the scene or i'll say shit i'd regret late #my man is having the worst week of his life. leave him alone.#kim is great but have u heard of a man who thinks he's old when he is only 30 & luvs horses & his commie boyfriend that he's divorcin' soon #disco elysium #de fanart #jean vicquemare #disco elysium fanart #jean heron vicquemare #jean posting #illustration #de #artists on tumblr #my art #I WANTED TO DRAW THIS FOR MONTHSSS YOU COULDN'T IMAGINE. HE LITERALLY HAUNTED ME IN MY SLEEP!!!#i love him normal amount. very healthy. much feelings #my little maiu maiu

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hephaestuscrew · 9 months

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"Minkowski's been talking about Sondheim again…": Minkowski's love of musical theatre and what it reveals about her characterisation and her relationships

TL;DR: Renée Minkowski's love of musicals, while it might seem just like a mundane character detail, is used to give depth to her character because it contrasts with expectations of her from both the listening audience and the other characters. Her willingness or unwillingness to share this interest in different circumstances reveals her relationships with other characters at various points. Since this is a long one, if you'd rather read it as a document, you can view it here: Google Doc version.

"She actually really cares about these talent shows": Episode 8 (Box 953)

In the early episodes of Season 1, Minkowski is presented (largely through Eiffel's unreliable perspective) purely as a strict no-nonsense authority figure without much emotional depth, the kind of person who only likes things that are useful, purposeful, or mandated by Command. In contrast, musical theatre is a creative pursuit that has nothing to do with the mission of the Hephaestus and is viewed by many people as fairly frivolous or silly. The gradual exploration of Minkowski's passion for musicals is one of the many ways that the show expands and challenges our understanding of her as a character.

The first indication that we get of her interest in musicals is through her entry into the infamous talent show, something that is required as part of the mission. Minkowski really cares about 'crew morale' activities in general, even when they actually have a negative effect on morale and even before she's friends with any of her crew (for example, the Christmas and Thanksgiving dinners in the earlier stage of the mission), perhaps partly because doing things in the "right way" is important to her.

But Eiffel senses that the talent shows aren't just about rules for her: "it’s bad enough when she makes us do something just because it’s military protocol, but I think that she actually really cares about these talent shows". This might be the first indication that we get of Minkowski caring deeply about anything that isn't inherently part of her role as a Commander. Moments like this are part of the gradual process of giving us insight into her character beyond the Commander archetype that she tries to embody. And yet, she only indulges her theatrical passion because something mandatory gives her permission, or an excuse, to let another part of herself out.

Of course, to satisfy the needs of a talent show, she'd only need to provide a performance of a few minutes. But Eiffel mentions "the second act of the play" - which along with Hera's comment that "Isabel isn't the biggest role in the play" - implies that Minkowski was intending to put on the whole of Pirates of Penzance as her talent show act, rather than a few of the songs or some kind of medley. (I suppose that Eiffel could be exaggerating or Minkowski might have been planning to do extracts from different parts of the play, but I prefer the interpretation in which Minkowski gets to be more ridiculous.)

Even though no one else would be willing to be in her production of Pirates of Penzance, Minkowski casts Hera as Isabel, a role with two lines and no solo singing. I found some audition notes for this play which said "The traditional staging gives [Isabel] more prominence than the solo opportunities of the part suggest, so she must be a good actress" which does make me sad in relation to Hera's inability to have a more significant role by being physically present on stage.

It’s sweet that Hera still wants to take part though. She tells Eiffel "Pirates of Penzance is a classic of 19th century comic opera", so either she’s absorbed what Minkowski has told her about the show, or she’s done her own research and formed her own opinions. I enjoy the fact that Hera is the one Hephaestus crew member who shows potential to share Minkowski's musical theatre appreciation; I like to think that this is something they could explore together post-canon.

