#this woman was onscreen for like two seconds and still had more personality than any mcu character combine

[of-birds-and-fans]

Spin off with wkx’s mom when?

#this woman was onscreen for like two seconds and still had more personality than any mcu character combine #she seems so cool and badass and cunning I need it #word of honor #mine

[bigskydreaming]

Hi, I was reading your post about Jason punching Dick in the face when Dick revealed he fake his death was bullshit ( which it was) and it reminded me of an issue/question that has bothered me for sometime.

Why did people believe Dick was actually dead?

I’m not the most avid comic reader so maybe I missed something but it was always weird to me that everyone just accepted this especially given how Bruce was acting or should I say wasn’t acting.

This is a man when his child died another child had to come along and told him sir you are being too violent and emotional you need supervision. When his other child died he went all over the universe to bring him back to life because he knew it was possible ( which was happening at the same time), so why didn’t anyone think it was weird he wasn’t doing that for Dick. Can you imagine Dick really dying that soon after Damian it would be injustice Batman Version. You are telling me that Tim, Jason or Barbara didn’t think it was weird that Bruce didn’t also bring Dick’s corpse to the bring Damian back to life mission or mention it to themselves. Like what more likely Dick dead and Bruce is handling it well or that he fake his death to do something stupid and Dangerous after his partner/brother/ little bit my son the feelings are complicated died after he was knocked out and woke up to his corpse.

Oh man, this is like, the entire nature of my beef?

(Slight derail just to emphasize the fact real quick that Dick DID actually die, he was just revived quickly, but like, the trauma of his death was very real and its not like anyone was clued into Luthor having a resurrection backdoor built into his literal murder of Dick in the actual moment of it happening. So Dick’s death wasn’t fake, and additionally, he didn’t have anything to do with like, telling people about it, because he was literally comatose in the cave and recovering while Bruce was telling people....by the time Dick woke up in the cave, we already know that Alfred at least had already been convinced by Bruce that Dick was dead, so I have a kneejerk need to pushback against the Dick faked his death narrative by reminding people wherever possible that Dick had no agency in the spreading of that narrative. 

It happened without him being involved, and the only actual contribution he ever made to it was just not revealing he was alive before Grayson #12, after Bruce like.....emotionally, mentally and physically badgered him into accepting that doing so would be directly harmful to his family and he didn’t want to be the reason more people died when like, people had just died because he ‘let’ himself be captured and interrogated by Power Woman’s Lasso of Submission, did he?

SORRY TO BE PEDANTIC, just wanted to start this off on a clarification, even though I know the aim of your ask was very much in tune with the rest of my response. A lot of people don’t read the actual comics, so like, I’m never gonna skip over an opportunity to emphasize that the shorthand people use to refer to Dick’s death and the year he was with Spyral, is like, literally just shorthand for describing it. Its not actually an accurate description of how all that went down and who had the most hand in it).

BUT ANYWAY. BACK TO THE MEAT OF THE BEEF.

Okay so like, not only was the entire family and Bruce himself giving Dick shit for his death and Spyral, like, PAINFULLY egregious because it was literal victim blaming in every possible sense of the word....

None of it made a LICK of sense with ANY of their characterizations, and they ONLY all accepted it on face value because the Plot Demanded It, and when you're like, no, as a reader I say The Plot Demanded It is not a good enough reason for me to be like well sure, that makes sense......looking at the characters ACTUAL actions at face value pretty much just makes them all look like assholes?

Like, Tim has never gracefully accepted anyone's death. Ever. This is core characterization for him. He will go to the ends of the earth for his loved ones and to bring them back, prove they're not dead, refuse to let death be the final verdict for them. He was tempted to use the Lazarus Pit to bring his parents back to life. He refused to accept Bruce was dead long before he had any proof whatsoever of that theory. He tried to clone his BFF/future-husband Kon in his fucking basement like, dude was two whole inches away from going Full Dark Side in his quest to bring back a lost loved one no matter WHAT the cost.....and then you've got Dick unmasked onscreen, killed offscreen, and Bruce then reporting to the rest of them with zero inflection 'oh Dick's dead now. Its very sad' and Tim's just like, sure. Sounds legit.

I mean?!?!

And you're SO RIGHT ABOUT THE DAMIAN THING! Bruce LITERALLY LITERALLY LITERALLY went BEYOND the ends of the Earth, like, he full on chartered a fucking space ship to fly his whole family out to APOKOLIPS to bring Damian back from the dead by going to EXTREME lengths.....WHILE everyone else thought Dick was dead....

And not a single person looked at Bruce and was like, okay, not that we're not down to do this for Damian because we miss Stabby Smurf something fierce ourselves, but.....what the fuck is UP with you dude? Why aren't you displaying ANY hint of this same kind of energy in regards to your eldest son that you said you watched die right in front of you?

Like....I don't know that we were actually ever told that Dick's coffin was empty or had a fake in it, but like....this family of detectives who refuse to accept death, defy death, COME BACK FROM THE DEAD....not a single one of them said like, okay, if I'm gonna like, ACCEPT accept that Dick is dead and gone for good, I need to at least just see him one last time? That's literally all it would have taken for someone to realize hey something's a little wonky here. Where's the dead body, Pops?

Since when has Jason ever missed an opportunity to prove Bruce is a) full of shit, b) acting like an emotionless robot and all his kids deserve better especially when they've just like....died, c) just factually incorrect and wrong and jumped to a conclusion before it was conclusively proved, d) lying like a liar or e) all of the above?

Nobody even ASKED if Dick's body could be put in a Lazarus Pit? Yeah, Jason wouldn't necessarily recommend it himself, given what it put him through, but actually fuck that, I take that back, because I'm NOT actually of the opinion that Jason full on hates his life and actively spends every second of every day wishing he hadn't been resurrected, even if it had come with a huge buffet of additional trauma and pain.

And that's kinda what's implied when people just take it for granted that he would never be on board with any scenario involving using a Lazarus Pit to bring Dick back, because it suggests that based even just on his own experiences and feelings, he honestly believes Dick would prefer being dead and not have ANY further opportunities to be with his loved ones, his friends, help save the damn world again at some future point.....that Jason, projecting based just off himself, legit feels Dick would rather be dead than have another shot at life even WITH the downsides of Lazarus Pit usage? Nope. Sorry, I don't buy it.

Speaking of not buying it.....you know what was missing from all those soliloquies the others monologued at Dick about how they felt and were hurt and just devastated by his death, to such a point they can't seem to muster a single shred of happiness that he's NOT dead still -

(seriously, Damian was the ONLY person in ALL THE LANDS OF EMOTION-HAVING who expressed ANY kind of positive reaction to having Dick back. We were so fucking cheated of like.....ANY opportunity to have the characters show just how much they valued him by just being fucking HAPPY he was alive, no matter what else was involved....and then most of fandom compounded that by for years being like mmmm, no, Dick didn't get yelled at enough by his family for what HE put THEM through. Needs more yelling. More punching too. Bad Dick. Bad. This is the only way you'll learn not to die and get shipped off on a mission that you don't want but at least is to protect your family after being beaten into it by your dad whilst victim blaming you for dying in the first place. WHEN WILL YOU LEARN TO THINK ABOUT OTHER PEOPLE AND THEIR FEELINGS FOR A CHANGE, DICK?!?)

- But like, BUT I DIGRESS aside....you know what was missing from all those monologues about how hard DICK'S death and ensuing year of basically exile from his loved ones was for EVERYONE BUT HIM?

We never got a single line of explanation as to what everyone else officially thinks even happened to him in the first place?

Like, did Bruce straight up just say oh bad news kids, your brother umm. Expired. Spontaneously. There's no one to blame, he just keeled over, its all very sad.

Is that how that went down?

You're telling me that the explanation of Dick's death didn't come with a single pointed finger at someone for this family of blame-happy vigilantes to like, BLAME for the loss of this brother they all mourned oh so much, they just couldn't help but blame him for all the hurt it caused them?

The family that in every other fic is like OBSESSED with avenging and being avenged and all things vengeful and even tangentially vengeance-y....like didn't ask for a single detail on whomst the fuck deprived us of our brother-having?

Where were the attempts on Luthor's life by Jason (who I mean, yeah I know it was in a previous continuity, but erasing that timeline doesn't erase my awareness of the time Dick killed Jason's murderer so like.....mmm, just saying, woulda been nice)....where was the rage directed at the Crime Syndicate and references to how seriously and personally the Batfam took making sure that they were PUNISHED for all this and would never be free to wreak havoc on their world or their family again? What did they tell Damian when he came back to life, and how are you going to tell me that this fraternal little ball of fury didn't aim himself like a cannonball at whomever the fuck had DARED take HIS Batman from him when Damian wasn't around to have his back?

Not only does everyone else's desire to be avenged start falling really flat the second you factor in hey maybe Dick feels "mmm what about MY avenging" sometimes, and why doesn't anyone ever care about doing that for him.....but also, y'know what REALLY sucks about the ONLY person we actually SEE being blamed for Dick's death and ensuing absence being like....Dick himself?

Not only were his family all super keen on making all of this HIS fault and HIM the bad guy because of how it made them all feeeeeeel (and meanwhile fuck his feelings, am I right Batfam hfaklshfklahfkla).....

They somehow found a way to justify prioritizing this OVER ever even getting around to blaming some villain for his death in the FIRST place, in the entire year or so they thought he was still dead!

Like, you couldn't come up with a single target in all that time, but Dick's back two seconds, and you don't even give him a chance to EXPLAIN before you're punching him, shutting him down with 'I expected better from you' and turning away with 'I don't want to hear it, why am I surprised Dick Grayson disappointed me again'?

afshklfhalfhalfhla

Make it make sense!

And like, it won't, cuz it doesn't, and it never will, and like I said at the top, the ONLY reason it all played out this way is because DC doesn't give a fuck about character development and deemed it necessary to go down this way for the sake of the plot (which was totes worth it, I mean, glad we sacrificed characters for this A+ plot which was clearly the greatest plot of all time and definitely justified every story choice made or not made around it loooool).

BUT.

BUT BUT BUT.

The problem isn't JUST that DC is stupid, even though that is an eternal mood and quite the problem.

Its that the SECOND large parts of fandom decided to play along with DC and just accept the story at face value, only add to it and play into it exactly as it happened in canon with no significant deviations, and like, heaping on the LITERAL abuse from Dick's siblings while ignoring the LITERAL abuse from his father....

THAT....is when all of this becomes relevant.

Because the second people decided TO engage with the reasoning DC gave for what Bruce did and how and what Dick did and how and just not mess with any of that and have it all play out exactly like that...

The second people are like, okay we're FINE with not just dismissing this story as OOC writing that doesn't make any sense, and actually VALIDATING it to various degrees by engaging with it as is....

That's when 'OOC writing' stops being an excuse or explanation for alllll of the above gaps in character logic and actions.

Because its like, when you had abundant chance to REJECT this story and say nope, this was bullshit from start to finish and I'm not here for it, when you were just as capable of transforming literally ANY aspect of this story you didn't like into something that made more sense to you....

And you chose not to.

That's.....accepting it as valid writing. You were like, okay, I'm game to just treat this as a thing that happened, just like they said that happened.

For the chance to give Dick shit for it, see. For the angst, see.

And that's when I'm like okay cool, so when engaging with this story as is and accepting it on face value and just delving into the characters as they were SHOWN interacting with and around these events......for the angst or whatever....

You guys just all decided en masse to just hop, skip and jump over allllllllll the opportunities for angst inherent in examining even ANY SINGLE ONE of the above lapses in judgment or hypocrisy on the parts of the characters (who don't get to be excused by OOC writing if you're not going to call the story an example of OOC writing, whoops).

And its just like, uh, what's up with that?

#lol thank you for this ask tho #I havent gone on a good Spyral rant in months #it does wonders for my pores

[bottombaron]

spoilers for what if...?

some quick thoughts on the first Marvel What If...? episode that are almost all Bucky related big surprise:

i froth at the mouth at any small moment of pre-ws!Bucky like a stranded survivor of a shipwreck. yes pls all of it, i need more. my desire to know who traumatized characters were pre-trauma is like an un-quenchable thirst.

that being said, i'm loving the idea the Bucky was just...a big fucking himbo. a nerdy silly himbo. there's nothing more satisfying than a super pretty competent person wowing you with some big time dork energy.

his lines were so groan worthy which is why i loved them. looking back it's a pretty obvious choice to make Bucky Barnes pre-Winter Soldier just Bucky Barnes from the comic books. he tells bad jokes, he's a damsel in distress, he's there for a reaction shot or two, and best of all he's got the worst one-liners.

my kingdom for Bucky of today going back to his bad one liners, honestly i would pay marvel to have Bucky throw a knife in someone's face, blood is everywhere, and he just goes, "knife to meet you." (Sam is floored. he goes through the 5 stages of grief in ten seconds and ends up laughing so hard his lungs hurt. redwing has it recorded and sam revisits it when he needs to)

the part where Steve gets back into the Hydra Smasher and falls on his face is peak stevebucky tho. Bucky is unconcerned, makes light of it, and there's even some light teasing. i have to highlight this for the purpose of Bucky's characterization in fanfic in terms of how he treats Steve, especially pre-serum Steve: he doesn't baby him. he doesn't mother-hen or overprotect Steve. he knows Steve is tough, he's spent years picking him up off of alleyway pavements, he's not going to act like a helicopter mom.

which i really appreciate because i'm tired of the treatment of Bucky as not also being a reckless kid in this war. Steve and Bucky don't have the dynamic of the Reasonable Adult and their Troublesome Kid i've seen sometimes in fic. they're both hooligans. Bucky comes off as the more cautious one sure, but it's just slightly. and that very slight difference gets overblown sometimes which feels disingenuous to a character that's in his 20s (like do you know bros in their 20s,,,do you?? they're still trying to run up walls and do backflips. they still think they're invincible. 20 year old men are the stupidest people on the planet. and i can say that as a man almost 30) and, by all accounts, ran mayhem in Brooklyn right next to his best friend.

just. don't forget Bucky Barnes is a young stupid pretty himbo okay?

speaking of disingenuous characterizations: what was that hetero bullshit with Peggy being more distraught over Steve's 'death' than Bucky????

are.you.kidding.me.

i feel this righteous anger burning over this, which i'm sure will come to a bigger rant at some point but really? fucking really?

this is it. this is what straight people do. this is the straight agenda.

this isn't even just about Steve and Bucky they do this kind of bullshit all the time in media: character 1 has a long-lasting deep friendship with character 2. character 1 has a romantic subplot with character 3. character 1 and 3 barely know each other. character 1 dies and character 3 is somehow more distraught about this than character 2.

i fully expected Bucky to start trying to climb down the mountain to find Steve but nope!

he's just 'oh nooo~ he ded. whelp lets go hoes'

while the woman who knew Steve for maybe a few months is doing the Darth Vader 'noooo' moment

this does not make any character, story, or emotional logical sense. there's no fucking reason for this bullshit than blatant homophobia.

like fucking fine, lets not see Steve and Bucky interact in any way because I WONDER WHY

but even better

lets have Bucky not really emote over Steve's death, because a. that's gay, we don't want people to think we write gay characters (don't worry marvel we don't) so two men can't care or mourn for each other onscreen. and b. we've got our hetero romance to sell

Peggy Carter is a professional military woman. with experience.

Bucky Barnes is some kid from Brooklyn whose been fighting in a war he's been drafted in for maybe some handful of months.

but sure. yeah. his childhood best friend dying. he's the one whose going to have the professional cool head in this moment.

and it's the PROFESSIONAL MILITARY WOMAN whose going to forget her job and training and need to be pulled from grieving BY THE MAN WHO'S BEST FRIEND JUST 'DIED'

SURE JAN SURE

it's the homophobia that betrays the logic of the characters that really fucks me up y'know?

if you're betraying the honest emotional reactions of story and character because you're afraid of those things being perceived as gay: you're homophobic.

it's really that simple.

'i'm in. for Steve' lol. like god. i'm as tired as seb sounds i swear

and i know Sebastian '~the truth of the character~' Stan probably felt like his teeth were being pulled out with hot pliers reading these. how many times did the voice director have to say, 'ok. can we try it like you're not slowly decaying from the inside, hunny?'

barely any howling commandos and none of them had any lines other than Dum Dum. ok. yeah. ok.

so some high notes:

return of my favorite Stark: 1940's Howard!

i would die twenty times just to be able to see more of Dominic Cooper's Howard Stark. he's just the fucking best. earnest and cute and a bit of a mad scientist and i fucking adore him

i need the Howard Stark + Bucky Barnes sitcom now. pls and thank you.

i'll even take 5 minute vinaigrettes of the antics they'd be up to. two playboy nerds together is just a magical event, don't waste it! i can't believe i've been sleeping on this dynamic it's too good.

"BARNES STOLE A CAR"

i will be replaying this single moment for years. the serotonin it gives me.

stark is just. the most excited man ever to have seen someone hotwire a car??? how did this scene go i need to knoooooowwww

all frustrations aside, it was really cool to see Peggy Carter as Captain Britain. she's a great character and i love her so much. every moment she was legit thrashing n*zis with her big butch arms was thrilling and satisfying.

that truck shield flip is still doing things to me...

honestly upset that the sword Peggy was wielding wasn't a Zemo easter egg like i was hoping it was 😩

#marvel what if #what if...? #what if...? spoilers #stucky #mcu #bucky barnes #stevebucky

[hotchscvm]

side to side

Warnings: swearing

Word count: 4.6k

Summary: In which you're performing your hit single in front of your fellow Avengers cast-mates and Chris can't seem to take his eyes off of you, catching the attention of a few cameras.

"I'm here with the biggest pop-star of this generation, and she plays the very talented daughter of Tony Stark," the interviewer announced your name, smiling brightly at you as the camera panned your way. The hundreds of thousands of fans at home screaming when your face appeared. "How do you feel with all your nominations tonight?"

You smiled at the camera, giving a small wave at the people watching at home. "Honestly, I'm just glad I was even considered for these nominations. I mean, my girls Taylor, and Billie...they're amazing and I'm so happy to be put in the same category as them."

The lady grinned at you, her eyes twinkling. Or maybe it was her sparkly dress, the fabric nearly blinding you with how it shined under the lights. "If you ask me, you've got a pretty good chance at winning. I mean, your hit single—Side to Side—surpassed, like, a billion views in just a month? That's impressive."

"Well, I couldn't have done it without my fans." you replied, winking at the camera.

It was that time of the year again, where every artist, actor, and YouTuber hit the stage for the People's Choice Awards. With your crazy schedule, and the lack of sleep, you had planned to skip the award show until your friend, and co-star, Chris Evans—Captain America himself—convinced you otherwise. Even with the categories you've been nominated for had been more than a handful, but it was the begging and constant complaining from Chris that made you get off your tired ass and put it into a tight dress.

Your hit single, Side to Side, had everyone anticipated for your performance, unsure if you would be performing until the producers had put your name into the advertisement, making fans blow up Twitter. You were sure they had advertised your own song, along with your movie nominations, more than you ever had.

With nominations of Movie of the Year (Avengers: Infinity War), Action Movie of the Year (Avengers: Infinity War), Female Movie Star of the Year (Amara Stark), Female Artist of the Year, Song of the Year (Side to Side), Music Video of the Year (Into You), Beauty Influencer of the Year, and Social Celebrity of the Year, you had your hands full, which had only made your manager glow with happiness.

"Of course!" the interviewer agreed, glancing at the teleprompter filled with tiny words. "It was rumored that you wouldn't be coming, and a lot of us were upset, including me. Was that just a rumor or..."

"Actually, it's not that far off. I'm fucking—oh, shit—oh no!" you gasped, covering your mouth before anymore foul words could come out on live television. Instead of correcting you, the lady laughed, patting your arm softly. "Can't say that on tv. My bad. I, uh, with everything going on, I've been really tired, and I haven't slept in a week. I just wanted to chill, and accept my nominations at home but someone convinced me to come. So, if I say or do anything ridiculous tonight, I'm blaming him and my lack of sleep."

She nodded, clapping slowly. "I think that's fair. Is that someone, your onscreen father, RDJ?"

"He was one of the many people who unsuccessfully changed my mind, but no, it was Chris Evans. He promised me a day with his adorable dog, Dodger, and I couldn't refuse." you said, grinning at how his face had changed from hopeless to cocky as soon as he brought up Dodger.

"If I'm remembering this correctly, Chris Evans is that very handsome man you had kissed in your music video earlier this year. Into You, right? How do you feel kissing one of your co-stars outside of the movies your working on?"

"Technically, it was still acting, and I have kissed him before, so it wasn't awkward at all." you answered, glad Chris had accepted the role. Not only had it sky-rocketed the views and streams, but it made you feel better that it was his lips you were kissing and not a random model's. Yet, it didn't feel as professional as it had before when you pulled away after a take.

In scenes where you had to kiss the Boston actor, it was as professional as kicking Anthony Mackie's ass in Civil War but the kisses you shared on the set of the music video was definitely more personal. At the time, you had brushed it off as Chris being recently single, but now that you had broken up with Henry, you started questioning it again.

The interviewer nodded, squinting once more to read the words off the teleprompter before asking you another question that would certainly make the headlines. "I've been reading up on all those juicy tabloids and I've got one question that would satisfy my curiosity. Was Into You written about Henry Cavill or Tom Ellis?"

Usually, that type of question made you change the subject or altogether avoid the matter but this time, you wanted to joke about your failed engagement. "Henry, but Side to Side was written about Tom since I wanted more Grammy's considering the last album I put out won me a few. But this time, I'm gonna do it without an engagement."

The woman faked a laugh, surprised by the blunt honesty of your answer. "Um, you certainly do have a thing for British men, eh? I don't want to keep you up, but one more thing, for the fans. They've been dying to know if there's anything going on between you and Chris Evans. Any tea you wanna spill?"

"There's none to spill. We're just friends but it's always amusing scrolling through Twitter to find these edits of us." you replied, fidgeting slightly with the hem of your dress. Like usual, you had wondered if you should've worn something less extra but you had let your stylist play dress up with you for the past few months.

"Of course. Well, good luck to you, and I can't wait to see your performance." she said, giving you a little pat on the shoulders before announcing your name once again.

You got off the little platform, immediately taking Chris' awaiting hand, holding onto it as you climbed down the steps in your dangerous stilettos. Sighing, you leaned on him, trying to avoid the blinding camera flashes. "That was more exhausting than I thought it would be. You need to get me some caffeine after this is over because there's no way I'm making it to the after show without at least a few cans of Red Bull."

"So dramatic." Chris grinned, childishly sticking his tongue out as he guided you down the red carpet, stopping when told to take a picture. He let go of your hand, only to wrap it around your waist as you posed for the pictures. "Are you going to the after party?"

Posing seriously for a few seconds, you let your smile back on your face, facing the man beside you. "I was thinking about it, take a few photos, and head back home. Aren't you?"

"Actually, I was thinking we could ditch it and just hang out. You know, I did promise you some time with Dodger and you could waste a couple hours sleeping." he replied, his hand tightening ever so slightly on your waist. Flashing you a shit-eating smirk, he nudged you a little, pulling you away from the blinding flashes. "What do you say?"

You opened your mouth to answer only to be cut off by your manager, Alexandre coming out of nowhere to rip you away from Chris' arms. The latin man sighed in annoyance, glancing at his watch while giving you the look you've seen too many times before. "You're supposed to be in wardrobe right now. Get your ass backstage, and change before you miss your own performance. As for you, Mr. Evans, Megan wants your ass in a chair."

"I'll see you after." you say, getting dragged by your manager, winking at the actor before walking towards the changing area, the cameras following you until they couldn't enter the area.

Getting ready before a huge performance always calmed you down, maybe it was the smell of makeup or the feel of designer clothing made especially for you, but something about it made you feel comfortable and cozy. It was like a routine, especially with all the music videos and movies you had to film, the makeup, the hair.

They made you sit back, giving you your phone like a child while they made you even more sparkly than before, making sure you'd stand out against the flashing lights during the performance. A performance you made sure no one would ever forget. Smiling, you let your thoughts drift back to a certain super soldier as you were pampered.

—

"Welcome to the People's Choice Awards!"

The room darkened, the blue and pinks lights focusing on the stage as cameras all turned towards your shadow. Making sure your mic was set properly, tried to see past the darkness, to see a familiar face or two but with the headache coming on from the tight half-ponytail didn't help your case. The music started, the beat vibrating, you flipped your hair, and started.

"I've been there all night

I've been there all day (Nicki Minaj)

And boy, got me walkin' side to side (Let then hoes know)"

You rode the bike, belting out in your microphone, the attached headset limiting your movements a little. Gripping the handles, you made eye contact at the camera to your left, winking at it as you pedaled.

"I'm talkin' to ya

See you standing over there with your body

Feeling like I wanna rock with your body

And we don't gotta think 'bout nothin'

I'm comin' at ya

'Cause I know you got a bad reputation

Doesn't matter, 'cause you give me temptation

And we don't gotta think 'bout nothin'"

As you had sung, your eyes had adjusted to the bright spotlight focused on you, seeing a shadow of the one person you wanted to make you walk side to side. While you had answered the reporter's question, you hadn't been completely honest. Some of the lyrics had been written for the Bostonian; or to be more exact, your sex fantasies. With the chorus coming up, you let go of the handles, trying not to fall on your ass as you clapped your hands above your head, the claps matching the beat.

"These friends keep talkin' way too much

Say I should give you up

Can't hear them, no, 'cause I..."

Trying to be bold, you stared at him, his face in particular. The spotlight had blinded you so much that you couldn't see what his reaction was—or anyone's for that matter—but maybe it was a good thing. After all, his gaze always made you blush no matter how hard you tried not to. Pedaling faster, you threw your head back, hoping the motion would draw everyone's—Chris'—eyes on your chest.

"I've been here all night

I've been here all day

And boy, got me walkin' side to side

I've been here all night

I've been here all day

And boy, got me walkin' side to side"

With the help of a shirtless dancer, you got off your bike, taking the sheer jacket from him, and putting it on as you walked towards the front of the stage, moving your hips in to the beat of the song. Resting a hand on a shirtless dancer, you positioned yourself so you were grinding your ass against his crotch, throwing back an arm around his neck.

"Been tryna hide it

Baby, what's it gonna hurt if they don't know?

Makin' everybody think that we solo

Just as long as you know you got me

And boy, I got ya

'Cause tonight I'm making deal with the devil

And I know it's gonna get me in trouble

Just as long as you know you got me"

Sashaying to the little balance beam at the front of the stage, you made sure your hips swayed more than usual.

"These friends keep talkin' way too much

Say I should give you up

Can't hear them, no, 'cause I...

"I've been here all night

I've been here all day

And boy, got me walkin' side to side

I've been here all night

I've been here all day

And boy, got me walkin' side to side"

A few seconds after your note ended, you strike a pose on the balance beam, posing for a few more seconds while the cameras turned their attention away from you and onto the queen of rap herself: Nicki Minaj. The leather, pink bodysuit was identical to yours except for the color, her attitude fitting the badass outfit. She began to walk towards the stage, never breaking eye contact with the camera in front of her while the men pretending to work out to the choreo.

"Uh, yeah

This the new style with the fresh type of flow

Wrist icicle, ride dick bicycle

Come through yo, get you this type of blow

If you want a ménage, I got a tricycle

All these bitches' flows is my mini-me

Body smoking, so they call me Young Nicki Chimney

Rappers in they feelings 'cause they feelin' me

Uh, I-I give zero fucks and I got zero chill in me

Kissing me, copped the blue box that say Tiffany

Curry with the shot, just tell 'em to call me Stephanie

Gun pop, then I make my gum pop

I'm the queen of rap"

By the time she had finished her verse, you had caught up with the multitasking of both working out and singing, able to use your full singing capabilities for your high note. Nicki joined you on stage, hyping up the crowd while you built up for the high note, almost every camera pointed at you except for the one focused on capturing the headline-worthy expression slapped on Chris' face.

"These friends keep talkin' way too much

Say I should give em up

Can't hear them, no, 'cause I...

"I've been here all night (Been here all night, baby)

I've been here all day (Been here all night, baby)

And boy, got me walkin' side to side (Side to side)

I've been here all night (Been here all night, baby)

I've been here all day (Been here all day, baby) (Ooh, baby)

And boy, got me walkin' side to side (Side to side)"

Both you and Nicki motioned for the dancers to come towards you, curling your index finger at the sexy men. Singing the refrain, you both made them drop to their knees in front of you, as if they were kneeling at your command.

Just as the last note was sung, everyone clapped, the majority standing up, and more cheered. You noticed Chris hadn't done either, still sitting in his motionless while two camera men pointed their cameras at him. Your eyebrows furrowed, thankfully after the spotlight had shifted over to the miniature stage where the two hosts were babbling about nominations.

You were ushered off the stage along with the queen of rap herself, taking a few backstage photos before quickly returning back to your dressing room to change into your tailored dress. Your mind had wandered to why Chris hadn't applauded—not that he was obliged too, but a little something would've nice, especially with all the days put into the performance.

Taking a deep breath, you entered the big room, filled with your co-stars and other A-list celebrities. Little did you know you'd find out the reason to your question in the morning.

—

The loud ringtone woke you up, the sound obnoxious and borderline abuse to your ears. Beside you, Chris groaned, rolling onto his stomach, trying to muffle the sound of the call with his arm draped over his head. Putting him out his misery, you lazily reached for your phone, pressing the green button with dread, seeing the name across the screen.

"Hello—"

"You're trending on Twitter." Alexandre announced, happy with the results of the previous awards show. While it wasn't something as big as a Grammy or Oscar, judging by the amount of awards you had taken home, you became the people's favorite. "Hold on, lemme rephrase that. You and Chris are trending. Number one, world wide."

Glancing at the man sleeping beside you, you sat up, confused by the information given to you. You blamed Chris for making you stay up so late for your confusion. "Um, why? Did I accidentally have another nip slip?"

"What the hell?" Chris mumbled, rolling onto his back, his arm grazing your bare stomach. He immediately took it back, sitting up to look over your puzzled face. "What's going on?"

You shrugged, putting your phone on speaker so Alexandre could explain. Your manager chuckled, knowing you had stayed the night with Chris. He was just waiting for the day you'd finally have the guts to speak about the growing sexual tension. "Okay, Alex, explain."

"As much as I would love to go into full detail, I have other stuff to do so, I'm going to give you the basics. Chris' reaction to your performance went viral, people are shipping the both of you, and there's been thousands of memes made." Alexandre replied, a smile evident in his voice. "Anyways, I have to go. Got some interviews to schedule. Have fun getting your way out of this, Chris."

Your phone screen went back to the home screen, a picture of your family dog, Buster, smiling widely. Looking at Chris, you saw his eyes widened, his hands coming to rest of his face in embarrassment as he fell back onto the bed with a bounce, his head nearly hitting the headboard. "Oh, fuck."

"Are you going to show me what your face looked like or do I have to scroll through Twitter until I find it? Oh! Maybe they edited it in my performance." you thought out load, tapping on the YouTube app. You hadn't trusted yourself enough to log into your official account, knowing you'd probably make a mistake so you opted for having a secondary account where you could watch cat videos without the anxiety of posting something stupid.

Chris' hand snatched your phone away, tucking it in his pocket, the sweats he had slept in was somehow wrinkled, and his shirt damp from the warmth. "You wanna get some food? I'll cook some bacon but you'll have to make the pancakes 'cause the last time—"

"I wanna see your reaction." you whined, reaching across his stomach for your phone. Chris turned his body away from you, shielding the phone from your reach. "Chris!"

He waved your attempt away, rolling off the bed, his feet hitting the floor before you could fall back on the mattress.You poured, getting on all fours, crawling towards the edge. Chris took a step back, brows furrowing. "It's not important. Let's get you some food."

"Fine." you mumbled, an idea making you light up. Rolling off the bed, you glanced at his phone on the nightstand, exposed and easy to take. With quick reflexes, you grabbed his phone, rolling back on the bed until you reached the other side, making it impossible for him to reach for his phone back.

"Hey!" the Bostonian shouted, launching himself on the bed in attempt to get his phone back. He made a noise as you rushed out of your room, locking yourself in the nearby bathroom, laughing evilly when he threw himself at the door. He yelled out your name, his fist banging on the door. "I'm serious! Don't!"

Ignoring his begging, you opened his phone with your thumbprint. How ironic how much he didn't want you to look at his phone when he was the one who insisted you have the password to it. His arguments became louder as you opened up his Twitter, immediately heading to the trending section, seeing both your names at the number one spot.

"Damn, I look hot." you joked out loud, making Chris silent for a second before pleading for you not to continue. You smirked, scrolling through the tweets, trying to find his reaction. "Jesus Christ, what the hell happened to you? Did you fall on your face or something?"

Chris groaned, banging his head on the door in defeat as he heard your almost inaudible gasp, that quickly turned into little giggles. If he wasn't so embarrassed, he would've broken the door down to hold you in his arms. "Oh, no."

Bursting out into hard laughter, you fell into the large bathtub, hitting your head on the wall but you couldn't care less. The expression on his face during your performance had been borderline comical, the wide eyes, the jaw hanging open, the open hand resting on his chin while his eyes stayed strained on you the whole time, never wavering from your body, the sexy choreography making his jeans tight.

Cackling like the Wicked Witch of the West, tears ran down your cheeks, your stomach cramping from the maniacal laughter. Lifting yourself up from the tub, you stumbled to the door, your loud laugh ringing out towards the whole house. You let Chris in the bathroom, his phone quickly taken from your hand but it was too late. The blush on his cheeks wasn't going away anytime soon. You leaned against him, your head resting on his chest, while you panted out a question. "Why did you look like you were trying to attract flies in your mouth?"

Chris groaned again, covering his eyes with a hand while the other rested on your back. "You're not going to let me live this down, are you?"

"Oh, God, no." you giggled, wiping the tears away, beginning to calm down. Glancing up at him, you noticed everything above the shoulders was gleaming red, the embarrassment too unbearable for him. "Chris, you looked exactly like the first time we were forced to share a bed together."

"Yeah, you have that affect on me."

"You gonna tell me why you looked so ... shocked? Or do I have to search through Twitter and go with whatever fan theory makes the most sense?" you asked, unable to keep the smug grin off your face. Chris closed his eyes, wishing he hadn't made you come to the awards show in the first place. You raised an eyebrow, fingers itching towards his phone. "You know I'll do it, Evans."

The man raised his hands, taking them off of you as he paced around the bathroom, deciding if this embarrassing moment was the right time to finally confess. "It's just, you know, the dance was so ... sexual and hot that I probably wasn't the only one looking at you like that. You can't exactly blame me for being shocked, watching the girl I'm in love with—"

Chris stopped as you be watched the colors drain out of your face, immediately freezing when he realized what he had said. Both of you stared at each other, eyes wide, not moving a muscle, barely blinking; the atmosphere so tense neither of you were breathing, waiting for the other to talk. But neither of you wanted to go first, terrified.

It wasn't until you started to feel dizzy that you realized you hadn't been breathing, letting out a huge breath, trying to relax while Chris did the same, his hands shaking, a nervous tick he got whenever he was anxious. You got the courage to speak first.

"What?"

It was better than nothing.

Chris was so nervous he nearly ran out of the room. There wasn't some kind of handbook or script he could read, helping him tell one of his best friends how head over heels he was for her. So, he said what his brain was stewing. "What?"

"What—what?" you replied, unsure if he even said the L word, so lightheaded by the sudden confession.

The actor stilled, eyes widening even further, while his eyebrows shot up his forehead. "What?"

"What?"

"What?"

"Say what one more time, Evans, and I will make nothing but mac and cheese for the rest of your stay." you threatened softly, getting tired of not having an answer to your one-worded question.

Chris took a deep breath, hands trembling as he clasped them together, hoping to find the right words, hoping his inner thoughts would come out clear, giving you the answer you asked for. "I'm sorry. What do you want me to say?"

"What you were saying before. You know, before you looked like you saw a ghost and almost stopped breathing. I think that would be a good start." you replied, backing up to take a seat on the plush chair. Chris mirrored your actions, putting down the lid to the toilet before sitting down.

"This isn't the way I wanted you to find out." Chris whispered, his blue eyes trained on the emotions that flashed on your face. Your uncertainty of the situation didn't help his anxiety.

"Okay, um, were you going to tell me in the first place?" you asked, playing with the hem of your shirt—it had been a borrowed Patriots shirt from him. Looking back, you realized all the little things he'd done hadn't been because his platonic love for you. "Or were you just going to keep letting it be this way?"

Fidgeting with his hands, Chris peered through his eyelashes, seeing the hurt flash across your face before you quickly composed it. "Scott was hyping me up, trying to convince me to tell you before you got into another relationship. Do you know the real reason I broke up with Jenny? It hurt like hell when you announced you were engaged. Fuck, I couldn't even pretend to be happy because you were going to have the life I wanted with you, with someone who wasn't me. It was selfish and I got really mad at myself for being a dick."