Anyway, I'm obsessed with the idea that Minkowski was planning to play every character except one in Pirates of Penzance, a show which is designed to have 10 principal characters and a chorus of 14 men. It seems that her contribution to the talent show was supposed to be an entire two-hour two-act musical, with costumes and props, in which she would play almost all of the parts. This is very funny to me as the perhaps predictable consequence of giving an ambitious and frustrated grown-up theatre kid a position of authority and asking them to arrange a talent show. Minkowski knows that the audience will be made up of her subordinates who are theoretically obliged by the chain of command to watch and listen, so she absolutely tries to make the most of that opportunity. There's probably also a degree to which she limits other people's involvement in her musical because - as with her other endeavors - she wants the outcome to be almost entirely within her control (something that is usually pretty much impossible in as collaborative a medium as musical theatre).

Of course, Minkowski's behaviour in most of the talent show episode is affected by her being drugged by Hilbert. This creates an exaggerated situation which is the first real opportunity for Minkowski to be something other than the strict sensible authoritarian Commander and the foil to Eiffel's jokey laid-back attitude. I don't agree with ideas that being intoxicated brings out anyone's true self (especially in the absence of consent for the intoxication), but it seems pretty clear that being under the influence of whatever was in Hilbert's concoction caused Minkowski to fully commit to a level of manic enthusiasm for her musical production that might have otherwise been obscured by her professionalism. It's a particular kind of person who belts showtunes when drunk, and Minkowski is that kind of person, even if that's not how she wants to present herself. (As a sidenote, I seem to remember that they took Emma Sherr-Ziarko's script off her to help her sound more drunk. It's an excellent performance.)

Minkowski wants interval ice cream. She wants "pirate costumes" (and she'll threaten to shoot a man to get them). She wants "swashes and buckles". She wants whatever props she can get her hands on (including a real cannon). This show is important to her, even though only three other people will witness it and two of them actively don't want to be there. It’s important to her for its own sake.

Eiffel says Minkowski wants "a second pair of eyes to tell her if the prop sabre for her Major-General costume was a bit much…" While I certainly wouldn't put it past Goddard Futuristics to have a prop sabre on the station for no apparent reason, it feels more likely that she might have made it or adapted some existing item. Which suggests that maybe she was that passionate about the props even before Hilbert drugged her.

Even so, it does feel significant that Minkowski's love of musicals is only revealed in the episode in which she is drugged, exhibiting lowered inhibitions, exaggerated behaviour, and an "impaired euphoric effect". Her love of musical theatre is initially revealed through a professional structure that provides permission, and then further emphasised by a forced intoxication that exaggerates some impulses that perhaps she already had.

"Some hobbies other than making trains run on time": Episode 17 (Bach to the Future)

After Eiffel tells to find Minkowski to find something else to do while her work duties have quietened down, they have the following exchange:

EIFFEL: You must have some hobbies other than making trains run on time. Something to do with friends? Boyfriends? MINKOWSKI: Of course I do, but, well, there aren't really a lot of opportunities for rock climbing or trail hiking in the immediate vicinity.

Even though this quote doesn't mention musicals, I've included it here for two reasons. Firstly, it's very funny to me that, even after the talent show debacle, Eiffel acts like he's never had any evidence of Minkowski's hobbies. She tried to perform a whole play almost single-handedly and it didn't occur to him that this might indicate an interest of hers outside of work. I think this reflects the fairly two-dimensional view that Eiffel has previously had of Minkowski, which her interest in musical theatre didn't fit into.

Secondly, it feels notable that Minkowski doesn't mention musical theatre here. She wants to show that she has non-work interests, but without undermining her own authoritative image. Her interest in rock climbing and trail hiking - while it may be genuine - fits with how she wants to be seen as a Commander. These are hobbies which portray her as physically capable, with a high degree of stamina and a willingness to adapt to perhaps less hospitable surroundings. Of course, Minkowski does have these traits and they serve her well on the Hephaestus. But there's not really anything particularly surprising about her expressing these interests. The surprise in this scene comes from the reveal that she has a husband, a character detail which - like her love of musicals - isn't something we'd necessarily expect from the archetype-based view of her we are initially presented with.