"But—"

"And then the horrible, horrible relief I felt when you called off the engagement." Chris continued, his heart clenching. "Truth to be told, that was the day I found out I was in love with you, breaking things off with Jenny. Of course, I wanted to wait until you moved on, hoping to be the friend you went to but with my schedule, that was impossible. So, you seemed out comfort in Henry fucking Cavill."

"You're in love with me?" you whispered, hoping this wasn't some kind of cruel dream. If it was, you wouldn't mind staying.

The actor nodded, waiting for you to call him names and rush out. "Yes. You can leave or slap me or whatever you want to do but I love you."

You got up, running a hand through your hair. "Okay."

Chris' heart sank, wishing for any other kind of reaction, wishing you'd do something. Taking a deep breath, he got up. "Is this a goodbye?"

Frowning, you walked up to him, taking his face between with your hands, pressing your lips softly to his. You could feel his heart beat, the little organ beating so hard. You pulled away before he could recover from his shock, before he could kiss you back.

"Hello."

#chris evans #chris evans characters #chris evans x reader #chris evans smut #chris evans fanfiction #steve rogers #captain america #reader insert #marvel #chris evans x singer!reader #nicki minaj #ariana grande #fluff #side to side #song fic

[mindibindi]

Beyond disappointed in Ted Lasso. What were they thinking?!

The writing is a complete betrayal and insult to Rebecca’s character and Hannah’s skills as they’re being seriously underused. It’s also insulting Sam’s character.

Hoping someone pulls Rebecca’s head out of her ass tbh. Sam shouldn’t be getting caught in the crossfire of her looking for romance. I know he showed up at her doorstep but she still should’ve turned him away, and not even messaged him in the first place.

Hey, I'm with you, Anon, though we do seem to be in the minority. Sam is definitely not blameless here, he is also in the wrong. But if one of them is more in the wrong, it is Rebecca. I can't speak to whether her head has left her arse as yet because I have quit watching (at least for now). I hear she called it off with Sam in the most recent ep, though not because of any major crisis of conscience or because anyone in her inner circle expressed any reasonable reservations in response to her bad behaviour. And to be honest, I'm not sure we should need to hope and pray that Rebecca's precocious god-daughter, her slimy ex-husband, or the brutal British press will act as a moral compass on this ill-advised relationship. Both Rupert and the press have been set up to some extent as the villains of the piece. And a 14 year old should never have to school her elders on what is and isn't acceptable. Nora's needs have already been neglected by Rebecca for far too long.

If a moral position is to be taken on this, it needs to be taken by the show (because stance matters) and/or by its characters. But the show has for the most part depicted this relationship as ill-advised but ultimately hot, sweet, funny and romantic. As for the characters themselves, Sam has shown at least once that he has some moral backbone but seems to be adorably clueless when it comes to fucking his boss who keeps trying to set boundaries with him. Meanwhile, Rebecca's whole arc in s1 was about learning not to misuse her power for her own selfish ends. In season one, she misused her power within the club in order to exact revenge. In season 2, we have seen her misuse her sexual power, though I still cannot see to what end. I'm a bit at a loss as to what exactly she gets out of this 'relationship' but then I'm a grown woman so I have absolutely no interest in sleeping with a Harry Potter enthusiast barely out of his teens. I couldn't think of anything less sexy and more ick. I was certainly hoping for better character development for her this season.

As to what the writers were thinking, obviously I was not in the writer's room, but I would guess that they were thinking that any drama is good drama, people are stupid and fan devotion will trump any meaningful critique. In other words, they were thinking exactly how every other television writer thinks, despite the fact that this show posited itself as 'not like other TV shows'. This, to me, is where the blame really lies. Not with the characters or with the actors who are doing their best to sell this ludicrous turn of events. It must be noted, however, that both actors were completely blindsided by this relationship that had supposedly been so cleverly foreshadowed. Newsflash: if the people actually living these stories did not see this coming then you haven't foreshadowed shit. Sure, there were a handful of people that paired Rebecca with Sam but this does not constitute proof either. Fans have free-range to imagine and re-imagine characters. In some cases this may extend to imagining relationships between characters who have barely, if ever, interacted. There may be little to no evidence that these characters have even clocked each other's existence and some fans will still ship it. The existence of a handful of shippers does not legitimise such a problematic and divisive plotline making it onscreen.

But wait!, you might argue, this may not be a case of a popular show seeing just how far they can stretch fan devotion. This may not be a case of fan service to a handful of shippers. After all, the creators mapped out the entire three-season arc of Ted Lasso before they even pitched it to Apple. This was their brilliant plan all along! To which I would say: then maybe they should've rethought their second act based on people's strong reactions to their first. Ted Lasso was touted as the show we all needed in 2020. The writers and creators have all marveled at the chord it struck considering it was conceived prior to the pandemic and all the chaos it wrought. And while there is something to be said for having/sticking to a creative vision, there is also something to be said for being flexible and responsive to your audience and the cultural zeitgeist with which you're engaged. Season 1 of Ted Lasso told its story so gently, without creating distrust, division or unnecessary anxiety. It did not treat its audience like a gaggle of stupid lemmings to be led over a succession of narrative cliffs. THIS is what I mean when I say the show has broken with its brand. And look, this whole dark forest thing would be okay if the narrative arc was as well-crafted as s1. Season 1 gave us meaning, cohesion, comfort, sense in a senseless time. It was an almost perfectly crafted season of television. And I kept the faith for 6 episodes, despite the first half of s2 being pretty damn wobbly. But the follow-up to this stellar debut has been less than extraordinary so yeah, perhaps they should've thought a little harder about what made s1 so special before throwing it all out the window.

But wait!, I hear the faithful say, you don't know how things will pan out yet! Wait until the season is over and everything will make sense! But -- wearily and once again, I say -- we should not need to wait until the end of the season to understand what the hell is happening. By this point (over halfway through the season and show) we should have a v clear idea of the show's themes and the characters' arcs. And tbf, from what I can tell there are some fab things happening in other aspects of the show that I wish I could watch and enjoy. But my biggest fear at this point is that they are going to use Sam to solve Rebecca's childlessness. That, like Rupert (because the parallel cannot be avoided), she will become pregnant with a young fling and the show's attitude to this relationship will ultimately be: oh well, it was a bad idea and didn't work out for them but it was all for the best in the end cos who can be mad about a cute lil baaaayyybbbeeee??!! If they do go down this path then I will definitely be abstaining from the rest of the show. I will simply recall my repeated viewings of s1 with fondness tinged with regret at just how badly they fucked up a good thing.

Ultimately, Anon, I think this may be a case of there simply not being a diverse enough perspective in the writer's room. I am not saying that every single woman or every single person of colour will necessarily object to this relationship. I am simply saying that women and people of colour will be more sensitive to the issues of gender and race that are relevant here but that have not been fully or sensitively acknowledged in the writing of this plotline. Neither am I saying that Rebecca is the first woman to sleep with a man much (much, much, MUCH) younger than herself or indulge in an ill-advised relationship. But the comparison with Rupert both works here and doesn't because Rebecca is not being written like a white woman, she is being written like a white man. Realistically, only a white man can engage in this kind of hugely imbalanced relationship seemingly without any major moral qualms or societal ramifications. Not to put too fine a point on it, but this kind of relationship is reserved for all the Bills and Joes and Brendans and Jasons out there -- not for the Rebeccas and definitely not for the Sams. We are way beyond the point in feminism where we believe that liberation is simply the right for a white woman to behave as badly as a white man. The truth is that whatever wealth, power and privilege Rebecca has, the rules are different for men and women. She will not be treated the same as Rupert if and when this affair is uncovered. She will be treated far more savagely than Rupert ever was and Sam will be treated far more savagely than Bex was. This is not an argument for the equal treatment of these two relationships. It is an argument against how the relationship between Rebecca and Sam has been envisaged, i.e. through the wrong perspective. In writing from a 'neutral' white male pov, the show has invisiblised all the many issues activated by this storyline and revealed a blindspot that was always there.

As much as I loved and still love season 1 of this show, it has definite blindspots when it comes to representations of race and gender. There are at least two moments in s1 that stand out for me as being so obviously written by a man. Not necessarily because of what they do but because of what they don't do: what is missed, absent, unacknowledged. I was willing to overlook such minor failings in a debut season for many reasons. But s2 seems to have exacerbated these minor flaws rather than correcting them. And here I can't help thinking of Tina Fey speaking of the diversification of the writer's room at SNL during her tenure as co-headwriter. This notoriously male-dominated environment only began to shift and produce better work when a greater diversity of minds, voices and persepectives was allowed in the room. In this richer environment, she notes, different jokes played differently. Different sketches made it to air. Different perspectives were represented and different performers were celebrated. I can't help wondering if this plotline would have made it to air if there had been a female writer, a writer of colour or both further up the chain of command to challenge the ideas of the straight white dudes in charge.

One of the reasons I didn't think Ted Lasso was for me was that it centred a straight, white, cis-het, able-bodied man who rose to a position he didn't earn. That is just not a pov I would normally choose for myself, especially now that there is such a rich array of alternative perspectives through which to view the world. But I think the show won a lot of females fans with its first season largely due to its portrayal of Rebecca. She is the first person we meet. She is arguably the protagonist of s1. And while she would have been figured as a villain in previous pieces, the show never took that stance with her (because again, stance matters). Other elements like the depiction of female friendships, all centred around Rebecca, made this show female-friendly viewing. But imo, the major reason this show won over female fans (this one, at least) is because, in this post-MeToo, post-TimesUp era, it stood up and said: domestic violence is not okay, we stand with women and all victims of abuse, we will defend you, we know words can hurt, we know it can happen to anyone, we know all about toxic masculinity, we do not take this lightly and we will support you in your healing. Needless to say, this is how women hope men will act when they speak of their most difficult experiences but it is not how they always do.

The shift away from Rebecca this season has however meant that the white male experience is more centred than it was in s1. Rebecca's journey to recovery, health and happiness has been trivialised and sidelined, reduced to a highly questionable sexcapade. Meanwhile, we get overwrought manpain at every turn. We get Beard wandering around London (no, I haven't seen it and no, I don't need to. We've all been raised on white dudes thinking they're genuises when they have a figurative wank all over our screens). We get NO queer represention at all. And the only other female characters on screen are in care/service roles to men. The father/son, mentoring and toxic masculinity themes are all still there but they're no longer balanced out by ANY other competing perspective. One of the reasons I was okay with Ted failing upwards in s1 was that he used his power and privilege to lift up others. He was the one in service. He used his enormous privilege for good, as anyone with such privilege must. (Admittedly, it could be argued that this is just another version of a white savior narrative).

My point here is that I'm not sure that peeking behind the mask at the sad clown is as revolutionary as some might believe. We love it because it's familiar. But this is a narrative with a long and problematic history. Do I believe in tearing down toxic masculinity in all its forms? You bet. Do I believe that patriarchy traumatises men as well as women and every other minority in existence? I mean...nowhere near as much, but absolutely. Do I believe in men expressing their feelings and going to therapy? Wholeheartedly. But I am also aware that 100 or so years ago, we were in a very similar place with our narratives. Everyone is looking for a recapitulation of modernism and frankly, this might be an indicator of just that. Whenever women and people of colour have demanded rights and recognition, there has always been a resurgence of tales about just how frickin' hard it is to be a white man. Minority genders and non-white people have never in western history been as visible or vocal as they are now. So forgive me (or don't, I don't care) if I critique a show not only for centering fathers, sons, boys and men but for blindly and boldly writing one of its only female characters and one of its only black characters as if their gender and race just do not exist. There are many other power differentials at play in this relationship, including age, experience, wealth and position, but race and gender are the two that patriarchy is most invested in invisiblising. So I don't care how brilliant they think they are, I will not trust the writing of a bunch of white dudes trying to tell me that race and gender are irrelevant.

#ted lasso #rebecca welton #sam obisanya #ask #yeah this one got out of hand

[hello-yue-here]

Yuetara, zukka, and maiko

yuetara

ship

1) its not one of my main ships. i dont rlly read fanfic for them but if i see a cute fanart of them ill enjoy it and i think i first started shipping it because of good fanarts for them.

2) i like yuetara because of how similar they are. theyre both women from the water tribe. they both understand the misogyny that they have faced. and they both said f sexism im gonna be a strong woman. i also love the tui and la parallel. moon spirit and ocean spirit parallel COME ON. YUE IS THE MOON. KATARA IS THE MOST POWERFUL WATERBENDER. THEY ARE THE OCEAN AND THE MOON. the push and pull they could give eachother. that dynamic ftw.

3) i guess if i didnt like something about this ship would be the fact that if i read a fic or see a fanart w yuetara then than means in that particular au i wont get any yuekka and yuekka is probably my second favorite ship. but then again if i get yuetara than i could get a plethora of other sokka ships to go with it so my sadness disappears in like two seconds. gosh shipping is hard sometimes until you remember ‘hey i have like fifty different universes in my head. all ur ships can coexist in ur brain olivia’ other than that i really see no downsides to this ship. maybe i wish it had more content. maybe if it had more content id ship it a lot more but its not one of the more popular ships so the content is kinda few n far between on my feed.

zukka:

SHIPPP

1) my boys. my babies. my loves. i watched this show for the first time when it came out on netflix and when it ended i really didnt ship anything other than kataang. i came onto tumblr to find fun atla content and one of the very first things i saw under the atla tag was zukka content. i was like oh? whats this? zukka? interesting... i was intrigued so i found a list of fic recs and i fell in love with the ship. the rest is history. its probably my number one ship because it was my very first ship here and im nostalgic

2) oh boy there is so much i like about this ship. i relate to a shit ton of characters in atla. but sokka and zuko may be the ones i relate to most. i relate to sokka because i tend to feel second best a lot to my friends. i try to stay positive but things rarely go the way i plan or hope for them too and while im happy for my friends and their achievements i oftentimes find myself thinking why cant that be me? and i see this a lot in sokka especially in sokkas master. i dont feel special a lot and idk seeing sokka feel the same way and then realizing he is special kinda helped me realize that im special too. on the flipside i relate to zuko because i have wild anger issues and difficulty dealing w my emotions a lot as well. i get broody and short tempered and insecure very often and i tend to push people away and i refuse to ask for help (the amount of teachers and adults and therapists who have told me its okay to ask for help ur not any weaker because of it is astounding. do i listen to them? .....im working on it.) and i saw a shit ton of this in zuko. book one and two zuko rarely asks for help as seen in the blue spirit and zuko alone and he pushes away uncle so many times and even when the gaang iffers to help him in i think its the chase he tells them to leave. when he finally has his redemption and joins the gaang and lets them kinda become a better person i was so happy. i want that for myself yk. seeing him finally win the agni kai and overcome his family that always told him he was nothing was such a win. my sister and i get along but when we were children we were very much like zuko and azula. it was extremely competitive all the time and there was so much toxicity and sibling drama to a concerning extent. we get along great now which im very happy about but yeah their sibling relationship hit a lil too on the nose for me. seeing as i relate to these character so much and want them ti be happy i want to live vicariously through them so seeing them together is amazing for me to project into them. i love projecting onto fictional characters and with them i can project onto BOTH so its a winwin. plus so many zukka fics are so well written and heartwarming and heartbreaking and emotional and fluffy anf UGH the talent here us astounding.

3) what do i not like about the ship? again the list is long. oops. mainly the toxic shippers. there are so many toxic zukka stans that sometimes make it hard for me to enjoy this ship but hey! thats what the block button is for:) i despise how often people infantilize zuko and completely ruin his character for the sake of making him a soft weak lil boy who needs protecting. thats just not zuko for me. and ive seen many many accounts even state that this kind of portrayal of zuko is rooted in racist stereotypes about asian men (now i am white so i personally have never experiences racism but i feel the need to bring that up because it is wrong and attention needs to be brought to it because a lot of poc fans have criticised this) and the same for sokka. some ppl rlly skew his character and make him a big strong brute and hypermasculine and once again poc fans have said that this take is rooted in racist stereotypes. again! these are just my opinions! this is my favorite ship! but i think its important to acknowledge some of the bad parts of our ships as well and be critical where criticism is needed :))

maiko

ship

1) I LOVE MAIKO. “i dont hate you” “i dont hate you too” BRUH. my little heart just burst into flames. im sorry guys but maiko is so cute. they hate everything except eachother. BRUH that is one of the cutest tropes. i shipped them the moment i saw them together onscreen and i was so happy when zukos face lit up in the finale when mai came back.

2) “i hate everything but i have a soft spot for you” TAKE MY MONEY I AM A SUCKER FOR THIS. they are so cute together. like zuko is rarely happy in a majority of atla but mai makes him happy and i- 🥺🥺 HE DESERVES IT. and mai is always so supportive of him. when hes stressing out about the war meeting she tries her best to comfort him. and zuko cares about her too. he may not be the best at showing it but oh my god hes TRYING HIS BEST. i think its a very accurate portrayal of teenage relationships because they arent perfect and they do fight but like,, every teenage relationship does that. and even after everything and how he left her in the fire nation she still had his back at boiling rock. she still risked her life against azula to save his butt.

3) the thing i hate about maiko isnt even about maiko. its about antis who think mai is toxic and that zuko deserves better. that has got to be the worst take ive ever heard. they had a fight in ember island. that is NORMAL. they are teenagers. they are not perfect. but underneath all the rough edges and things they need to work out they still care about eachother so freaking much. i genuinelt believe that neither of them would do anything to intentionally hurt the other and i think thats what matters the most. if anything mai is the best girlfriend in the entire world because zuko fucked up like,, quite a few times. he got rlly jealous and dumped her thru a letter and ppl always say that mai was toxic for being mad at him for those two things. umm she had every right to be mad at him for both of those. and while zuko is allowed to feel his emotions and be angry sometimes as well sometimes he needs to think things thru and realize that hey maybe some if this jealousy is unfounded. BUT EVEN THEN. HE RESPECTED HER FEELINGS AND DIDNT TOUCH HER WHEN SHE SAID DONT TOUCH ME. HE RESPECTED HER. so i hate toxic maiko takes because they are literally so wrong in my opinion.

again all of these are just my opinions!! feel free to agree or disagree but please be respectful!! i will respect whatever u think as well because this is all just for fun :)

#atla #avatar the last airbender #zukka #yuetara #maiko #ship game #ask game #long post #wow i wrote a lot #also if anyone wants to talk ships feel free to message me!

[athenagrantnash]

Gunpowder Milkshake review

There are four elements to a film that, when all are achieved, can elevate a film from “good” to “great”; and any film that can achieve at least two of these elements is certainly a good and enjoyable film.