Her interest in rock climbing and trail hiking never come up again, because these details don't really deepen her characterisation (or at least, they aren't really used to deepen her characterisation beyond proving that she isn't entirely all-work-and-no-play). In contrast, Minkowski's love of musicals is brought up over and over because it shows another side of her that she struggles to reveal on the Hephaestus, and that allows more interesting things to be done with her characterisation.

"You wanted to write showtunes": Episode 35 (Need to Know)

Alongside the more high stakes discoveries prompted by the leak from Kepler's files, we also learn that Minkowski applied to - and was rejected from - the Tisch Graduate Musical Theater Writing Program.

Up until this point, we've only had evidence that Minkowski enjoys performing in musicals. But here we learn that Minkowski doesn't just love watching or performing in musicals - she wanted to write them too. This suggests a creative side to her that we never see her fully express.

The course

The Tisch Graduate Musical Theatre Writing Program claims to be the only course of its kind in the world and it accepts just 30 students each year. The current application process requires applicants to: upload play scripts or recordings of songs they've written; answer a large number of extended response questions about their creative process and views on musical theatre; write a 'statement of purpose' which has to talk about why they are applying and include 3 original ideas for musicals; provide a professional resume and a digital portfolio; complete an exercise of writing in response to a prompt; and undergo an interview. The process might have changed somewhat since Minkowski would have been applying (which, if it was soon after she finished college, might have been around the early 2000s) or it might be different in Wolf 359's alternate universe, but I think we can safely assume that applying to this course was a serious undertaking that required an intense amount of commitment and work.

Applying to a course like that isn't something you do half-heartedly or on a whim. You couldn't apply to this course if you hadn't done a fair amount of musical theatre writing already. (The course requires applicants to choose to apply as bookwriters, lyricists, or composers, but I'm not going to make a guess here as to which of these Minkowski went for.) The fact that Minkowski wanted to study this course suggests that she was seriously considering trying to make a career out of musical theatre writing. In Once In A Lifetime, she tells Cutter that commanding a space station has always been her dream job, but we've got evidence here that it wasn't her only dream job. There's something kind of funny and kind of sad about the idea that writing musicals was her back-up / fall-back career path. She does not like to make life easy for herself.

The revelation

This information is revealed against Minkowski's will. It's not something she wanted people to find out, and she isn't happy about them knowing:

JACOBI: "Dear Renée, thank you for your interest in the Tisch Graduate Musical Theater Writing Program..." MINKOWSKI: Oh, come on! JACOBI: (pressing on) "We are sorry to say, we will not be able to offer you a spot in this year's blah blah blah." Oh this is too good. You wanted to write showtunes? MINKOWSKI: Number one? Shut up. Number two, why are my personal records on there?! [...] How is it in any way relevant?! JACOBI: Oh, I think it's very relevant. I mean, if you're sending someone to pilot ships in deep space, you want to make sure that they can, you know... paint with all the colors of the wind. Jacobi CRACKS UP - and, although to a lesser degree, so does Lovelace. Minkowski looks at her: really? LOVELACE: Sorry, Minkowski. It's... it's a little funny. MINKOWKSI: No, it isn't!

Minkowski seems defensive and embarrassed here. She obviously doesn't trust everyone there with this revelation (Jacobi, Maxwell, Lovelace, and Hera are all present). She considers this information to be "personal" and irrelevant and not even "a little funny". She's used to reactions like Jacobi's (and to a lesser extent Lovelace's); in Ep41 Memoria, she says "most people think it's hilarious that I like musicals" (see below for more thoughts about this quote). But the fact that these mocking reactions are expected doesn't mean that they don't bother her. She wants so badly to be taken seriously and, in this scene, her interest in musical theatre seems to be incompatible with that. Jacobi reacts the way that he does because of the idea that I've already expressed, that a passion for musical theatre does not fit with the serious authoritative image that Minkowski has often presented. It's not the typical hobby of a soldier, especially not a Commander.

To me, the way Lovelace laughs suggests that she might not have previously known about Minkowski's love of musicals, or at least perhaps not the full extent of it. At any rate, it's definitely news to Jacobi. And Minkowski clearly hasn't talked about it enough for it not to feel like a big reveal for her.

The rejection

It's notable that this reveal is not just that she wanted to write for the stage, but also that she failed to get into a course that might have helped her work towards that goal. This of course compounds Minkowski's discomfort at having this information revealed. Not only did she want to write showtunes, but she encountered rejection in her attempts to do so. This detail implies that perhaps it wasn't just the appeal of her spacefaring dream that stopped her going down a theatrical career path.

I'm about to move more into headcanon territory rather than just straightforward analysis, but I personally believe that, while Minkowski auditioned for a lot of musicals (particularly as a child / young person), she was never cast as the main role. She seems embarrassed about her interest in musical theatre in a way that (at least judging by people I've encountered) people who were always the lead in their school / college productions don't tend to be.

We don't have much evidence about her actual level of singing/acting ability, given that she is inebriated during the only time we hear her sing in the podcast. However, it resonates with other aspects of her characterisation to imagine that Minkowski was generally good enough to get an ensemble part but never quite good enough to be cast as a main part. I think she might see only ever being cast as part of the ensemble, and failing to get into the Tisch Musical Theatre Writing programme, as slightly more down-to-earth examples of the same pattern as her repeated rejections from NASA. She is desperate to prove herself. She is "someone who very much wants to matter. To do something important." When she casts herself as almost every part in Pirates of Penzance, she is finally taking the opportunity to be a main character, an opportunity which I imagine had been denied to her over and over in both a literal and metaphorical sense.

"It's just from a play I saw once": Episode 41 (Memoria)

The next scene I want to talk about is from a memory of Hera's, which took place on Day 57 of the Hephaestus mission and in which Minkowski appears to be talking about the Stephen Sondheim musical Sunday in the Park with George:

MINKOWSKI: Oh, it's just from a play I saw once. It doesn't matter. (BEAT) The guy who sings it is this famous French painter. And his entire life is kinda falling apart. But he can always turn what's happening around him into these beautiful paintings. HERA: And? MINKOWSKI: And... That's, I don't know. Reassuring, maybe? (BEAT) I don't know why I'm going on about this. You don't care. HERA: I think it's interesting. MINKOWSKI: Yeah? Most people think it's hilarious that I like musicals. HERA: I don't see what's funny about it. MINKOWSKI: Well, thank you Hera, but you're not exactly... you know. HERA: I'm not... what?

There's a couple of different things I want to pick out from this exchange. Firstly, the line "Most people think it's hilarious that I like musicals" makes me sad. I don't think she's talking about people on the Hephaestus there. Judging by the quote I talked about from Bach to the Future, Eiffel definitely wouldn't have registered Minkowski's love of musicals at this stage, and I doubt Hilbert cares at all about the hobbies of his fellow crew members. So Minkowski is talking about experiences that she's had on Earth, of people mocking her interest in musicals and thinking it doesn't fit with who she is. You can hear the impact of those experiences in Minkowski's reluctance to elaborate, in the way she says that something she obviously cares about doesn't matter, in her assumption that Hera doesn't care.

Secondly, this scene is a complicated one for Minkowski and Hera's relationship. On the one hand, Minkowski freely talks to Hera about something she's passionate about, and Hera listens and expresses interest. Hera validates Minkowski's interest in musical theatre without making a thing of it being weird and Minkowski thanks her. Again, it’s shown as an interest they could could potentially share.

But on the other hand, it seems like part of the reason Minkowski feels able to open up to Hera is because at this point Minkowski doesn't see opening up to Hera as fully equivalent to opening up to a fellow human. She doesn't just accept Hera not making fun of her interest; instead it seems Minkowski is about to imply that this lack of judgment indicates Hera's difference from humans (although she does have the decency not to say it outright). Minkowski's expectation of judgment from others contributes to her saying something very hurtful to Hera here. (This kind of potential consequence of negative self-attitude is explored a lot with Eiffel, so it's interesting that Minkowski can sometimes have a similar issue.)

Minkowski and Hera's conversation is interrupted when:

The DOOR OPENS. EIFFEL: Hey, Minkowski, we've - What are you guys talking about? MINKOWSKI: We were just discussing how I'm going to take away your hot water privileges if you don't reset the long-range scan.