These elements are (in no particular order)*:

Aesthetic

Cast (charm, likeability, acting skill, etc)

Characters

Writing (story, script, dialogue etc.)

*While all four elements are important, writing is in my opinion the most important of the four.

So does Gunpowder Milkshake achieve all of these elements? Let’s discuss. (not a spoiler free review)

1) Aesthetic

I cannot say enough good things about the aesthetic of this film. The lighting, the camerawork, the set design, the costumes, it is all top notch. There is never a moment where what you are looking at isn’t visually engaging.

One of my favorite elements is how much is said about each character based on their costumes. 

Karen Gillan’s Sam wears an orange jacket for the majority of the film - a jacket she stole because she didn’t like the clothing provided for her. Early in the film it’s established she doesn’t quite know what kind of assassin she is - she is as undefined as her jacket. But there’s a sportsmanship about her, as she won’t kill the three stooges when they aren’t trying to kill her, and she draws the line at ever letting a child be in danger.

Chloe Coleman’s Emily spends the entire movie in a yellow coat - representing the optimism and joy that comes with childhood innocence, an innocence that at the end is marred by the blood red handprint across the back of her coat.

The clothes worn by Angela Bassett’s Anna May, Carla Gugino’s Madeleine, and Michelle Yeoh’s Florence are all very similar, but specific to each character.

Anna May wears dark blue - signifying depth and power - and she has more layers than anybody else - Madeleine has the sweater/jacket, Florence has the vest, and Anna May has both. And just like her clothing, she has layers. You can sense the power and ferocity, and anger that lies rippling just below the surface, only just barely kept in check. 

Florence wears green - signifying serenity - , and her outfit has nothing loose or soft about it. She is exactly as she appears to be - exactly as a tiger stalking its prey appears to be - quiet, contained, serene... deadly. It’s her serenity that keeps Anna May’s ferocity in check, but don’t mistake that for safety.

Madeleine wears pink - signifying kindness - and instead of Florence’s vest or Anna May’s vest/suit jacket combo, she instead wears a soft sweater. She is kind, trusting to her instincts, and protective of Emily. But her kindness is not weakness - just look at her weapon of choice if you disagree.

And while everybody else is wearing bright and/or striking colors, Sam’s orange jacket, Emily’s yellow coat, Anna May’s blue suit, Florence’s green vest, Madeleine’s pink sweater, Scarlet - completely at odds with her name - is wearing colors that are practically nondescript. She has isolated herself from the other Librarians, and that’s shown in a beautifully subtle way through her clothing. And yet, in a further note of subtlety, she is wearing soft oranges, showing her connection to Sam (also in orange) and how that connection is what brings her back from her isolation. Her clothing is loose, but not soft, reflecting a deceptive casualness, which matches her personality perfectly.

I’m not even going to touch on the visual brilliance of the lighting, set design, and camerawork because words literally will not do it justice. You just have to watch and see for yourself.

Additionally, an argument can be made that, since “action” is not its own category, that would fit into this section too - and while it’s literally impossible to top how visually engaging the lighting/set design/camerawork/etc. are, the action is certainly on par with it. The fights are all incredibly fun and creative, and they take advantage of the setting they are placed in, the road blocks or handicaps the characters have to work with, and at no point ever feel stale, repetetive, or boring.

So where does this movie rank in aesthetic? 5/5

2) Cast

There is not a weak link in this entire cast! Karen Gillan, Lena Heady, Angela Bassett, Michelle Yeoh, Carla Gugino, Paul Giamatti - every single one of these actors has proven time and again how much talent, charm, and onscreen charisma they have. Relative newcomer Chloe Coleman legitimately holds her own, even among such a star-studded cast, and is simultaneously sympathetic, charming, likable, and absolutely adorable.

Even bit players like the three stooges that Sam takes out, Emily’s dad, the doctor, and Jim McAlester play their roles to perfection.

As a side note, am I the only one who was a little bit disappointed that McAlester’s first name was Jim? It would have been hilarious if his first name was Kevin, and then we could have drawn our own conclusions about the criminal turn Kevin McCallister’s life took when he truly embraced his childhood propensity for chaos.

So where does this movie rank in cast? 5/5

3) Characters

This is where the movie starts to falter a little bit. Every single character is likable, but a lot of that can be attributed to how excellent the cast is.

Most of the characters are fairly cookie cutter, and while there is nothing about them that is particularly annoying or stereotypical, none of them have enough depth to truly be “great” characters.

The closest any character has to having any sort of depth or complexity is Nathan, who - while he doesn’t hesitate to send an entire army after Sam - sends her a private message and provides the only help he can.

Not that any of the characters are bad - I think my analysis of the lead lady’s clothing proves my opinions on that pretty conclusively - but they could have been better

Additionally, at just under 2 hours there is barely enough time to develop them properly. Florence in particular could have been much further fleshed out in ways that are not solely inferred through the costume design and acting.

The relationships between Emily and Sam, Sam and Scarlet, Scarlet and Anna May, Sam and Madeleine, Anna May and Madeleine, and Madeleine and Emily are done fairly well. I understood each dynamic and how it worked in the larger story that was unfolding. Florence had none of that - to the point that (if not for the inferred analysis based on clothing) I’m still not entirely sure if she or Anna May was the de facto leader of the librarians. If they had added something - either her legitimately having a moment where she takes charge or (even better) establish a rivalry between Florence and Anna May over who is in charge that would have done a lot, but unfortunately as it stands Florence didn’t get the development that Michelle Yeoh deserved.

So where does this movie rank in characters? 3/5

4) Writing

If the movie started to falter a bit when it came to its characters, it faltered even more when it came to the writing. In fact it’s the writing that can be blamed for the characters not given the development they should have gotten, even if these are two different categories.

And yes, it’s an action film, so technically the plot takes second place to the fisticuffs and gunplay - and while I’m not going to hold the genre against the film, even as an action film the script could have been a lot stronger.

Most importantly, the movie should have been at least thirty minutes longer in order to allow more growth and development for each of the characters. One scene that should have been in the movie was one of Emily while she was captured by McAlister. He should have tried to turn her against Sam, not realizing that the revelation that he had killed her dad had already done that. But Emily is smart, and the more he talks the more she realizes she’s directing her anger at the wrong person. Then when Sam turns herself in so that she’ll be safe it solidifies it for her - Sam might have pulled the trigger, but she’s not the heartless killer that she should be angry at.

And that is just one example of how a longer runtime and a few more rewrites could have given the story and characters a lot more depth.

Now onto the white elephant in the room.

“There’s a group of men called the firm” (yes, I’m going there... somebody has to).

I get what the film was going for, but this is the most perfect example of why it needed one or two more rewrites. 1) If it’s a group of men, why is Sam working for them and why is she recognized as the best at what she does? The movie is trying to imply inherent sexism, but because it felt the need to slam us over the head with that line all subtlety was lost.

Sam could have just called it “a group” and then we the audience would see that while men and women work for them, the ones calling the shots are all men. And then to turn around and show how much more prepared, professional, and competent the Librarians are would make this point in a much more subtle and compelling way. There is a lot more power in using that kind of storytelling than in explicitly telling your point to the audience in so many words. 

However, while most movies that go this route make all their male characters useless or stupid, Gunpowder Milkshake did manage to not do that. Other than the three stooges, which Nathan chose to send after Sam because he didn’t want her killed, therefore by design are supposed to be useless, all of the people that our mains go up against feel like legitimate threats.

And I’m glad, because as a woman I do not like the recent tendency to turn men into useless idiots and then imply that is the only way the women managed to defeat them. I want women going up against men who are at their best, and still win. And this movie did that.

Additionally, I will say that the whole “group of men” thing is a minor quibble on my part, as it doesn’t fall into the pitfalls most other movies who are making this point fall into. But it is unfortunately an example of why the writing could have been much better.

Add in some awkward dialogue that only worked because of how ridiculously charming and likable everybody in the cast is, and we unfortunately have writing that is sub par and does not live up to the standards set by the other three elements. The aesthetic, the cast, and even the characters deserved better writing.

As a side note: Where do these people get their milkshakes that they manage not to melt even after three hours? Because that’s some circa 3000 level galaxy brain and I want it.

So where does this movie rank in its writing? 2/5

Conclusion:

I said at the top that for a movie to be “great” it has to meet all four elements, but to be "good” it only has to meet two, and Gunpowder Milkshake  definitely  meets two of the elements.

Where it begins faltering and falls short of being “great” is in the characters and the writing, which is a shame because the brilliance of the cast and the genuinely engaging and breathtaking aesthetic deserved to be in a movie that can be called great.

I would love a sequel to this movie that does flesh out the relationships better, provide more depth to the characters, and allows for the writing to match the quality of the cast/aesthetic.

So what is my total ranking for this film? 3.5/5

It’s good, and I will definitely watch it again and recommend it to people, but it so easily could have been great.

#gunpowder milkshake #karen gillan #lena heady #angela bassett #michelle yeoh #carla gugino #look at that I managed to actually be professional and write a whole interview that didn't include simping over A ngela B assett #y'all should be proud of me

[thecloserkin]

fic rec: Vignettes by CosmicZombie

fandom: The Borgias (Showtime 2011)

pairing: Cesare Borgia/Lucrezia Borgia

word count: 17k

is it explicit: yes

bottom line: Cesare heals Lucrezia from the emotional trauma of her marriage; this fic healed me from the ennui of being alive

It’s an S1 AU where Lucrezia returns to Rome from Pesaro to await her divorce, but Rome does not feel like home anymore and Lucrezia does not feel like herself. Pesaro isn’t just a place, you see—it’s the physical manifestation of Lucrezia’s loss of identity. That bastard Giovanni Sforza made her feel worthless, made her feel like less than nothing, and you don’t recover from that kind of abuse overnight. This fic pulls off an astounding sleight of hand where it repeatedly juxtaposes Pesaro against Rome, alien-place against home-place, and then it turns out Rome isn’t home—Cesare is home. That revelation hit me like a ton of bricks.

“Am I different, Cesare?” “You are Lucrezia.” “I—I sometimes feel as though I cannot remember who I used to be.”

She’s home but not home; she’s with Cesare but she wants to be with him more (she wants his dick inside her lol).

This fic takes its time with the slow buildup of UST, and I adore how tactile Lucrezia and Cesare are. We have tears being wiped away, nose bumps, brushing of lips against knuckles, warm breath on skin, dancing in the moonlight, cuddling, even bedsharing! Another thing I’m in awe of is the imagery: I could hear the burbling of the water fountain and I was getting sleepy just from the descriptions of sunlight. She even has a dream where she sees Cesare in her own reflection in a mirror, and it was such a disturbing image that it stayed with me. In truth it’s a dreamlike atmosphere that’s evoked here—Vanozza, Juan, Gioffre etc are onscreen for 0.2 seconds even though they’re all living at the villa together—it’s pretty tightly centered on Lucrezia and Cesare. What’s going on in the outside world?? Is France about to invade & occupy the Vatican? Is Milan in cahoots with them? Are there rumblings of discontent from Naples? Has Savonarola set Florence on fire yet? Who tf knows—not Cesare or Lucrezia, they’re in their own little bubble!!!

When other characters are mentioned, however, the context is revealing:

Juan had mocked them when they were children for being like a two-headed Cerberus

Djem had told her of Indian tigers once, how when the monsoon came after months of drought they sometimes drank so much in compensation that they drowned their own hearts in water.

That second quote!!! That’s Lucrezia being reunited with Cesare and immediately trying not to gorge herself on him. She missed him so much while she was away in Pesaro!

So Lucrezia has insomnia. Of course, before she left Rome, she used to sleep like a baby:

“Come,” Cesare said gently, pulling their clasped hands to his chest and kissing her knuckles. “Let me read you to sleep as I used to…What should you like to hear, sis?” “Anything so long as it is in your voice,” Lucrezia murmured, eyelids heavy.

This passage, I think, best encapsulates the rupture that has occurred in Lucrezia:

She wondered now that she was back how she had been able to bear being away from him for so long, but then she felt that she had not only been away from him while at Pesaro, but also away from herself. Now that she had returned she ached for both of them so deeply she felt as though it would consume her.

What a turn of phrase! She had not only been away from Cesare but away from herself. Because Cesare is her own self q.e.d. bye

“Sometimes I feel as though I no longer exist,” Lucrezia whispered, leaning her forehead against his … It is only when I am with you that I feel like myself again, Cesare.” “I would cut out his heart for what he has done to you, sis.” “What good is his heart? It will not make me feel myself again …Only yours can do that, brother, as it has always done.”

ONLY CESARE MAKES HER FEEL REAL AAAAAAA!!!

Here is where the UST really starts to build, and Lucrezia feels the little tremors of physical attraction under her abiding affection for Cesare:

she felt as though she were simultaneously glimpsing the assurance of the one thing which would never change, and flickers of things she had always known before but never truly been confronted with.

shoulders pressed together the way they had sat together so often over the years; on one or other of their beds, or the walls of the Vatican, or on this very spot – yet it somehow felt infinitely different to any of those times. He had always been her solace, in everything. Never before had he somehow been part of what troubled her.

This is a conversation wherein Lucrezia doubts she is worthy enough to experience all-consuming soul-engulfing romantic love the way it’s valorized in stories and songs:

“But you have been with women, Cesare …You know what it is to love someone, to be loved. I have not known that. I may never know it.” “You will know it someday, my love. I promise you.“ “But I do not know it now. Tell me what it is like. Tell me that it exists…Please, Cesare.” “I do not know if I have ever loved a woman I have been with in the way you describe, sister.” “Is such love impossible?” “In every sense of the word, my love.”

This conversation is EVERYTHING. I cut out out the body language but it’s like, Cesare is finishing every single sentence with “my love”??? What more proof does she want that he loves and adores and desires her above all other women?? “Impossible loves” indeed!!!

She had craved his attention and his very presence whenever he was missing from her – but she felt now that she still craved him even when she was with him. The power of it overwhelmed her and empowered her all at once, and was more consuming than her love of god had ever been.

THEIR LOVE FOR EACH OTHER IS MORE POWERFUL THAN THEIR LOVE FOR GOD this is it this is the essence of Cesare/Lucrezia

For most of her childhood, she had lived in fear she would never find anyone else in the world whom she loved as much as her brother. Sitting amidst the wildflowers with her hair unravelling and her heart racing as they looked at each other, she knew it had been a long time since she had feared that.

Did somebody say platonic/fraternal affection shading imperceptibly into romantic attachment??? My jaaaaaam

“How many people do you think are blessed with such intimacy of the soul, Cesare?” “None that I know.”

Soulmates!!!

This is the prologue to them consummating their relationship—they rode out into the woods and the scene is as picturesque as can be:

“I do not like the way men look at me … I feel like fearful Daphne under their gaze, and just as helpless to escape them. They do not see me, they only see the pope’s daughter, a Borgia.” “I do not see only that.” “No, I know you do not. But you are different, Cesare … I cannot imagine what it would be to fear you.” “Many do not have to imagine.” “I do not fear you …But I fear this, Cesare…I fear what I feel for you when we are together.”

There’s no going back after this—they’re taking an irrevocable step in their relationship but they’re also ruining each other for any future partners, who could not possibly ever measure up.

She could feel how hard he was against her thigh, feel the urgency in the tremor of his hands where they touched her hair, feel the fevered thump of his heart where his chest was pressed against her own. For the first time, she felt as though she was given a glimpse of the recklessness which drove him when he was wielding a sword or charging headlong into the chaos of a battlefield.

Making love is actually not dissimilar to making war: the adrenaline rush?? The anticipation? The endorphins??

Oh wait no jk they don’t consummate till they get back to the villa later that night. This is my favorite passage from this fic, it’s Lucrezia running into him on the terrace after supper and really seeing him. She’s the only one who’s ever seen all of him:

Here in the shadows with just the two of them the impatient ambition and calculating intelligence that constricted him as much as his Cardinal’s red was lost, and he was just himself. The brother Lucrezia had known since she was placed into his arms less than an hour after she first came into the world, who had existed before ambition or anger in his devotion, curiosity and passion. It was the Cesare she and she alone knew, and it made emotion bloom in her chest to think she was the only person who had ever known him as this.

And then they go back to her room and bang, which is how Lucrezia finds herself again. Protip everyone: skip the Eat Pray Love and instead embark on a journey of self-discovery by banging your brother!

#cesare x lucrezia #fic rec #the borgias

[acephysicskarkat]

Redemption, Forgiveness and She-Ra S5

So just to spite the anon who told me to stop posting my opinions, I’m gonna post another opinion!

This will contain spoilers for SPOP, Avatar: the Last Airbender, The Good Place, and Steven Universe.

So the most common take that I’ve heard about S5 from Catra stans is that it’s a story about redemption and forgiveness and that if I’m in any way critical of it then I’m saying abusers can never redeem themselves.

To which I say: the second part is a strawman argument, and the first part doesn’t help because it’s a bad story about redemption and forgiveness.

Part 1: Redemption

The problem with S5′s stories about redemption is that they are, universally, undercooked.  For things that the fanbase had been wanting for months, they’re surprisingly lacking in meaningful impact.

Catra’s is the least bad, because Catra is at least on-screen long enough to tell us that it seems to be sticking, but it’s still not good.  It’s rushed, it’s weightless, and it feels like they didn’t even check what she’d done in the past three seasons that she would need to find redemption for.

At no point does she meaningfully confront her actions (which, in case you’ve forgotten, ranged from bringing about the death of Queen Angella (S3E6), to repeated attempts to murder or permanently harm Adora (S1E11, S1E13, S2E5, S3E4-6, S4E3), to bullying Scorpia (present throughout but most obvious in S4E6), to taking part in a war crime (S4E8)), nor does she really confront the jealousy and spite that drove them.  Indeed, the episodes that could have been spent showing us her character development are spent showing us that she still has a very unhealthy attitude towards Adora (S5E6) and telling us that she underwent her character development offscreen, while we were distracted by Double Trouble (S5E8).

Hordak’s is even worse, because Catra at least admits she wronged people, even if the focus is put almost entirely on Catra feeling bad about it.  Hordak realises, accurately, that being made into a cog in a machine of conquest is bad (S5E13)...but he never makes the leap onscreen to it still being bad when he did it to other people, as he did to Adora and the other Horde kids (S2E7).  It treats Hordak’s decision to break free of Horde Prime as if it in and of itself makes him good, overlooking that the life he’s trying to go back to was the one where he ruled over an empire of stolen children.

I don’t even want to get into Shadow Weaver.