Eiffel can obviously tell that he's walked in on a conversation that is about something other than work, or he wouldn't have asked. But Minkowski actively chooses not to tell him that she was talking to Hera about musicals. Perhaps she doesn't know how to open up to a human subordinate about it. Perhaps she doesn't trust him not to make fun of her. Perhaps she just doesn't have any impulse to talk about her interests with him. Either way, if Minkowski's love of musicals is something which reflects a side of her personality outside of her Commander role, this is a moment where she chooses not to take an opportunity to share that side of herself with Eiffel. This reflects the emotional distance between them three months into the mission, which forms a nice contrast with the next couple of quotes I'm going to talk about.

"Composition. Balance. Harmony.": Episode 54 (The Watchtower)

When Eiffel comes directly face to face with alien life, he discovers that music is the human invention that fascinates the Dear Listeners:

EIFFEL: You haven't figured out music? BOB: ORDER. DESIGN. TENSION. COMPOSITION. BALANCE. HARMONY. EIFFEL: (low, to himself) Minkowski's been talking about Sondheim again…

I only learned in the course of writing this post that in this moment the Dear Listeners are almost exactly quoting a repeated phrase used throughout Sunday in the Park with George. The titular protagonist lists various combinations of these qualities in multiple songs in reference to his art. In the closing song, the lyrics are "Order. Design. Tension. Composition. Balance. Light. [...] Harmony." It's not only Eiffel's references that the Dear Listeners are incorporating into their speech - they've picked this one up from Minkowski. This also suggests that some element of her appreciation for musicals and the way she talks about them has fed into the Dear Listeners' understanding of the human phenomenon of music. The Dear Listeners aren't just parroting - they understood the quote enough that they left out the word "light", arguably the only quality in that phrase which isn't a big part of music as well as visual art. Eiffel likes music too, but I don't think that this is how he'd talk about his favourite songs.

This is a refrain about finding order and beauty out of the chaos and uncertainty of life, which was also the aspect of Sunday in the Park with George that Minkowski focused on when talking about it in Memoria. It suggests that art/music could be something governed by rules and principles, which is potentially something that appeals both to Minkowski and to the Dear Listeners.

Eiffel's response to this reference is one of those little hints that reminds us that Eiffel and Minkowski have spent a lot of time together and that not all of that time has involved them being at each others' throats or actively in a life-or-death situation. Some of it has just been Minkowski going on about a musical she loves and Eiffel (willingly or not) paying enough attention that he recognises this phrase as a Sondheim quote that Minkowski has talked about. I suppose that this quote might have been in Eiffel's pop-culture-brain anyway, but judging from Eiffel's general tastes and the fact that I don't think Sunday in the Park with George is one of the more commonly known Sondheim musicals among non-musical fans, it seems more likely that this quote is something he only knows because Minkowski has talked about it.

Eiffel sounds exasperated at the mention, like he's heard Minkowski talk about Sondheim far too much. But I'd argue that this still says something positive about their relationship, when we contrast it with a couple of other moments I've already mentioned. Firstly, when her previous musical theatre ambitions are revealed to Jacobi, Maxwell, and Lovelace in Need to Know, Minkowski seems embarrassed and defensive. Secondly, in the memory from Memoria, she avoids telling Eiffel that she was talking about this same musical. Yet, by the time The Watchtower takes place, Eiffel is sick of hearing Minkowski talk about Sondheim. She doesn't have the same barriers up in sharing her interests with him, even though he doesn't have the same interests. I think this is a demonstration of how comfortable she feels with him. It's a hint at the kind of easy downtime that they've sometimes shared.

"One day more": Episode 61 (Brave New World)

Eiffel recognises another musical reference of Minkowski’s in the finale. As the crew are preparing for their final confrontation with Cutter and co., Minkowski quotes Les Misérables, mostly to herself - but Eiffel recognises the lyrics and joins in:

EIFFEL: Hey - chin up, soldier. We're almost through. Just one more day, and then we're done. MINKOWSKI: Yeah, one more day. (more to herself) The time is now, the place is here - one day more. EIFFEL: - one day more. They both stop, dead in their tracks. MINKOWSKI: Did you just - ? EIFFEL: Was that what I - ? They look at each other: No way. And BURST INTO LAUGHTER. EIFFEL: Man... this is really it, huh? The end of everything.