AtLA gave a compelling redemption arc to Zuko by having him confront the consequences of his actions.  SU gave a compelling redemption arc to Peridot by showing us, in great detail, her evolution from antagonist to ally.  SPOP just kinda tells us that characters are good now and expects that to work out okay.

And the really depressing thing is that both these characters actually could have sustained really compelling redemption arcs!  I would have loved to see Hordak meaningfully realise onscreen that the universe does not consist of him, Horde Prime, Imp, Entrapta, and a bunch of largely interchangeable pawns for him to treat as he sees fit.  I would have loved to see Catra wrestle with and overcome her resentment of Adora, maybe come to understand that being Shadow Weaver’s favourite fucking sucked actually.  The show just didn’t bother, and so what we got was on par with a bad fanfic or the backstory for a D&D character.

Part 2: Forgiveness

For my money, one of the best stories about forgiveness in modern media is in a third season episode of The Good Place called “A Fractured Inheritance”.

Explaining it with as few spoilers as possible, protagonist Eleanor Shellstrop discovers that her cartoonishly neglectful mother Donna faked her death and seems to have built a new life where she’s a good stepmother to a child.  Eleanor spends most of the episode convinced that her mother is running a scam, but eventually concludes that this does appear to be sticking and gives up her plan to reveal Donna’s secret, cautioning her not to go back to how she used to be.  At the end, she opens up to a friend about the trauma she sustained as a result of her upbringing.

SPOP could never.

"A Fractured Inheritance” tells a more compelling story about forgiveness in 15 minutes of screentime than she-Ra S5 managed in four and a half hours because The Good Place cares about Eleanor’s trauma.  It’s portrayed as pretty understandable that she has a grudge against her mother, and working through that takes time and sustained proof that Donna has changed.  More than that, forgiveness isn’t portrayed as a magical button that instantly solves Eleanor’s issues; just because she’s letting go of her anger towards Donna doesn’t mean that the harm she suffered as a result of Donna’s neglect goes away.  Her fear of opening up or being vulnerable, stemming from a childhood of constantly being shat on when she did, is still there, even after reconciling with her mother.

Contrast this to She-Ra S5.  The second Catra says she’s sorry, Adora is willing to forgive her and go across the universe to help her (S5E3), even though in their last interaction, back in S4E3, Adora actively tried to kill her for pretty darn compelling reasons (you may remember those reasons from S3E4-6).  Adora gets, like, a brief rant in S5E4 where she seems to be confused about this, but there’s never a point where she meaningfully seems to process the trauma she’s suffered as a result of Catra’s treatment of her, which we know has been toxic, controlling and unhealthy since they were kids (S5E3).

More than that, there’s never really a point where any of the people Catra victimised in the first four seasons gets to deal with that.  Glimmer seemingly never realises that Catra is why her mother is dead (S3E6), which is especially jarring given that the effects of Angella’s death on Glimmer drove the entire previous season; Entrapta barely remembers that Catra betrayed her and sent her to her presumed death (S5E6); Bow thinks someone who’s done nothing but attempt to hurt his friends for as long as he’s known her is adorable (S5E8); Scorpia forgives her before she even finishes saying sorry (S5E13); and both Frosta decking her in S5E9 and Perfuma’s understandable irritation with the woman who bullied her GF in S5E10 are portrayed almost as jokes, the latter never escalating beyond mild rudeness.

This also extends to Hordak, who, after his tissue-thin face turn in S5E13, gets a baffling montage that tries to portray his picking up an abandoned child and indifferently turning her over to an abusive sorceress (S2E7) as somehow heartwarming and a big bonding moment, and then the notion that Mermista might have some grudges against the guy who burned down her home and displaced her people (S5E7-8) is framed as comic.

I’m not even saying that neither of these characters should never be forgiven by anyone!  Just that the forgiveness they get in the show is lacking in dramatic weight, because the actions that are being forgiven don’t feel like they mean anything.  Catra has hurt Adora, Glimmer, Entrapta, Scorpia, Mermista and countless unnamed innocents, and it’s all treated like it has the same impact as borrowing Adora’s Xena DVDs and forgetting to give them back.  Hordak should be considered Etheria’s greatest monster given the number of people who’ve died as a result of his actions and maybe one person is slightly irritated at the prospect of having to send him a Christmas card this year.

(This is without getting into the fact that Glimmer and Entrapta are expected to deal with the consequences of their actions to some degree, with each getting an episode focused around that (S2E2, S2E4).  It’s kind of wild that Glimmer nearly destroying the world because she took a reckless risk in a desperate gamble to try and save the people she cares about from the Horde blitzkrieg, a gambit that she immediately tried to fix when she realised she’d fucked up (S4E10-13) is treated as something that causes a notable rift in her friendships, but Catra nearly destroying the world because she was just that jealous of Adora (S3E3-6) is breezed past with an “I’m sorry.”  Entrapta building the robots causes the Alliance to hold grudges; Hordak waging 25 years of warfare is [shrug] Just Horde Clone Things.)

3. Salvaging These Plot Points

Now, as I implied above, the notion that I think these characters are irredeemable is a bullshit strawman, a thought-terminating cliche that Catra stans use to dismiss criticism without processing with it.  So how would I go about it?

Catra

I would start by having Catra and Glimmer be in the same escape.  Having her attempt to sacrifice herself in S5E3 had some weird thematic issues given her previously established self-destructive streak (S2E5, most of S3).  If we have to keep the bad plot point where Adora recovers the friend who loves and cares for her and immediately goes “well, we gotta leave our friends back home to deal with a colonial invasion while we charge across the universe to save my abusive stalker ex who’s never respected my personhood or autonomy”, I’d probably look at the two biggest missed opportunities in the season: S5E6 and S5E8.

S5E6 is terrible, and should just be expunged mercilessly with fire for its baffling endorsement of the sentiment “yes i abused u but now u hate me so i’m the victim really”.  Its replacement should probably be focused around Adora genuinely processing the harm she’s sustained as a result of Catra’s treatment of her, probably deciding at the end that she’ll accept Catra’s help but is still understandably suspicious of her given the established mistrust (S1E8) and hostility (S4E3).

S5E8 is easy to fix, though; instead of it mostly being the characters bumbling around a haunted house, I’d make the setting actually do stuff for the characters’ arcs.  We already know that First One ruins can bring up memories, so I’d turn it into a reversal of S1E11 where Adora and Catra’s friendship can actually be rebuilt, probably culminating in Catra saving Adora from falling off a cliff as a symbolic rejection of the resentment she would have been struggling with throughout the episode.  This is probably where Adora starts to actually believe that Catra has become a better person.

Basically, the goal here is to show the audience that Catra is working to overcome her issues and become a better person, instead of telling us that it happened offscreen.

Hordak

The problem with Hordak’s face turn is that at no point in the show, including after we’re supposed to treat him as Good Now, does he seem to give a shit about anyone not on a list that contains maybe 4-5 names.  I’d probably put in some scenes earlier where his experiences seem to be actually changing him for the better: maybe his response to Entrapta asking him to spare Catra isn’t to commute her sentence to a suicide mission, or he feels a sudden sympathy with a captive Etherian after the fall of Salineas, as the shared feelings of loss line up, and orders their release.  Basically, the idea is to put in some groundwork so that it actually feels like he might be safe to have around, instead of him betraying his tyrannical overlord because he misses his life where he was, himself, a tyrannical overlord.

I also would not play the idea that people might be a little bit suspicious of a man with a 25-year history of ruthless oppression, colonial violence and unprovoked warmongering as a joke.  Just one of those personal quirks.

4. Summary

In conclusion:

S5 is a bad story about redemption because it doesn’t give the characters being redeemed engaging or compelling redemption arcs, favouring a blind rush to the ending, and it’s a bad story about forgiveness because it treats the actions that are being forgiven as though they don’t mean anything, even when episodes or entire seasons have been built on the effects of those actions.  It’s not that these ideas are bad in general, that these characters axiomatically couldn’t be redeemed or that forgiveness is problematic; it’s just that the execution is bad.

Anyway, thanks, jackass anon, for inspiring me to set down my thoughts in detail like this!

#s5 salt #spop spoilers #writing thoughts #redemption arcs #forgiveness

[pass-the-bechdel]

Stargate SG1 full series review

How many episodes pass the Bechdel test?

43.6% (ninety-two of two hundred and eleven).

What is the average percentage of female characters with names and lines for the full series?

23.23%

How many episodes have a cast that is at least 40% female?

Thirteen.

How many episodes have a cast that is at least 50% female?

Three. 

How many episodes have a cast that is less than 20% female?

Seventy-two.

Positive Content Status:

Well, it’s altogether not impressive - on the plus side, the one (1) original female lead on the show is a legitimately great character and a strong feminist icon who has thus far withstood the test of time, but on the negative side, it’s fucking slim pickings for quality female representation beyond that one character. I’d also like the register my displeasure at all the times when the intense heteronormative male-obsessed writers room churned out content which was so rooted in straight-white-cis-male-Christian-American ideology as to be utterly absurd when applied to alien beings and cultures, but with zero evidence that anyone had reflected in the least on that fact. It’s science fiction, morons. Get a clue (average rating of 2.96).

Which season had the best representation statistics overall?

Season ten has to take it - as the only season with two women in the main cast, it passed the Bechdel 80% of the time (its closest competitor in that regard was season five at 54.54%, the only other season to even make it over 50%). Season ten also scored a 26.93% female cast, which is rubbish compared to most shows, but it’s the second-best score in that category for this show: the season which got the highest female percentage was season two, at just 27.5%. Seasons two and ten also tied for the lowest number of 20%-or-less episodes, and season two had three episodes at 40%+ and one at 50%+ (whereas ten had only the one 40%+, and no fifties), so weird as it seems, we gotta dive back into the nineties to claim season two as the runner-up for best overall statistics.

Which season had the worst representation statistics overall?

It’s a battle between seasons six to nine: season nine had the series-low for Bechdel passes (30%), and for the female cast (an abysmal 19.07%). However, season six barely did better on either score (though it was not second-worst - that was season eight, on both counts), and on the other hand, season six had a below-average positive content score, and the highest number of 20%-or-less episodes for a single season (twelve - though, season nine hardly did better, at eleven - tied with season seven, which also had a below-average positive content score, and only 20.53% for its female cast, which is the ‘best’ score of that latter cluster of seasons, but to such a negligible extent it’s hard to pretend it matters). The only thing in season nine’s favour, really, is that it didn’t tank its positive content score, but coming in at average isn’t exactly a ringing endorsement - it’s gotta take the prize for worst overall statistics, with seasons six, seven, and eight all jumbled in to second-worst, because the numbers are altogether just not that different from each other. It’s a sad showing.

Overall Series Quality:

If you can stomach the absolute overload of white dudes (both onscreen, and making their identities sooo fucking obvious all the way from the writer’s room), it’s...pretty delightful. They really don’t make exciting adventurous shows like this anymore, and more’s the pity, because sometimes the wonder of stepping through the ‘gate and discovering grand, varied, bizarre, and challenging new things on the other side is exactly what we need. 

MORE INFO (and potential spoilers) under the cut:

Woof.

I did say, going in, that I did not expect this show to perform well, but that I was interested to see if maybe it’d do better than it appeared at first glance. It didn’t. Boy oh boy, it did NOT. As I have also said, as I’ve gone along, they increasingly surprised me in a bad way with their escalating inability to conceive of female characters, existing. I’ve said it before and I’ll say it again: they were better at being inclusive of women in the nineties. They weren’t necessarily good at handling those women in respectful or intelligent ways, but they bothered to remember them in a limited capacity, and that was...ok, it wasn’t much of anything. I’m not going to praise the early seasons for having better numbers than the later ones even though ALL of the numbers sucked, any more than I’m gonna praise season ten for pulling the least-crappy scores out when we all know that’s a direct consequence of having two women in the main cast, and nothing more substantive than that, no actual effort or attempt to be better was involved. Early on, I thought that the fact that the Powers That Be had allowed Samantha Carter to move beyond her uncomfortable written-by-men straw-feminist-caricature origins to become a person in her own right was a great positive sign for the future, but that turned out to be a misdiagnosis. Not of Carter - she’s fantastic - but a misdiagnosis of the creative team as men who were willing to learn and develop and expand their intensely narrow perspective. That never happened. These writers did not learn.

To put the numbers in some additional perspective, let’s look at what we got in terms of recurring characters: as established, we had just the one main female character for the entire duration of the series. Vala, our final-season addition (appearing in just shy of thirty episodes out of more than two hundred), was not the second-most prevalent female character on the show: that would be Janet Fraiser, who was killed off in season seven but who appeared in almost half the episodes up to that point (almost half to that point, not for the show in totality, mind). So, we have Carter in over two hundred episodes, Fraiser in less than eighty, and then Vala, in twenty-eight. There are ten male characters who appear in as many episodes as Vala or more - five who appear in over one hundred episodes. After Vala? The next most prominent female character is Carolyn Lam, Fraiser’s eventual replacement, in a measly eleven episodes. Considering the show ran for TWO HUNDRED and eleven (three of those being movie-length episodes, none of which featured any of the female characters mentioned other than Carter)...in at least as many episodes as Lam, we have an additional ten male characters, bringing us to TWENTY recurring males, and four female. Carter, Vala, and the two primary base doctors. That’s IT for recurring female characters who appeared in at least ten episodes of over two hundred. Male characters? Take your pick, we’ve got soldiers, scientists, politicians, aliens, villains and friends and ambiguous third parties on and off Earth, we have a bounty. We’ve got random extras with no story of their own who look exactly the same as all the other random extras (do I mean Reynolds, or Marks? Doesn’t matter, they’re both more prevalent than Lam). Want one more female character, to make it a top five? It’s Adria, who appears in six episodes exclusively in season ten (no wonder that’s the season with the best numbers). You get another thirteen male characters in the process, so we’re at thirty-three to five. You want a top ten for female characters, you gotta get all the way down to the ones who only appeared in three episodes, and it’s a joke to really call that ‘recurring’ on this scale. When I say this show had a male-dominated problem, I am not exaggerating. 

Where is the variety? You’re either a female lead (in which case, a primary part of your function is simply to BE female - and traditionally attractive - so that there’s some eye candy for the presumed straight-male audience), or you’re placed in the Compassionate Caregiver role as a doctor, or you...don’t exist. Certainly, you don’t exist in a way that sustains story for multiple episodes. As noted, if you’re a dude you don’t even NEED story, you can be a regular-recurring extra, but a woman? Forget about it. Even the female villains never last more than five episodes, if they manage that (the nameless Priors recurred more often than Adria did). And as the show wore on, episodes in which Carter was the ONLY woman became more and more frequent (until season ten, which just makes a big ol’ last-minute mess of the series-long trends). While this was good news in terms of having less sexy-lamp female guest characters popping in to single episodes to look pretty, be useless, and never appear again, it was bad news for women, existing in the narrative in any way, because evidently, these male writers struggled with the concept of women with actual functions. Even with such a variety of settings, a variety of planets and cultures and walks of life of all the dizzying kinds a person could think of (IT’S SCIENCE FICTION, MORONS), we still somehow get stuck with this itty little version of society that matches the comfortable white-Christian-American illusion of life that has been perpetuated blindly in television since its inception (pro tip: women existing in all different career paths and walks of life have been a thing since before tv shows were a thing). There’s more social variety on this planet in the real world, right now, but these dumb bastards couldn’t muster the effort to be creative with alien cultures. Hell, they failed to even be thoughtful or do basic research into historical social structures in order to reflect those in their transplanted-from-Earth-centuries-ago peoples (who had a lot of different ways of doing things, ya know?). And don’t even get me started on the gendered obsessions of genderless symbiotes...This show could be delightful and weird and wonderful with some of its ideas, but thoughtful, open-minded, PROGRESSIVE? Not at all. When you think about it, it’s actually quite alarming, just how reductive they could be. It’s like they made some minimal effort with Samantha Carter and then decided that’s it for anything or anyone who isn’t a straight-white-cis-Christian-American-man. Our work here is done.

Of course, I’m not inclined to give them credit for Samantha Carter anyway - as I noted back when I reviewed season one, credit goes to Amanda Tapping for sticking up for the integrity of a character who was originally written without any; just like the writers don’t get to take any of the credit for the work Christopher Judge did in making the Jaffa into less racist caricatures (including addressing the misogyny the writers had embedded in Jaffa warrior culture - bless you, Chris Judge), I am not going to pretend that Carter’s success as a feminist icon for the ages belongs to anyone but Amanda Tapping herself. A-Taps saved her character from the trash-heap of history to which she would have been relegated if she had continued in the model that the early episodes laid out, and whatever struggles she had behind the scenes with the kind of content she was handed (in particular I mean He Who Shall Not Be Named, Schmete Schmanahan), she never relaxed her grip on who Samantha Carter is, what she stands for, and what that means for the audience looking up to her. It’s a huge achievement, really, that despite the obvious brainless sexism of the writing staff, and despite the test of time which has claimed so many other nineties feminist icons as ‘good for the era, but actually incredibly problematic’ (we’re talking Dana Scully, Buffy, and their ilk), Carter is still pretty much unblemished; she’s close to a platonic ideal of her archetype. Again, I really don’t think it’s deliberate on behalf of the show-runners, and especially considering the rest of their atrocious track record with female characters it would be a mistake to suggest they actually knew what they were doing with Carter and/or that it mattered to them to make a truly strong female lead. If all they did was occasionally cave to Amanda Tapping when she told them to do better, well. They can have credit for not being too egotistical to listen, even though they failed to extend that ability to being basically receptive to the world outside that one interaction. Excuse me if I still think they’re fucking idiots. Because I do.

The thing about the closed-mindedness of the creative team on this show is that it translates into the storytelling in a very particular way: not just in the obvious sense (where only straight white American (*Canadian*) men are real people), but also in the context of the ethos of the show, the perspective. The characters learn and change as individuals, but the overarching attitude of the series does not develop in self-awareness to encompass the knowledge of the universe achieved by humanity at large, and that’s because, plainly, there is none. For all that the show deals in exploration, discovery, and advancement, these things are framed heavily as being scientific in nature, and just as the writers seem so confident that they know everything about the way the world works to the exclusion of even trying to understand the perspective of anyone different from them within their own culture, so the show itself never goes through self-reflection upon the America(n-military)-knows-best approach to interstellar exploration. While some early episodes - pretty much just in seasons one and two - toy with the idea that Earth knows little about the ways of the galaxy and we’re all ‘very young’, etc, there’s no development or change in approach over time which would be indicative of growth, and as the SGC garners more tech and allies and accelerates into scientific comprehension (largely applied through military enhancement, yay), questions about whether or not the gung-ho charge they lead into other worlds (sometimes with apocalyptic consequences) is really a good idea essentially dry up. There’s an overriding arrogance about this show that seems to be a by-product of that lack of self-reflection, the assumption that the audience will agree with whatever they see because, well, it seemed right to the creators and the fact that there might actually be more nuance to the issue never occurred to them. This can lead to some wild assertions and some truly shocking decision-making that is delivered straight-faced (season ten gave us the good guys committing genocide, in the name of the Ancients whom they uphold as a great species despite THEIR arrogant and terrible coloniser legacy throughout the universe, and somehow no one is troubled by any of that), and it’s a prime example of why an open-minded, considerate and understanding approach (and a diverse creative team to help facilitate that with their naturally different perspectives) is a really important thing in storytelling, even beyond the immediately obvious issue of representation: if everyone in the room has created an echo chamber of the same incredibly limited point of view, you lose the ability to recognise that alternate interpretations exist and that from some angles, what you’re making could be illogical, offensive, propagandistic, or evil.

So, here we are. With me, wrapping this thing up with a reminder that despite just accusing the show of sometimes supporting evil ideologies through the blind ignorance of its self-absorbed show-runners, I actually really enjoy Stargate SG1 and will always hold a special place for it in my heart. On an entertainment level, it is pretty reliable, there are some duds in there for sure (some of them duds for various illogical, offensive, propagandistic, or evil reasons, some of them just fucking boring as Hell), but for the most part it’s solid, and sometimes it digs up a gem and really shines. Every virtue it has is a virtue that could be vastly improved upon (and every flaw is easily solvable with just a little bit of Goddamn thinking), and the full template is there, primed for a remake of the more inclusive sort, something that’ll play the game of alien cultural variance and the intrigue of Earth-based politics and the gravity and wonder of galactic exploration with the seriousness, creativity, and gusto that it all deserves. The heart and soul of SG1, what made it work for ten years and what makes it delightfully re-watchable despite being infuriating upon analysis, that core part of the story is pure. Damned if it doesn’t just need a broader, more considered take on that core, because it ain’t got a bless’d thing to do with being a straight-white-cis-Christian-American dude. That’s not how universality works.

#Stargate SG1 #full series review #Bechdel Test #female representation #SG1

[vmheadquarters]

We’re still playing our game of written hot potato! Dozens of your favorite authors are taking turns to tell a Veronica Mars mystery story. Each writer crafts their chapter and then “tosses” the story to the next person to continue the tale. No one knows what will happen, so expect the unexpected!

Follow the “vmhq presents” and “murder we wrote” tags for all the installments, or read the story as it develops on AO3. --Chapter Twenty-Six of MURDER, WE WROTE is written by @jeanie205​. And stayed tuned next week for Ch.27 from @nevertothethird​ - tag, you’re it!

_____________________________________________________________

CHAPTER TWENTY-SIX by @jeanie205​

Business hadn’t exactly been booming at Mars Investigations lately, and even though she knew her dad was right, that the PI business, like almost everything else, was cyclical, Veronica still chafed under the inactivity.

She’d filled in her time the past few days with a flurry of office organization and some paperwork she’d been putting off for weeks, interspersed with a couple of bread-and-butter infidelity stakeouts. But either the unfaithful spouses had gotten stupider over the years, or Veronica had just gotten a lot better at sussing them out.  Because while the pay had been good - great, in fact - it hadn’t taken her long to come up with the Money Shots.

So now she was at loose ends again.  Even Mac had taken the day off after completing her update of the MI website, which she’d told Veronica was “a disaster.”

“They aren’t going to hire you if your site looks like it was designed in a high school IT class,” Mac had said, shaking her head. 

For as much good as it’s done so far, Veronica thought, sitting alone in her office with nothing to do.

Her glance fell unconsciously to her bottom right-hand desk drawer.  The deep one.

Well, maybe she didn't exactly have nothing to do.  

There was a case of sorts, if she wanted to count guessing the ending of a whodunit written by the least likely mystery writer she could ever have imagined.  An activity that Veronica had so far found not particularly entertaining.  Mostly because the plot was already so convoluted that she doubted the eventual reveal could ever make much sense.

On the other hand, she’d become rather fond of Ruby Jetson, and knew they probably owed her for helping to exonerate Logan of murder.  Besides which, she had promised.

With a guilty sigh, Veronica pulled open the drawer and hefted out a thick envelope.

Ruby had brought her the manuscript nearly a week earlier, eager to know if the story was good enough to “fool” the seasoned detective.  Although she’d shown up without an appointment, Veronica had taken the time to read several chapters, Ruby smiling delightedly whenever she’d frowned in puzzlement.

“I knew it was a good mystery,” Ruby had boasted gleefully.  “That even you wouldn’t be able to figure it out.”

By then, it had become apparent that Ruby expected her to read the whole damn book right then and there!  Thank god Mac had soon caught on and poked her head in the office door, reminding Veronica about “her appointment.”

Ruby had looked disappointed when Veronica carefully re-stacked the loose manuscript pages and slipped them into the large envelope, stowing everything away in her bottom drawer.

“I’ll finish it soon,” she’d promised faithfully.

But she never had, although Ruby had called every day, looking for an update.

“Hurry up, Veronica,” she’d complained only the day before, the exasperation clear in her voice.  “I need to send it to my publisher.”

Veronica had been surprised.  Ruby already had a publisher?

As she slipped the manuscript out of the envelope, quickly flipping to the red post-it she’d left to hold her place, she fleetingly wondered who in hell might actually want to publish Ruby’s novel.

Picking up where she’d left off, Veronica noted the same peculiarity that had struck her the week before.  Ruby’s chapters often varied so wildly in both style and format that it was almost like they’d been written by different people.  She paused in her reading, considered for a moment if Ruby might have some kind of dual personality disorder.  After all, the woman did have two names.

Or... maybe the answer was much simpler.  Maybe Ruby had a collaborator, the same person, Veronica thought with growing certainty, who’d passed along all the personal information that Ruby could never have dug up, no matter how much “research” she’d done.    

And that was another thing.  Veronica’s annoyance rose as she came across yet another intimate-sounding encounter between book-Veronica and book-Logan. Ruby had promised her faithfully that the names in her roman a clef-slash-murder mystery would definitely be changed in the next draft.  Veronica sure as hell hoped she followed through.  Otherwise, the fledgling author was going to be bombarded with lawsuits. And Veronica Mars would be at the head of the line.

She sighed, turning back to the story just in time to find that... Ruby had killed herself off!  

Or at least, she’d killed off Della Pugh.

Veronica’s eyes narrowed in surprise at this fictional turn of events.  Was this some sort of symbolic “killing” of her original self so that her Ruby persona could thrive?  She shook her head, finally deciding she was no better as a psychologist than she was a literary critic.  She flipped quickly to the next chapter and soon wished she hadn’t.  A delusional, Veronica-obsessed Duncan Kane was not exactly pleasant company.

Veronica was considering with wry amusement how the man himself might view his portrayal (should he ever see it) when she was startled by the ringing of a phone.  Not the office land line but the cell phone that she had to dig out from the depths of her well-loved but totally inconvenient studded black leather bag.  

She might not have even bothered had the sounds of the Perishers’ “Sway” not told her it was Logan calling.  She’d assigned him that ringtone in a burst of nostalgia the same day she’d updated his photo from pukka beads to dress blues.

The fact that he was calling was in itself unnerving.  If Logan wanted to communicate with her during the day, he almost always texted.  So of course her mind went immediately to the worst-case scenario.

“Logan!  Is everything okay?  Is my dad...”

“Veronica!” Logan cut in on her abruptly.  “Are you watching the news?  Turn on the news!”

“Wh-what? You mean, like... CNN?”

“No.  The local news.  It’s a breaking story on a continuous loop.”

“Okay.”   Mystified, she grabbed the remote from a drawer and powered up the wall TV that she hardly ever used.

And there was that creepy newscaster, the one who invariably reminded her of Vinnie Van Lowe.

“... a tragedy right here in Neptune last night when promising new writer Ruby Jetson was murdered in her own home.”

Veronica gasped.  It couldn’t be!

“Veronica!  You still there?”

“Yeah, Logan, I’m here.  I can’t... I can’t believe it.”

“Believe it.  And there’s more.  Keep watching.”

Onscreen, the newscaster was just beginning the introduction of an “important witness” to the tragedy.

“We’re fortunate to have with us here in the studio the man who discovered the body of Ms. Jetson.  Neptune’s very own school principal turned book publisher, Mr. Van Clemmons.”

Veronica nearly fell off her chair.  Holy shit! Clemmons was Ruby’s publisher?

She quickly turned up the volume, desperate to hear every word.

“I understand you were about to publish Ms. Jetson’s first novel, Mr. Clemmons?” the Vinnie-clone asked in that fake tone of sympathetic interest that all newscasters somehow managed to perfect.

Clemmons nodded.

“That’s right.  Of course, I’d known her as Della Pugh back when she was at Neptune High, but she’d made some changes in her life, and if she preferred to be Ruby Jetson, who was I to say she shouldn’t?”

Veronica rolled her eyes.  Right, Van.  You were always so forward-thinking.

“And the book?” the newscaster encouraged, refusing to be shifted off-topic by anything about the actual victim herself.

“Well, ah, Ruby came to me with the idea.  Some kind of murder mystery.  Very popular genre, of course.  But the story was to be based on people she’d known in high school. I thought it sounded... promising. And she was just about to deliver the first draft.  Said she’d finished it but was waiting for some feedback from a trusted friend.”

Veronica blinked.  A trusted friend?

She wrenched her mind away from dwelling on the sheer... unexpectedness of Ruby regarding her as a friend, because Clemmons was still talking and she didn’t want to miss a word.

“Ruby kept delaying turning in the first draft, so I stopped by last night to see if I could... hurry her along.”

Clemmons paused briefly, and for the first time looked visibly shaken.

“And that’s when I... found her.”

The newscaster nodded slowly.  “Not a pleasant experience.”

“No, indeed,” Clemmons agreed.

“And the book?”  Vinnie’s doppelgänger was not to be thwarted.

Clemmons shook his head sadly.  “I’m afraid that’s not going to happen after all. Only Ruby had copies of the manuscript, but there weren’t any in her apartment. And her laptop was missing, too.”

“The police...?”

“Didn’t find anything, either.”

“So the book won’t be published.”

Clemmons shrugged.  “I can’t publish what I don’t have.”

The newscaster paused to make sure that viewers caught the significance of his next question.

“Do you think it’s possible that poor Ruby was killed because of something in that book?”

Clemmons hesitated.  “I suppose it could be,” he said finally.  “But I guess we’ll never know.  If there ever was a manuscript, it’s gone forever.”

Veronica stared at the screen for long seconds before she muttered the words under her breath.

“No, Van.  Not quite fucking gone.”

She switched off the television and picked up her phone.  “You still there, Logan?”

“No, I’m here,” he said, appearing suddenly in the office doorway.  “Thought maybe I should come by.”

She nodded, and as one their eyes fell on the loose pages still sitting in the middle of Veronica’s desk.

In seconds, she’d scooped them up and shoved them back into the envelope. But this time, the manuscript wasn’t crammed unceremoniously back into that deep bottom drawer.  This time, Veronica opened their rarely-used safe and locked the thick envelope securely inside.

Veronica thought Logan must have sensed how shaken she suddenly felt because he was across the room like a shot, and in seconds she was wrapped in his arms.

“I’m sorry, Veronica,” Logan said softly, breathing the words into her hair.

“Yeah, me, too,” she murmured into his shoulder.

Then she took a deep breath and stepped back from Logan’s arms, determination stiffening her spine as she gazed up at him.

“Somebody killed Ruby over that damn book, Logan. And we’re gonna figure out who the hell did it.” 

#veronica mars #veronica mars fanfic #vm fanfic #vmhq presents #murder we wrote #round robin

[remys-lucky-franc]

Sick - Queen of Thieves Fic : Nikolai x MC (Daisy)

Pretty fluffy - no bad language or nsfw - no trigger warnings

Shout out to my friends @ispookyloaf and @stopforamoment as this was a product of a silly idea on one of our fun chats 💕

Word Count ~2200 (couldn’t resist the sneezing cat gif 😂)

[[MORE]]

Remy scuttled out of Nikolai’s room with a frown and a worry-line stretching the length of his forehead. He rounded the corner to the kitchen as he ran into Daisy. She stepped back looking surprised as he exclaimed,

“Ma Cherie, you’re back!”

Daisy nodded,

“Yeah, glad to be home, was a long couple of days. Leon’s just bringing the rest of the stuff up from the car. Worth it though, think we have the mark’s movements down to a tee... Remy are you ok?”

Remy raked a hand through his thick hair and sighed dramatically,

“Non. When was the last time you talked to Niko?”

Daisy looked puzzled, concern creeping into her voice,

“We haven’t talked on the phone, but we sent some text messages yesterday... Is he ok? What’s going on?”

Remy shook his head, looking towards the heavens,

“Did he tell you he is... Unwell?”

Daisy’s eyes widened, as she stared towards the closed bedroom door,

“He’s ill?! What?! Since when?!”

Remy sighed again,

“Since yesterday. Daisy, it’s not pretty...”

Daisy raised an eyebrow, starting towards their room,

“Not pretty? What the hell’s happened to him?!”

Remy reached out, catching her arm to stop her,

“He’s in bed, congested, running a temperature! He can’t taste his food, he has a disgusting cough, a sweaty sheen-“

Daisy held up her free hand to stop Remy in his tracks,

“Wait. Remy? Are you trying to tell me that ‘Master of the Impossible’, Nikolai Stirling, has taken to his bed with ‘man flu’??”

Remy covered his face with his hands,

“Go! See for yourself, but don’t say I didn’t warn you...”

Vivienne breezed past, pursing her lips and commenting,

“Are you heading in there, darling? Good luck! I wouldn’t dare! He’s foul when he’s poorly, the only person who would brave going in there is Remy!”

Remy shrugged, a sad look flitting across his face,

“I take him his favourite soup...”

Daisy noticed his expression, but only barely, as she shook her head at both of them,

“You two are exaggerating! He can’t be that bad - plus he’ll be happy to see me!”

Vivienne waved a dismissive, if perfectly manicured, hand at Daisy,

“If you want some advice? Let him be, darling! He’ll emerge like a beautiful butterfly from his chrysalis in a few days time!”

Daisy tutted as she headed towards the door, Remy and Vivienne exchanged an awkward grimace as she gently knocked, edging it open, with a half-whisper,

“Nikolai?”

He turned to face her and Daisy tried to stop automatic recoil as she caught sight of him: Remy was not exaggerating!

“Solnishko, you’re back.” A faint smile crossed Nikolai’s face as he watched her step inside, his usually sparkling blue eyes heavy and puffy-looking as he pushed his way up into a seated position against the plush cushions, “Things went well?”

Daisy nodded as she made her way across the room, Elizabeth twining around her feet and meowing as she went, eventually Daisy perched on the edge of the bed and pressed a soft kiss to the top of Nikolai’s head,

“I’m more concerned about what’s going on here? When did you start to feel like this?”

Nikolai waved away her concern, voice irritable but somewhat dulled and nasal,

“I’m fine, I had a particularly late night last night, that’s all.”

He tossed the covers back, readying himself to stand, only for Daisy to flip them back across his lap,

“Ohhhh no you don’t. You never sleep? You’re sick.”

Nikolai opened his mouth to protest, starting a second attempt to get out of bed but erupting into a kink of coughing as Daisy grabbed for a box of tissues from the bedside table. She smoothed his dampened hair back from his forehead easing him back into the soft pillows by his shoulders,

“Kotik, you’re sick. You don’t have to prove anything to me, please will you just relax?”

Slumping backwards into the soft bedding as Daisy kept a gentle pressure on his arms, Nikolai let out a frustrated groan,

“I can’t be ‘sick’. This is quite inconvenient, there’s still so much to do for the- ACHHOOOO!! Urgh. For the heist.”

Daisy tucked the duvet around his shivering form, smoothing his hair as she told him firmly but kindly,

“The heist is already ahead of schedule, I know you like to feel indispensable, but there’s literally nothing at this stage that the rest of us can’t do to keep ticking over for a few days until you’re feeling back to normal. Just please, stay there, let me look after you? Please?”

Nikolai didn’t vocalise his answer, he simply closed his eyes and relaxed his aching head against her hand, feeling too poorly to argue any longer.

Daisy murmured, “You’re burning up, just, stay put...” heading into the bathroom and swiftly returning with a cool face cloth, pressing it to his head as Nikolai hummed in appreciation.

“Did you take any medicine?”

“I don’t like to.”

Daisy frowned,

“You’re going to take two paracetamols. They’ll stop all this shivering. You’ll feel better.”

“But-“

“Nikolai.”

Nikolai attempted a sigh, that turned into another bout of coughing as Daisy headed back towards the kitchen, she was sure there was a collection of over-the-counter medicines in one of the drawers. Remy raised an eyebrow from his seat at the breakfast bar as she entered,

“Well, how is he?”

Daisy nodded firmly,

“He’ll survive. He just needs to rest for a couple of days.”

She rummaged around, locating the paracetamol, and pouring a tall glass of iced water, “And I’m going to look after him til he’s back on his feet.”

Remy shrugged his shoulders, smiling at her,

“Of course you will. That’s what you do. You’re his partner now, what’s that expression, ‘in sickness and in health’...”

Daisy swatted at Remy’s arm as she headed back towards Nikolai’s room,

“Firstly, that’s not an expression, it’s a ‘wedding vow’, and secondly, I don’t think when those were written they were intended to cover the common cold, Remy.”

Ducking out of her reach, Remy smirked, calling after her,

“Bonne chance!”

—-

Handing Nikolai the pills and the glass of water, she watched to make sure he actually swallowed them, before heading to the bathroom and returning with a vial of essential oils. Nikolai looked at her curiously as she dripped a few droplets onto his pillow. She took a deep breath in, wafting her hand, encouraging him to do the same,

“It’s menthol. It’ll help you breath.”

“I can’t smell it.”

“You will, eventually. In the meantime, here.” She pushed her iPad into his lap, “We are going to binge on Netflix until you feel better. None of your high-brow stuff, Nik. We’re going to watch something that you don’t even have to concentrate on. Easy watching, total trash. No arguments.”

Nikolai pulled a face as Daisy reiterated while she climbed onto the bed snuggling into his side, “No arguments. I’m in charge of getting you better, ok?” He stroked her cheek offering her a half smile as she pulled up the Menu.