It feels really important that Minkowski and Eiffel share this moment of togetherness before she tries to send him back to Earth and before the rest of the action goes down. I think there’s some nice symbolism about them finding a way to communicate that they both understand. Making references is Eiffel's thing, and musicals are Minkowski's thing, so this is a synthesis of their two approaches. Again, there's a contrast with Minkowski's previous unwillingness to share her musical theatre passions with Eiffel (at least without the mitigating circumstances of a mandatory talent show and some kind of intoxicating substance).

I talked about the significance of the fact that they reference this particular musical in this post from ages ago. I don't think it's too much of a spoiler for Les Misérables to say that the revolution that the song One Day More is building up to does not end well for the revolutionaries. When Eiffel says "Just one more day, and then we're done", it encompasses both the possibility that the crew will escape to travel back to Earth and the possibility that they will all die. Minkowski's reference to a famously tragic musical suggests that it's the latter possibility that's at the forefront of her mind (right before she tries to send Eiffel away from the danger). But Les Misérables is also a story about people standing together in solidarity against powerful oppressive forces, which gives particular resonance to the way that this reference brings Eiffel and Minkowski together in a moment of being completely on the same wavelength as they prepare to fight Cutter and Pryce's plan.

When they laugh here, it's not about the 'hilariousness' of Minkowski's interest in musicals, it's about their unexpected unison - Eiffel's recognition of Minkowski's reference and Minkowski's surprise at the fact he joined in. It's a laugh of togetherness, of shared understanding, of friendship. It's a moment of lightness in dark times. And that moment is provided by Minkowski's pop culture interests, not Eiffel's. In spite of all they've been through, she's not lost that part of herself, and in fact, she's more open about it, at least to Eiffel.

I'll finish by highlighting what Eiffel says when he's trying to get into character to impersonate Minkowski so he can turn the Sol around:

EIFFEL: Umm... yes, this is Lieutenant Commander Renée Minkowski. I'm... uh... well I sure love schedules, and, uh, musicals. And that man, who I married…

I just think this is a nice example of Eiffel not defining Minkowski solely by her professional Commander role. Sure, she likes schedules (probably in a personal as well a professional capacity to be fair), but she also loves musicals, and her husband. It is a fairly reductive overview of her as a person, but it feels reductive in a fond way, like these things are part of Minkowski's brand to Eiffel in a way that he might affectionately tease her about. (Credit to @commsroom for this thought.) His view of Minkowski has come a long way from "our resident Statsi agent" or even just "you must have some hobbies other than making trains run on time." He doesn't see any contradiction or inherent humour in Lieutenant Commander Renée Minkowski's appreciation of musicals.

Conclusion

Minkowski's love of musical theatre is used to deepen her characterisation and is one of the ways in which we gradually begin to see her complexity beyond the strict Commander archetype. The degree to which she is prepared to share this interest at various points is used to illustrate the nature of her relationships with other characters: a general unwillingness to show a less serious side of herself; a complicated potential shared interest with Hera; and the growing understanding between her and Eiffel.

If you read this whole thing, well done / thank you 😄 It wasn't meant to be this long - it just happened… Feel free to share your thoughts!