___

Three episodes into Daisy’s TV trash of choice, Nikolai, despite himself had become quite captivated. He could feel his eyelids getting heavier, but was fighting the urge to close them, because he didn’t want to miss the drama unfolding onscreen...

Daisy could see him getting more and more tired,

“How about I switch this off and you doze for a little bit? I won’t let you dream.”

Nikolai forced his eyes wide, blinking,

“I’m fine, put another episode on, I want to see what happens to- Dear god what is happening to me?! Am I delirious?! Maybe I do need to sleep.”

Daisy smiled as she fluffed the pillows around him, dimming the lights, and in a hushed voice, she began,

“Soooft kitty, waaarm kitty, little ball offfff-“

Within seconds Nikolai’s eyes were wide again and staring in confusion,

“What is the meaning of this?”

Daisy shrugged,

“I thought you might like it?”

Nikolai closed his eyes, a perplexed wrinkle appearing in his forehead as he settled back down,

“You’re a very strange woman sometimes.”

Daisy squeezed his fingers,

“I mean, I don’t have to sing to you?”

Nikolai murmured, his eyes still closed, voice with a warmer edge to it than before,

“I don’t think anyone has ever sang me a lullaby before. I suppose it’s not completely terrible.”

Daisy beamed as she snuggled back into her snuffly partner, closing her own eyes and stroking his chest lightly as she hummed the rest of the tune.

—-

Daisy jolted awake, she wasn’t sure quite how much later, but quickly exhaled a sigh of relief when she realised that Nikolai was in a peaceful, even if he was softly snoring, sleep: there were no thrashing movements or strained facial expressions. He must really have needed the time to rest and heal his tired body. She touched his forehead - he felt decidedly less clammy than he had before. Grinning she decided that the paracetamol must have worked. Gently she ran her fingers over his cheek , murmuring his name softly until he started to stir. She’d promised not to let him dream, so she shouldn’t leave him asleep too much longer...

A faint smile crossed Nikolai’s face as he looked up at her,

“May I have my tea?”

Daisy’s jaw dropped, horrified,

“No, Nikolai! You can’t have your tea?! You’re not drinking poison while you’re taking paracetamol?! Absolutely not.”

Nikolai started at her indignantly,

“You’re being ridiculous. Anytime Remy’s looked after me, he’s brought me my tea.”

Daisy scoffed, one brow arched,

“I don’t believe that for a second! How about I call Remy in here and ask him?”

Nikolai opened his mouth to retort, but knowing her was beat he simply muttered about how ridiculous the situation was instead.

Daisy rolled her eyes, trying to change the subject,

“Hey, how about I get some more of the soup you love? I’m sure Remy would have made a whole vat of it. It’s funny, you know? I would have sworn you didn’t like mushrooms?”

Nikolai froze as Daisy looked at him curiously, confused.

He eventually broke the silence,

“Daisy, please don’t tell him, but I don’t. I’ve never had the heart to tell him when he’s been so kind as to make the soup for me. Remy is the only person who’s ever looked after me when I’ve been ill. Even as a child, my mother would ‘shoo’ me if I were poorly. My father would always say it was a sign of weakness and tell me to show some mettle.”

Daisy felt like her heart would break as she looked at him; the expression on his face looked like he was holding himself together, bracing himself against an unkind blow, but at the same time wanting to share something important to him. She reached out squeezing his hand, nodding in encouragement for him to keep talking.

Giving her a tight-lipped smile Nikolai continued,

“Remy has such a good heart. When I was first poorly, he asked me what my mother would make for me, back at home. When I said ‘nothing’ he was appalled. That’s when he started to make me chicken and mushroom soup, because that’s what his grandmother would make for him whenever he was unwell. I don’t like mushrooms, but I always finish the bowl.”

Daisy picked his hand up, kissing his knuckles,

“Even though you don’t like the taste it makes you feel better?”

Nikolai gave her a half-laugh,

“Exactly. Strange isn’t it?”

Daisy shrugged,

“Not so much. It’s not about the food, it’s about the feelings. That’s why they call it comfort food I guess? Do you want me to go get him to bring you some?”

Nikolai’s cheeks flushed as he nodded.

Daisy quickly smoothed his hair as she headed back to the kitchen,

“Remy?“

Remy lifted his head from a glossy magazine,

“How is the patient?”

Daisy, understanding that Remy had been looking after Nikolai for many years before either of them knew she existed, suspected that sharing the soup might warm Remy’s heart as much as being cared about warmed Nikolai’s,

“He’s ok. But I really think he needs another portion of chicken and mushroom?” She watched intently as Remy’s big green eyes lit up, grinning, “Maybe you could even teach me to make it some time?”

Remy enthused about his grandmother’s recipe as he busied around the kitchen of the penthouse heating a bowl for Nikolai, telling her the perfect type of mushrooms, which oil was best, how long to prepare the stock...

Daisy nodded as she repeated instructions and asked about ingredients, finally stopping and sighing,

“You’ve been making this so long, it could take years for mine to be as good as yours-“

Remy cut in, a look in his eye that said he knew exactly what she was doing, but choosing not to call her on it,

“Ma cherie, I’ll be here to help you! We can make it together! Or I can make the soup and you can snuggle with him until he feels better?”

Daisy beamed as she extended her right hand for Remy to shake on it,

“Deal! We’ll take care of him together. ”

Remy ushered Daisy back in the direction of Nikolai’s room as he placed the soup and a spoon on a tray, following closely behind her.

#lovestruck #queen of thieves #nikolai x mc #nikolai stirling #lovestruck fanfic

[hmsannlett]

Foe the salty asks:

4. Do you have a NoTP?

25. Would you change the ending of Anna/Hewlett(/Selah)???

4. Anna/Abe is a big nope for me and is probably the ship that irks me the most on the show because there’s so many destructive elements to it, and yet the show just kept pushing it. Their relationship has huge collateral damage for everyone who has the misfortune of getting dragged into it and, imo, does a disservice to both their characters (especially/mainly Anna).

Anna/Simcoe also bothers me, because she could not more clearly be terrified of him, and he uses that against her and doesn’t respect any of the times that she says no to him. It especially strikes a negative chord with me because I’ve been in Anna’s position more than a few times with men that just won’t take a no (although not to the extent that Simcoe took it to), so I truly empathize with the powerlessness that she feels. It’s the worst position to be in, and to feel completely alone like she does makes the situation all the more unsettling.

Both ships are unhealthy in their own ways, imo. Fortunately, neither ship is/has been very popular in the fandom.

25. Oh, goodness. So many thoughts on this. I’ll try to not write a whole thesis here lol and just distill it down to my main thoughts.

In short, yes, I would love a different ending. I will preface all of this, though, by saying that I’d like married couples to be happy with each other and remain together as much as anyone. I’m not completely against the idea of Anna/Selah (though Annlett is my fav and will always be my otp); I just don’t agree with how all of Anna/Selah was written and how Anna/Selah/Hewlett ended.

So, from a writing perspective, I think Selah was brought in too late in S4 to have the character development that he needed after how he was depicted in S1 (and, according to the show’s writers, Anna and Selah were supposed to have a pretty unhealthy dynamic in S1; some of these scenes had to be cut for time constraints, though, so we only get small glimpses of this dynamic). There wasn’t much opportunity to connect positively with Selah in S1 or S4, and as a result, his quick character arc in S4 (to me) breaks the age-old writing rule of showing vs. telling.

There’s no buildup to Anna’s and Selah’s reunion that shows him growing as a character or even what it was that caused him to grow and respect Anna. Why would he suddenly respect her now in S4 more than he did in the first part of S1 after she all but said that she wanted to end their marriage by jumping from the boat, publicly humiliating him, and causing their lengthy separation – during a time period when desertion/an extended period of separation was, in some of the colonies, considered equal to divorce? There’s no apparent motivation (that we’re shown) to inspire his growth. We’re just told as an audience that he’s changed, and I think that weakens the growth that the writers were aiming for. It could be that Selah spent a lot of time reflecting while he was in Philadelphia, but we don’t get to see that onscreen. And for me, what is shown on the screen is much more convincing and effective than whatever we are told happens off-screen.

My other issues with Anna/Selah’s ending are that

1.) If their relationship was so unhealthy before, is his change in how he treats her sustainable? (Would he still treat her with respect after he found out/got confirmation about her affair w/Abe? That tended to make a woman “damaged goods” back then.)

2.) If Anna feels that “he’s not the same man I married,” why then does she seem so upset in 4.10 when they return to Setauket and in the epilogue? It seems like the story ends w/Anna being in exactly the same spot she was in in S1 – unhappy w/her life for whatever reason – and feels like she had more of a character circle than a character arc. She didn’t really end up anywhere different than where she started, even though she had grown so much throughout the show. It just feels like lazy writing to me, and I had really hoped that all of Anna’s sacrifices and growth during the war would be rewarded (even if that wasn’t necessarily a future w/Hewlett like my shipper heart wanted).

Conversely, there was excellent growth shown between Anna and Hewlett, both individually and as a couple. We got to watch each of them grow to respect each other’s character, sacrifice for each other, and fight for each other over the span of almost two seasons – and do so even when both of them felt there was no hope that the relationship could continue. There was a purity and selflessness to their relationship that none of the other relationships on the show were really able to capture, and, imo, is absent from most relationships in films/shows. And I had hoped that that kind of character development would be rewarded or at least considered in S4 after dedicating so much screen time to it. I also feel that Hewlett offers what Anna truly wants: respect, agency, and to be seen as a person, an equal. Like I said above, I don’t know if Selah could offer that level of respect long-term in their relationship. I’d like to hope so, for Anna’s sake, but she definitely doesn’t seem satisfied to me in 4.10.

Anna and Hewlett each left a significant mark on each other and were an enormous part of each other’s individual growth, and I feel like that was largely ignored in S4. For two characters so dedicated to their causes (and practically acting as the epitomes of the two sides’ warring ideologies) to be able to see each other as people and respect the person/character they saw in each other, even at the end of their relationship, is huge. And it seems like the writers just abandoned that without a second thought because they felt that they (finally) had to be historically accurate.

So for me, it’s disappointing that a show that was so heavily focused on character development (and, by and large, executed that development very well throughout the seasons) took what felt like a cop out and didn’t fully realize/fulfill Anna’s, Selah’s, and Hewlett’s individual character arcs. Since the showrunners felt they had to keep Anna/Selah for historical accuracy, I would have preferred that their relationship had been given more time to develop before his arrival in S4 because they had grown very far apart and had significant issues to address before moving forward. But ideally, of course, my Annlett shipper self would have liked the writers to stick with the two seasons of character development between Anna and Hewlett, resolve their relationship, and find a way of kindly writing Selah out (because, tbh, he kind of deserves a better ending too. Anna did betray him deeply, and it’s a lot to ask of him to just overlook/forgive that and move forward with their relationship. Furthermore, I don’t know that Anna is capable of really, truly loving him – it’s always come off as more loyalty/obedience to me – and that’s not a very satisfying conclusion for his character either). And as for how I would end Anna/Selah/Hewlett…well, there is a fic in the works…

Annnnd this is over 1k and has indeed become a thesis, so I’ll leave it at that because this is probably waaaaay more than you wanted lol. This post pretty much hits the nail on the head (succinctly! unlike me lol) with my frustrations about the writing of Anna/Selah/Hewlett and the closure of their character arcs/relationship arcs, as well as the balance of character development and historical accuracy. If you want me to explain any of my litany of thoughts more than I have here (this is the best I can do at an overview of all my thoughts lol; I have many), I can write responses/metas that go into more detail. :)

tl;dr: I wish the show had decided earlier on whether it was going to go with the character development it had created or with historical accuracy, because I don’t feel either Anna/Hewlett or Anna/Selah got the ending they deserved. Annlett was left with two seasons of development unfinished and forgotten, and Anna/Selah was drawn to a close without enough development to make it feel truly convincing for me.

#ditching the usual tags because I know my Selah opinion isn’t popular #might have offended the Simcoe fans too #sorry guys #meta #my meta #asks #wellisntthatlovely

[im-the-king-of-the-ocean]

Mantle Nights

a bit of bonus material related to my fic, Dead Souls Living.  This scene takes place concurrently to the events that’ll happen in Ch12, tho it will not appear in the fic itself.  It was written as a sketch to get an idea of what information every set of characters is working with and overall dynamics.

To recap, Ruby and Penny have just escaped from Atlas to Mantle (via crash-landing).

The Atlesian perspective (Ironwood, AceOps, etc.) knows a lot about the situation (Ruby and Penny’s identities, why they’re fleeing, why it’s important to get them back (Silver Eyes/Winter Maiden Powers), etc).

The Happy Huntresses know Ruby and Penny are kids who’ve run away from Atlas and don’t want to go back, but Atlas is very keen on getting them back.  They’ve been able to guess Penny’s identity (since she did have a rather public, onscreen death at the Fall), but they don’t know who Ruby is.

the rumor going through Mantle is that there’re some high profile Atlas Academy runaways being hidden and the general feeling is sympathetic toward them.

(for the record, Souls Ch12 will be mostly focused on Penny’s POV and what’s happening in her immediate vicinity.  With this oneshot, I wanted to get a feel for the wider scope of effects the escape has set into motion.)

.

You wouldn’t know it’s usually the quietest time of a Mantle night just by looking, Robyn muses.  For the first part of their walk, she kept a running tally of how many Atlesian Knight patrols she and Joanna passed.  She got to fifty or sixty, and then gave up.  Between the knights and the swarms of drones buzzing about, it’s more than clear Atlas’s fury has been invoked, and come down on Mantle.

They’ve been given no explanation as to why the military suddenly cares about the security of their streets, but no one’s fooled themselves that it’s out of actual concern for them.  Atlas wants something, and isn’t going to stop until it gets it.

Robyn frowns.  She’s been running through scenarios of what will happen when Atlas doesn’t get what it wants.  None of them are remotely good.  It would be so easy, she knows, to just let them have what it is they’re after.  Robyn has a fairly good idea what that is, and, more importantly, where to find them.

She won’t.  Of course, she won’t.  She has morals.  Even if Robyn doesn’t know all the specifics of the situation, she knows enough.

Robyn and Joanna stop across the street from the Mantle Police Department.  Joanna looks to Robyn and raises an eyebrow in a silent question.  Robyn nods once, curtly, and then advances toward the municipal building alone.  It shouldn’t come to bailing her out (or, at worst, a prison break), but it’s safer to have backup at the ready.

Nothing seems out of the ordinary when Robyn walks through the doors into the department’s lobby.  The woman who works the front desk, a reindeer Faunus named Gwen, looks up when Robyn enters.  She opens her mouth to say something, but a man walks through the door leading into the back of the PD, beats her to it, and makes Robyn’s night infinitely worse.

Clover Ebi smiles at Robyn.  “Ms. Hill, it’s nice to see you.”  He holds out his hand.  Robyn doesn’t take it.  Briefly, Clover grimaces, but he conceals it under another a smile a second later.  “We just have a few questions.  I’m sure you understand.”  He gestures for her to follow him into the back.

“Care to tell me what’s got the military so riled up?”  Robyn asks as she follow him.  They stop at a conference room.

Clover gestures for Robyn to sit down on one side of the table.  He goes to a small counter off to the side and prepares two cups of coffee.  Robyn doesn’t take the one he offers to her.  If they want her fingerprints or DNA, they’re going to have to ask.  Nicely.

“Alright.  I’ll get straight to the point.”  Clover sits down across from Robyn.  He pointedly sips his own coffee.  “Do you know the current whereabouts of May Marigold?”

Robyn sits back in her seat and crosses her arms.  “Can I see the arrest warrant?”

Clover purses his lips.  “I can assure you, no one is under arrest.  We just need to know where Ms. Marigold is.”

“Why’s that?”  Robyn asks, considers for a moment, and then adds, “This wouldn’t be the first time her ‘family’ has decided they don’t approve of her occupation.”  Sure, the Marigolds don’t care about May as a person, but when they found out she still goes by their name.  Yeah, they’re not exactly thrilled with that.

“The Marigolds aren’t involved in this particular situation.”  Clover gives Robyn what she supposes he thinks a pleading look must be.  He places his scroll down on the table and opens a video file.  “Earlier tonight, Mantle street security footage captured Ms. Marigold at a scene the Atlas Military has under open investigation.  We need to know where she went afterward.”  Clover plays the video.

The staticky recording shows what appears to be a random Mantle street.  Something bright green hurdles down from the sky and crashes.  A blurry, blue-haired figure that could be identified as May approaches and disappears into the impact crater.  The camera isn’t angled right to see what happens in the crater.  Minutes later, Atlas Military personnel appear at the scene.

“What am I looking at here?”  Robyn asks, genuinely.  Yes, she knew there was a ‘situation’, but this is the first she’s learned exactly what went down.

“Like I said, it is a matter under open investigation by the Atlas Military.  I cannot share the details, but we believe Ms. Marigold walked away with crucial evidence before we could examine it.”

“Based on your video.”  Robyn gestures.  “It doesn’t appear that whoever that was walked away at all.”

“We both know what Ms. Marigold’s semblance is, Robyn.  She has the capacity to move freely, undetected.”  Clover takes a breath.  “Please.  As a potential future member of the Atlas Council, citizen safety should be one of your highest priorities.  We believe what was taken from the scene poses a high-level security threat.  We need to know their current location.”

“Right.  I don’t have that information, Clover.  I barely know what’s going on.”  Robyn shrugs.  “All I know is one minute I’m going about my business, the next, the sky is swarming with Atlas ships and I’m being called here to answer questions.”

Clover looks at Robyn critically.  She meets his gaze.  Nothing is said.

Then, Clover states, “It would be in your best interest to help us, Robyn.”

“Like I said, I don’t know what’s going on,” she responds.  “Is that all?”

“For now.”  Clover exhales a long sigh.  “We’ll be in touch.”

“I’m sure you will.”

On her way out, Robyn is stopped by Gwen from the front desk.  “For the girls.”  The Faunus woman thrusts a plate of cookies covered over with plastic wrap at Robyn.  Once Robyn takes it, she hands her a carrying tray with two hot chocolates.  “It’s been a long night,” Gwen explains, and then hurries off without explanation.

Robyn looks down at the offerings, allows herself a small smile, and then heads off into the night.  She collects Joanna, who acquired an armload of thick blankets, coats, and at least one pair of sturdy, weather resistant boots while she waited.

Together, they take a meandering path to the drop point and only arrive at their destination when they’re sure they’ve shaken off the last of the drones.  They leave their bundles of clothing and food, and head off to rendezvous with Fiona, who’s been following up a theory at Dr. Polendina’s pharmacy (the military had indeed shut the place down and maintains a presence there.  In all likeliness, Pietro is being held up in Atlas, most likely under some kind of house arrest.)

Some time later, a person, who cannot be seen due to her invisibility semblance, comes for the supplies.  Even though seeing the abundance of Mantle’s offerings warms her heart, May curses at just how many there are and doubles back for Maria to help her carry everything.

They get the lot sorted, check for hidden tracking devices (there are none), and take everything to the safehouse (actually just Maria’s house, but now that it technically houses fugitives, a name change seemed appropriate).

They arrive as the doctor they called, Klein Sieben, is returning down the stairs, trailed by not-actually-dead Penny Polendina.

“The girl is sleeping,” Klein informs May and Maria without prompting.  “Her injuries weren’t severe, but her general health condition leaves much to be desired.  I shall return in the morning to check up on her.  Until then, I suggest you let her be.”  He turns and gives Penny a pointed look.  “And rest up yourselves.  Your friend wasn’t the only one who fell from the sky, my dear.”

Penny nods, but doesn’t say anything.  Whatever’s going through her head, she’s careful not to let any hint of it show on her face.

“Don’t worry.”  May approaches Penny, plate of cookies in hand.  “Mantle always provides for its adopted runaways.”

#rwby #robyn hill #clover ebi #dead souls living #whirls writing #also i just really wanted to write robyn hill alright #fun fact: i originally planned for it to be her not may #who comes across ruby and penny #but the scene didn't really work until i switched to may #so that happened

[ziracona]

Thinkin about how the NOES 2010 movie is so good. Listen…listen. It has really unusual structure. Most of the time, a horror film follows either a single unit (one person, one family) through a whole plot (The Witch, The Babadook, Saw, Halloween) or a group of victims with one pretty obvious final girl in the mix (Friday the 13th, Texas Chainsaw Massacre, I Know What You Did Last Summer), but NOES 2010 doesn’t do that. It takes you through several protagonists, one at a time, moving on from one teen to another when your initial protagonist is killed, starting with Dean, moving on to Kris, then Jesse, and then Nancy and Quentin when they’re the last two standing. It’s a fresh take, which makes everything so much less sure, and gives narrative weight to the characters who die instead of just making them bodycount. Everybody gets treated like the final girl, not canon fodder, which is extremely important to the story the film is telling. Nancy and Quentin don’t even become the film’s focus until almost halfway through the story.

Probably someone who is unfamiliar with the original film would assume Kris is the protagonist until she is killed thirty minutes in a little ala Psycho. It makes everything seem less certain, and makes the characters who you lose as important as the ones who make it, which is a really responsible way to tell something. A lot of the time, the characters in horror are kind of assholes (which is great and another rant for another day, because since the stakes are so low [literally you just have to care enough to not want the character to be brutally murdered], you can get an audience invested in an willing to explore the complexity of even a shitty  person—but like I said, that’s a wholeass other rant), but in NOES2010, they’re not, which I think is important. Never does the film want you to feel like the characters either suck and deserve something happening to them, or are stupid (look, when the publicist in Scream 4 got out of her car in an unlit parking garage in the middle of a Ghostface chase, I saw the wholeass theater stop cheering for her to live because she was so stupid we just couldn’t root for her anymore—it happens) and to care less about their outcome that way. Everyone fights hard and tries hard and it’s just not enough.

Obviously it’s a slasher, but NOES 2010 is really like a thesis work film on CSA and how it affects people, and the commentary is both responsible, and really, really well done. As someone who has had to write a character who has committed that kind of crime, and walk the fucking razor’s edge between making them duly awful, and not crossing the line into anything exploitative or gratuitous, I can say with certainty that is not an easy thing to do. Because you want to give weight to the suffering that has been inflicted and realistic portray of the depravity of your villain, but again, you really don’t want to show anything more than you have to. That’s not what it’s about, and honestly, you can talk about that kind of a serious issue without actually showing things on screen. A film about CSA would be kind of defeating its own purpose if anyone who had ever experienced that shit went to watch the movie and went away more traumatized. The film does a really responsible job of walking that line. Freddy is awful, and there’s a constant threat with him—especially in the film’s climax—but he never actually assaults anyone onscreen (or off, except in the referenced past. The worst thing he does onscreen is lick someone, which is still incredibly disgusting), and the film still manages to keep how awful he is very, very real.

CSA is a really shitty thing to go through, obvious, it feels incredibly of dumb to type that—any assault is. Obviously. One of the big things in dealing with it after is a lot of the time, victims can feel broken, or damaged, and even worse, be talked about like they’re some kind of ‘damaged goods’ by incredibly shitty people in their life, but the film doesn’t even give that enough weight to bring it up. There have always been two big ways in film to combat ideas, one of which is direct confrontation (IE a film specifically about something being wrong—Do The Right Thing talking very openly about racism for instance) and by just straight up not doing the thing (Star Trek dropping a woman of color in as both a major cast member, romantic interest for people of other races, and someone working in a position of power, and just being like Yup. This is just normal). Both of which are very necessary and useful approaches. In NOES 2010, all four of the protagonists are in romantic relationships at some point (and so is Dean, the mini-lead protag). It’s not played out voyeuristically, and you don’t get any hot makeout seshes, but they’re definitely in comfortable, functional, physical relationships. In a silent but fucking hardcore stance, while Kris and Jesse spend the night together early in the film, there is not a single on-screen kiss until Quentin and Nancy have found out the truth about what happened to them as kids, and a few minutes later, right before their final confrontation, they kiss. Not even a second thought about anything, except how much they really need and want to kill this piece of shit coming after them, as it should be. It’s a rockhard solidification that not only do the characters not see each other differently because of what happened, but it has done nothing to change who they are or what they can be.

The movie is only an hour and a half, which isn’t that long, but still manages to pack in not only multiple different realistic reactions, (Quentin goes through some hardcore withdrawl/denial after finding stuff out initially, Nancy gets fucking mad), but to cover some of what this is like for their parents. In one conversation with Alan, Quentin’s dad, he tries to explain the mob enacted justice on Krueger years ago by telling him that he hopes someday when he’s a parent, he never has to experience how it feels having utterly failed to protect your child. Even though they only have like thirty seconds of flashback to work with, the script gets in one of the parents in dismay asking what other choice they have about hunting Krueger down, because the alternative is making their three-four year olds get on a stand and tell a room full of strangers what happened to them. It’s a horrible, awful situation to be in. Although it would be really easy to make some drama between characters and their families, even the characters who die have good relationships with their families, and neither the dead teens or their parents are ever narratively ‘punished’ for anything that happens. Kris’ last words to her mom before she leaves on a flight, about eight hours before Kris is murdered, are, realistically, “Love you.” The last thing Nancy says to her own mother is, “I know you were just trying to protect us. Thank you,” and her mother’s last words to her are, “I’m just glad you’re safe.” Characters still die, but they at least get the peace of deserved last words to each other. The film also not only definitely does not vilify the parents for burning Freddy to death for assaulting their preschool aged kids, but comes down in its finale openly supporting that vigilante justice decision, with Nancy’s last words in the film being thanking her mother for protecting them.

Even the whole nightmare theme fits in well with the story being told, because nightmares are a very common side-effect of past trauma, symbolically, there’s a lot people have to fight through in their lives when that kind of shit happens to them, even years later, and it genuinely isn’t given enough weight by most people. As kind of icing on the cake in the film, not only does Nancy get to kill Freddy, he dies in a very ugly, undignified way, with a slit throat and gross expression on his face, after getting his ass handed to him in a like a thirty second fight in reality with two very motivated teenagers.

Plus, Quentin Smith is canonically ADHD, and Nancy Holbrook is a really underrated protagonist who reads autistic and I love her.

Anyway. This movie does a great job about using horror as a medium to talk about a topic usually only people already interested in that specific topic would check out, plays out its narrative very responsibly, comes down hard with a big two thumbs up to murdering your local pedophile in a bonfire, and says fuck you to assault victim stigma. My only real beef with this film is that they were so dead set sure they would have a sequel that instead of ending with real resolution, it’s got a stinger at the end (on rewatches I always skip the last scene lol).

Not that it’s a flawless film—it’s got budget parents, which I think is both hilarious and fantastic (meaning everyone except I think Dean has only one parent, the same gender as them, and it’s hilarious and I adore it). They had rushed filming for some of the end. Etc. But it’s really solid, and doesn’t get enough credit as a film. It’s very different from the original—less campy, less funny. But it’s supposed to be. It’s telling a different story. And it’s telling a really good one.

#a nightmare on elm street 2010 #anoes 2010 #a nightmare on elm street #noes #I finally wrote that rant #CSA/pedophilia mention #someday I will write a proper-er rant but damn I love this film #quentin smith #nancy holbrook #nightmare on elm street #long post

[spiralledcupid]

‘ people say friends don’t destroy one another (what do they know about friends?) ’

Peter Lukas/Elias Bouchard, 1947 words. 

Peter and Elias watch The Weakest Link. 

CW for toxic dynamics and british game shows 

--

They’re almost always busy. Organising the apocalypse was hard work, and when Elias wasn’t submerged in paperwork and plotting, Peter was out to sea and mourning his failure – and when Peter wasn’t on the Tundra, Elias was too busy laying traps for his Archivist. It was nothing personal, though Elias sometimes liked to act like it was, just to bait a reaction. It was simply hard to schedule time for relaxation, hard to plan when getting hold of each other was near impossible. But, on the nights where they both happened to be available and in England, Peter always ended up on Elias’ doorstep. Somewhere along the line, Elias would let him in, they’d pour drinks – cider for Peter and red wine for Elias, the latter stocked high and the former with just a few cans gathering dust in a corner – and they’d end up in front of the television. And Peter would put on a game show.  

They’re an odd little fascination, one Peter developed during a horrid interval when the Tundra was trapped portside for a week, or maybe two. Though he’d expected his enjoyment of them to pass when he was finally free to sail on his silent ship once more, the habit stuck and more often than not he found himself watching one quiz show or another. Not the silly ones like Eggheads or Pointless, when it all boiled down into teamwork and collaboration, but the truly cutthroat ones, Who Wants to Be a Millionaire and such, where the contestants were pitted against each other from the start. The ones where they were all so obviously praying their fellow contestants would fail so they could get their chance at whatever meaningless award was offered.

Elias – though he had been James Wright at the time, if Peter remembered right – had called Peter for the first time ever when that couple cheated Who Wants to Be a Millionaire, gloating over how they’d worked together to snatch the top prize from ITVs helpless hands. It took all the fun out of it, really, working together. It robbed the shows of that intoxicating isolation that populated so many of them, the terrifying knowledge that there would be no help given, that everything had to be done alone. That was quite wonderful.

Peter allowed himself to sprawl over their shared sofa. For once in his overlong life, Elias had decided to be pleasant, only complaining twice when Peter commandeered the remote to put on a rerun of The Weakest Link. And he’d kept quiet during the best bits, when the contestants nominated the contestant to leave the show that round.

“You are being kind tonight.” Peter remarked, when the second-rate replay channel shoehorned in yet another ad break.

“Am I?” Elias asked, swinging his long legs into Peter’s lap. Peter shuffled away to the tune of Elias’ laugh. The last thing he needed was Elias ruining the delicious pain of second-hand isolation by forcing Peter to remember his presence. He regretted talking at all when Elias began prodding his toes into the worn jean of Peter’s thigh. His socks were covered with eyes, tessellated together into some sickening collage of sight.

“Can you see from those?” Peter asked without thinking. On the television, some pointless celebrity offered up a brand of washing power in a variety of scenarios, her face never losing a bland smile, her eyes clinging to hollow vacancy. Peter’s heart rose. There was nothing more enjoyable than the knowledge that this woman, whoever she may be, would have left the recording studio for a flat far too big for her in the centre of a bustling city, the open plan forcing her voice to echo and rebound from the stock-photo walls should she try to call any of the fake friends she had. But there were still millions of women across the country watching her vacant face and wishing with all their lonely little hearts that they could be her, convinced that if they just had her hair or her face, her money or her family, they could wash the loneliness from their lives for good. They were wrong.

Peter hoped no one told them.

“Can I see through my socks?” Elias mused, closing his eyes. Seconds, minutes later, he blinked them open again, “Your trousers are terribly frayed.”

“I don’t need to see through my socks to know that.”

“You should fix them.” Elias suggested, in the voice that meant he wanted Peter to do no such thing. Elias fed from making sure Peter always felt his Eye on one of his flaws or another and Peter, in turn, fed from never listening to Elias’ opinion when he chose to give it. It made Elias feel terrifically, terrifyingly lonely, when people didn’t care what he thought about them.

A five second clip of the introduction music signalled the end of the nauseating ad break. Peter was very conflicted about ad breaks. On one hand, it didn’t really seem fair to exchange five minutes of mediocre television for five minutes of mind-numbing adverts displaying things no one person could possibly need, even if they lived as long as Elias had. On the other hand, advertisements were built around the need to make the viewer feel inferior, a gateway drug to loneliness if there ever was one. Where there was inferiority there was insecurity, the fear of being left out or left behind, and both of those were fears The Lonely found delicious.  

Yes, Peter would adore ad breaks, if he didn’t have to see them too.

“How could they cancel this?” Peter sighed, as onscreen Anne Robinson belittled a contestant for enjoying wrestling.

“It’s possibly the only good thing the BBC has ever done,” Elias said, purely to provoke a reaction, “I mean it. I’m not antagonising you.”

“I didn’t think antagonising, I thought provoking,” Peter said pleasantly, “I would prefer it if you stayed out of my head, though.”

The thought of Elias watching his thoughts, taking a personalised tour through his brain like a tourist at an isolated art gallery, sent Peter’s skin crawling. It was the worst thing about spending time with Elias, the knowledge that he, should he feel inclined, could dip into Peter’s head and watch to his heart’s content, dig up every little secret and throw them back into Peter’s face just to see how he’d react. And the knowledge that any reaction Peter gave would feed Elias’ patron.

“What a shame.” Elias remarked, tugging Peter’s attention back to The Weakest Link.

“What happened?”

“She didn’t bank. Lost them almost all of the money.” Elias clicked his tongue in a sham of sympathy.

Peter groaned, “You made me miss it.” The frustrated looks of the other contestants weren’t nearly as satisfying without the memory of the woman’s mortification to back them up.

“What a shame.” Elias repeated. His feet were still pressed against Peter’s thigh, a constant, bony reminder that Peter wasn’t alone anymore, would never be alone again should he ask. He wondered if he should be happy about it.

“You think,” Elias said, “far too much. What does it matter if you’re not always lonely? I’m not always Watching.”

“You had your Eye on that archivist of yours not ten minutes ago.” Peter said, taking Elias’s sudden frown as confirmation of his hunch. But that was all wrong too. Surely normal people wouldn’t be joking if their partner had spent a night with them watching one of their co-workers. Surely they’d be upset about it.

“We’re not partners.” Elias reminded him.

There were two contestants left, vying for the money that hadn’t been lost by their idiotic competitor. Peter tried to focus on them, and not on the way Elias was looking at him, on the half-smile playing across the lips Peter liked so much. When they were together, of course. When they were apart, Peter thought, Elias’s mouth was just another mouth.

“Liar.” Elias hissed. The bolt of insecurity that darted through him was honeysuckle sweet. In retaliation, Elias dug his heel into Peter’s leg as he stretched out over as much of the sofa as he could, crowding Peter against the arm. Peter didn’t look away from the television.

“The man on the left wins,” Elias snapped, “It’s a question about Hadrian’s wall and he snatches it right out from under the other man’s nose. He spends his pathetic gains gambling himself into worse debt then he started with.”

“Oh,” Peter complained. Anxiety swelled in his gut at the show of Elias’s power. He didn’t know Elias could dip into the minds of people on television too. Was there anything he couldn’t See, any secret he couldn’t Know as soon as he wished to?

“I can’t. I’ve just seen this one before.” Elias said, observing Peter’s wide eyes with barely-concealed delight. What did Elias care if the power he’d hinted at didn’t exist? Peter’s original rush of fear had been enough to make them even.

“You,” Peter said, “are a bad boyfriend.”

“I don’t care, as long as I’m not yours.”

Careful, Peter closed a hand around Elias’ ankle, covering some of the eyes that danced and winked along it. Elias’s smile widened.

Peter tugged, and Elias let himself be moved.

Peter lifted, and Elias let himself be raised.

When he sunk his fingers into Peter’s hair and pushed his nails into Peter’s scalp, Peter didn’t protest. Instead, he placed Elias in his lap and let himself be kissed.

Kissing Elias was a little like breathing in a burning building. It was a little like Christmas, or existing on a crowded ship. In other words, it was unbearable, but Peter wanted, needed it anyway. It was choking and over-hot and crowded and pushy and Peter wanted it more and more and more and more, until he couldn’t breathe without Elias pressed firm against his chest.

Elias pulled his mouth away, because it wasn’t enough for Peter to just feel his smirk apparently.

“Your metaphors are ridiculous.” He wiped his mouth with one hand and smoothed his hair with the other.

“I never was fond of words.”

“That much is clear.” Elias said, as if they hadn’t had this conversation a thousand times before, as if they wouldn’t have it a thousand times again before they were finally done with each other. Peter caught his breath as Elias rolled his shoulders, blazer slipping down from the movement, before craning his neck to glance at the television. Peter watched the credits reflect in his shiny, dark eyes.

“Can we put Big Brother on? After all,” He patted Peter’s cheek, “You’ve had your fun.”

“If you want.”

All those people trapped together but encouraged to hate, to isolate even when there was nowhere to go, to say one thing when they thought and felt another, to not trust anyone they were confined with. It was lonely enough for Peter.

“Everything’s lonely enough for you,” Elias said, rubbing at the faint red of beard rash decorating his cheeks, “You’re very simple to please.”

The familiar panic washed over Peter again, the fear encapsulated in the knowledge that Elias would always, somehow, Know Peter better than Peter knew himself. The fear that, whatever Peter was, Elias could See it and take it and keep it for himself.

Peter pushed Elias from his lap.

They split a pack of biscuits, though they were both hungry for something more sustaining, and Peter wondered if he could never get used to having all his secrets laid out in a glass cabinet, for Elias to view as he pleased.

The look on Elias’ face said that, even if he could, Elias wouldn’t let him.

#tma #the magnus archives #peter lukas #elias bouchard #lonely eyes #long post #fanfic #fanfiction #spoon writes #did this a few nights ago n forgot to put it on here whoops