#It's Minkowski Essay Time again!#This is over 4700 words and still doesn't cover it all...#I hadn't quite realised there was so much to say!#Wolf 359 #w359 #If anyone is more familiar with 'Sunday in the Park with George' and has thoughts on why it might particularly appeal to Minkowski #I'd be interested to hear #I listened to the soundtrack and read the Wikipedia plot summary #but I don't think I really got it #My other significant bit of research was that #in order to see what applying to the Tisch Graduate Musical Theatre Writing Program involves #I had to create an account as if I was actually applying #which might be the oddest thing I've done for character analysis #If it interests anyone I could do a post with more detail about that application process #cos it looks insanely intense #Renée Minkowski #Renee Minkowski #the empty man posteth #I hope no one takes things I have said here as critical of musical theatre people btw #I'm just talking about general perceptions #In general I do enjoy musicals myself from an audience perspective

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aroaceleovaldez · 1 year

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I think one of the problems with the HoO characterizations is Rick kind of forgot to give half the cast hobbies and general interests, and maybe like people they know outside of their families and outside of camp, or if he did remember to it rarely gets brought up for most of them, or in the special case of Annabeth - she randomly develops a hobby in weaving for exactly one scene and then never again. Apparently she just knew how to do that, even though it is a skill she has literally never used before nor uses again.

The best examples I can give of this are comparing/contrasting the examples of when we do actually get this with the lack-thereof: Hazel and Frank are good examples. Hazel has hobbies and interests generally unrelated to all her demigod stuff (horses and art) and we see this repeatedly discussed and brought up. She also knows and interacts with people outside of the necessities of her quest/Camp Jupiter or her family - Sammy was her best friend at school and they hung out and stuff! Meanwhile, Frank, as far as we know, doesn’t know anybody outside of his family even though he presumably went to school before Camp Jupiter? His hobby is... archery? That’s the only thing he ever really shows interest in but at the same time it only rarely gets brought up except for him using a bow as his main weapon and the like two instances of noting that Frank had hoped he was an Apollo kid for a little bit. The closest other detail we get to Frank having any other kind of hobby/interest is him mentioning off-hand that he used to play Mythomagic.

Piper and Leo - We can presume that Piper knew Shel before moving to Oklahoma, because Piper used to visit her grandpa often and as far as we know that’s also where Shel lives. But we never see Piper ever mention knowing anyone else in her grandfather’s community. Heck, when she’s introduced we’re basically outright told that she doesn’t interact much at all with any of her classmates outside of necessity, and we don’t even have any confirmation that before Hera’s mind-meddling that she even acknowledged Leo’s existence. Also, Piper has like, exactly zero hobbies. We do not know what Piper does in her free time or what she likes (except vaguely that she has surfed before), only really what she dislikes. Leo at least does have some kind of excuse for not really knowing anybody, and an explicit explanation about why that is the case and how he feels about it. Leo also has a repeatedly referenced interest/hobby in mechanics that’s very core to his character.

Percy and Annabeth? Pre-HoO, they both have plenty of interests and know people outside their general circles! Percy knows kids at school. Annabeth’s general outer social circle is Camp Half-Blood, because she grew up there, but she clearly knows people at camp. She’s also super into architecture! And Percy does a ton of stuff in his free time - he skateboards! He plays basketball! He has two pets he takes care of (Blackjack and Mrs. O’Leary)! Post-HoO he’s on a swim team! But during HoO? Percy’s hobbies just kind of disappear, besides “oh yeah he uh. Does water stuff.” There’s no acknowledgement of like, “Yeah Percy sets up a little basketball hoop on the back of his door on the Argo 2 and shoots trash at it.” Literally anything! And yeah, Annabeth’s architecture interest is somewhat acknowledged, but also like, not really? We at least get some kind of “Yeah, in her spare time she’s usually on her laptop working on stuff” but we also barely get any instances of Annabeth thinking about her friends at camp except for like, Tartarus.

For Jason it at least kind of works because a.) he has amnesia and it’s implied he doesn’t really have close friends at Camp Jupiter besides Reyna, so it figures he only ever really references random other legionaries like, twice. and b.) there is also the heavily implication that Jason doesn’t have hobbies, because his entire life was so focused around his training at Camp Jupiter. This works less with Reyna, but she also kind of has an excuse for not knowing people besides like, her sister and Jason, given she ran away when she was young, Circe’s island was destroyed, and she could have only been at Camp Jupiter for like 3 years maximum at that point. And she’s not exactly the most social character. We also don’t get much indication of her hobbies, besides she also likes horses and it’s heavily implied she likes nature/gardens? Presumably, given we get like, one note of that in HoO, maybe two if you count her living on Circe’s island, and then like one more nod to that in TOA. And we only get her POV chapters in BoO anyways so again, she has some excuses. Coach Hedge also is incredibly bland besides maybe him having a hobby in sports, and... violence? Which definitely does not count. And him lacking any POV chapters doesn’t really help.

I think this is why Nico continually feels like such a strong character, simply because we know what he does in his spare time. We know he knows people outside of the camps (most of those people are gods or ghosts, but he at least knows people) and technically you could argue him knowing about Camp Jupiter between BoTL and TLO counts too. He even references his old neighbor at one point. Obviously, he’s very into Mythomagic, and that comes up a lot because it’s his special interest and is usually also relevant to their quests. He travels a lot, and apparently used to when he was younger as well. We also learn he used to have a special interest about pirates and that apparently may have played into his crush on Percy. Like, all that is so simple and minor but it makes such a difference for how Nico feels as a character. Most of Nico’s stuff though is established in the first series, which definitely helps because the first series was pretty good about giving characters hobbies and maybe some people they know - Annabeth, Percy, and Nico we’ve already covered, but also like, Grover knows other satyrs and is usually practicing music and also we know what foods he likes. Thalia is very into punk culture and music. We know she particularly likes Green Day. We know she knew the Hunters of Artemis before the events of TTC. Rachel's whole thing is that she’s super into art and she has a bunch of connections through her rich family, and she’s basically Percy’s only mortal friend. They have lives!

If you put a protagonist in a room and told them to occupy themselves, you should have an answer for what they do. They should be able to name one person outside their immediate social circle who they are generally friendly with or vaguely know, unless they have a specific reason for that to not be the case. HoO crew needs to occupy their time by themselves, no weaponry, for twenty minutes? Hazel could be drawing, Nico could be organizing his cards, Leo could be tinkering, Annabeth could be working on her laptop, Percy could be trying out little skateboard tricks. Jason, Piper, Frank, and Reyna? What would they be doing?

TOA does actually answer that question for Jason, at least, because we learn that Jason makes tiny dioramas! That’s adorable! Why doesn’t he do that in HoO?! TOA also gives us more depth to Will Solace besides “He’s a medic and does medic things” with telling us that he’s into Star Wars. Like, that’s actually so much information to work with! Thank you! And then we also find out in TOA that Nico’s also kinda into art! We still don’t get anything new for Piper, Frank, or Reyna - besides again one more potential implication that Reyna thinks plants are Pretty Okay, and that nature is Mildly Alright. Like, not even “maybe she keeps a houseplant” territory, all we have is “if she had the option, she might be interested in visiting a flower garden.” But honestly TOA at least gives us something for most of the characters we see. Like at least one thing. Most of the rest of the writing is a mess but at least the characters are mildly interesting.

Anyways, give your characters hobbies, it’s good for them.

#pjo #riordanverse #hoo #heroes of olympus #analysis #long post //#long post #always forget which of those tags i use #congrats to Hazel for being the only protag introduced in HoO with a life #i just would like Piper to have a personality besides disliking things #anyways i think this whole situation is another consequence of Rick not being used to writing large main casts #but it's not impossible! you can totally have huge casts where each character feels like they have a life #i'd actually say HS is a really good example of that - each char is introduced with their personality and a hobby/interest #there's at least 20 major characters but we know the basic outline for ALL OF THEM #also again with this kind of thing - i talk a lot about how Jason's lack of character could absolutely be utilized in interesting ways #and it makes me really sad that we *don't get that!* because it *can* be SO COMPELLING!#a character having a lack of personality can *work* if you actually *do something with it*#HoO never acknowledges that Jason doesn't have. like. a *life.* which is why it doesn't work #if we got any kind of exploration at all into ''hey. jason doesnt have hobbies or interests outside of Being Roman''#''and he doesnt really have friends besides the argo 2 crew. or even know who he is as a person and what he wants''#like HEY THAT'S REALLY COMPELLING ACTUALLY! and would be *really* interesting to contrast with his ''perfect'' reputation!#but no. he's just kind of There.

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